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28.11.14 Music Week 27


between us and the band by always asking what the correct business decision was instead of trying to take the approach of getting us to spend as much as possible and then being surprised when the band are unrecouped. Modest Management have been great partners for the Alison Moyet campaign as well.” Absolute’s Semmence and Cardew concur that


one of the worst mistakes acts and managers can make during an artist services project is “throwing money at the wrong things at the wrong time”. “Patience is key in developing the correct long


term strategy,” they explain. “Having said that we are also very aware that some releases need a very quick turnaround, which is something we pride ourselves on being able to deliver.” Echoing Goldschmidt, Semmence and


Cardew underline the need for artists and managers to commit to being full partners in an artist services campaign. “It’s vital that the artist gets involved,” they say.


“Their input and participation is key to ensuring true engagement and development of individual fanbases. This creates a great starting point to launch the promotional and marketing campaign. In 2014 we have worked with a number of artists and labels who have benefited greatly from this, including Lethal Bizzle, Krept & Konan, Roni Size, Ward Thomas, Dexys, Imogen Heap and earMusic.” Kobalt Label Services’ Vincent Clery-Melin


pays tribute to the current generation of managers in general, saying that they are “a lot more clued up about the business and better understand the ins and outs of being a record label”. He adds that, regardless of whether they are


using the artist services model or signing to a traditional label in 2014, artist managers are having to work harder than ever these days. “At least with us you actually have full control over your campaign!” he suggests. “We have a formidable relationship with management companies such as ATC or Big Life, and many others. Some of these companies have given us a lot of trust very early on, and completely ‘get’ the advantages of working with us,” says Clery- Melin. “These are also management companies that are well structured, well staffed, and are not afraid to get their hands dirty and be very hands on with their record campaigns. They want to see the P&L, they enjoy being in the driver’s seat whilst running campaigns with us in the true spirit of partnership.” A&R Worldwide offers artist services including


everything from marking and media consultation to songwriting, image and audience development and more. President and founder Sat Bisla also stresses the importance of management and artist involvement. “No matter who you are partnered with, you can never expect someone else to carry the sole weight of developing and marketing yourself and your music,” he tells Music Week. “As an artist, you and your management team still need to put your full effort behind making your music successful as ultimately, the artist is the driving force and no company can buy ‘cool’ or ‘a real fan’. “If you’re not passionate and vested in the


success of your career, you will find that no one else is either. This means constantly refining your songwriting/music and live show as well as actively engaging with your audience and doing your homework on what is working and happening worldwide. Fans want to interact with their favorite artists, not an artist’s social media team, marketing company or something that’s manufactured.” Despite artist services traditionally being


ASK THE EXPERTS: HOW DOMINANT WILL ARTIST SERVICES BE OVER THE NEXT 10 YEARS?


Adrian Pope, [PIAS] Artist & Label Services No more dominant than they are now. In today’s market and in the future there will be different models for different needs.


Michael Roe, Caroline International I’m not going to predict any level of dominance but there’s certainly enough space for both the services and the traditional label models to exist very successfully alongside each other.


Martin Goldschmidt, Cooking Vinyl For established acts they will become more dominant, especially with the majors operating in this area very aggressively now. How many companies offer artist services in the future will depend on how they approach risk vs sales potential and whether they can truly offer the


services that are required for a 21st Century release.


Vincent Clery-Melin, Kobalt Label Services The traditional label model is under threat. As the digital market enters its next phase, as technology becomes even more core to the development of artist careers, as the cost of artist development becomes more accessible, and as


the pressure on transparency increases regarding how music revenues are distributed back to creators, the power is shifting back in favour of the artists and their representatives, and there are now fewer and fewer reasons for artists to enter long term, coercive contracts like they did before. Traditional labels, especially major labels, are going to have to look hard at their core DNA and adapt, and new players are going to emerge and lead the change.


Jim Chancellor, Caroline International I still believe there is a place for both the traditional and label service models. It’s all about what the artist, manager and label needs really. The now and the future is all about choice. So it’s our job to offer those alternatives.


exploited most effectively by already successful acts, Believe Digital’s Morrison suggests that one of the biggest misconceptions about the model is that it is a pathway to guaranteed results for those established acts that have ready-made fanbases. “Just because you have thousands of Likes


on Facebook and good social media reach, doesn’t mean people will buy your music - don’t expect miracles overnight,” he warns. “Artists and managers should look to cover all bases and understand all consumption routes of their target market; you can’t rely too heavily on one aspect, like radio for example.” Artists and managers have certainly


been empowered over recent years thanks to the growth of digital distribution and communication channels. The boom in artist services is perhaps an indicator that the industry gatekeepers of old are not quite so formidable.


Henry Semmence, Absolute Marketing & Distribution Record Services are here to stay and will grow over the next 5 -10 years as long as the project finances are properly managed and the level of service is maintained.


Charles Kirby-Welch, Kartel I believe the services sector alongside artists and manager have a great responsibility and opportunity in helping to reshape the industry into a more artist friendly environment - if we can be successful in that it will be the dominant force within five years.


Lee Morrison, Believe Digital Both artist and label services will be very dominant in the years to come. For an artist it’s about having the right team around them; some will benefit having a label around them or a direct team, it’s what suits them. From an independent standpoint we see both services growing hugely.


Sat Bisla, A&R Worldwide As emerging talent continues to break through the noise and as established artists, managers and labels continue to invest and build as much of their copyrights as possible, the artist services model will only continue to evolve and grow. It’s critical that the artist services model


continues to innovate and add value to artists’ careers.


While the traditional label system is still the best route to market for many, it’s no longer the only option. When it comes to artist services, the business sense of the artist and manager are really brought to the fore, but there’s a sense that the key to a successful campaign remains the same, regardless of the model. “Label services is a very clear concept, but still


fairly new. Therefore it’s all about transparency and communication. If you have that then it all works,” says Caroline International’s Jim Chancellor. “We have numerous partners that we work with and we love working with them as we believe they and their artists are fantastic. When we team up with a partner we do so because there is a mutual respect and understanding of each other and what needs to be done. The music is of course first but strong management is a hugely vital factor too.”


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