search.noResults

search.searching

saml.title
dataCollection.invalidEmail
note.createNoteMessage

search.noResults

search.searching

orderForm.title

orderForm.productCode
orderForm.description
orderForm.quantity
orderForm.itemPrice
orderForm.price
orderForm.totalPrice
orderForm.deliveryDetails.billingAddress
orderForm.deliveryDetails.deliveryAddress
orderForm.noItems
In bloom: Enny is flourishing with The Orchard


execute their plans – while also providing audience insights for marketing for specific territories, and optimising artist playlists. Together we were able to lock in some top line marketing opportunities across all services.”


It is this zeal for collaboration – with their clients and beyond – that really underscores the label service sector’s strength, though there is one area where label services teams are indistinguishable from their record label colleagues: their passion for the artists they are working with.


“At Republic Of Music I am extremely proud of my team, they all have a huge passion for music and I think that is the absolute key for our success,” explains McQuillan of his employees.


“We are growing year-on-year but we retain the feel of a small, focused company. I like to think it’s more than a job for my team as they love music and that really comes across when working with artists and labels. I get a huge buzz in receiving the next great artist or album. I think the fact that labels and artists know they can have a real close relationship with the various departments – from label manager to physical sales to sync to digital – and there is always someone to talk to about their releases makes us stand out. Put it this way, I currently enjoy distribution work far more than following my beloved but beleaguered Ipswich Town FC!”


more importantly, the lack of it,” he suggests. “Usually in a services example, the artist is the only person they really have to answer to. There are teams of people to guide, advise and activate, but the pace and success for a new artist comes down to the manager and the artist. They are not beholden to anyone else, any other agenda or any other time frame. It’s useful to see new artists learn from mistakes they might make. I believe it turns them into better artists. Music isn’t an exact science and you need the breathing space to make mistakes. A misplaced pass doesn’t make you a shit footballer. We’ve been pretty much there from the beginning with Dodie, Orla Gartland, Backroad Gee and NSG, to name a few. Currently watching Enny blossom is a joy.”


Ingrooves’ Roden adds that it is not just new acts, but sometimes newer labels who can also benefit from the skills and years of industry know-how that his teams have acquired.


“We work closely with Dirty Hit on their projects, providing them with advice, expertise and insights, all of which helped them build an engaging campaign for Beabadoobee’s debut album,” he suggests of how label services teams can even help serve labels.


“Tapping in to our global teams, we were able to leverage playlist cover support in growth markets for her like Germany, Philippines and Australia, while also mirroring marketing support with retailers through other territories, which ensured the album was pushed to another level globally. Dirty Hit’s own direction and passion on this campaign allowed us to plug in wherever needed to help


54 | Music Week


pressing of our 2020 album Breathing Exercises, as well as order fulfilment, we now consider them an integral part of our operations team,” hip-hop duo Frankie Stew and Harvey Gunn told Music Week of their label services experience. “Being an independent, it’s so important to us to be able to achieve business ops partnerships that can give you the firepower to compete with major label teams.” The Orchard’s Dutt also believes it is artist experience that is the best demonstration of what a label services deal can achieve. “Label services deals are getting longer not just because the relationship between audience and artist is changing, but because artists are enjoying the label services process and experience,” he argues. “They are our biggest advocates; we rarely advertise our services because artist and manager recommendations are more meaningful.” It is that expanding network – from working with artists across a spectrum of genres – that is naturally giving the label services a depth that acts and their teams are tapping into.


T


experience, they are our biggest advocates”


IAN DUTT The Orchard


enjoying the label services


“Artists are


“Having knowledge and expertise working across a range of artists, genres and markets is essential in today’s global music ecosystem,” concludes Roden at Ingrooves. “Our team is constantly seeking new opportunities, based on an incredible knowledge of what’s worked across genres and territories. Fans are not restricting their listening to one genre or platform, so it’s essential for artists and labels to have a broader understanding of what’s working across the wider market.” They really are at your service.


he reaction from the artists with experience of label services seems to suggest they know a winning team when they see one. “Since partnering with Hoxton Vinyl for vinyl


New Reprtoir can unlock the industry


Rendez-Vous Digital and Reprtoir’s co-founder & CEO Dominique Rottet has a background to inspire any artist


A


considering life without a label. Plus, he has the software to help them, too.


“Reprtoir is a ‘Software as a service’ solution specifically designed for record labels and music publishers,” he explains. “We built a software suite to help music professionals manage their music catalogues, playlists, releases and royalty accounting in the same workspace, accessible to all members of their teams.” Comparing smaller labels and artists to start-ups who are often forced to confront business issues they had no prior knowledge of, Rottet suggests that the increasing digitisation of many industry tasks (his firm have just released a new Royalties Manager platform he predicts will “save a huge amount of time for record label managers”) is making it easier for artists to move beyond traditional structures. “At Reprtoir, every day we welcome small emerging structures without much experience that have the energy of start-ups but often come up against a lack of knowledge of the industry, contracts, rights, accounting, etc,” he observes. “Like most entrepreneurs, they are confronted with steep learning curves and ultimately do not spend enough time developing their business activities. In the end, a service like Reprtoir allows them to collaborate better and to also better understand all aspects of rights and royalty flows.” So whether making or releasing music, Rottet believes good tech is a service worth having. “One thing seems quite clear to us,” he notes. “Many actors in this industry would greatly benefit from digitising their business processes and tools.”


tech-loving beatmaker in the ’80s before founding The Orchard’s first French branch,


musicweek.com


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100