Liverpool, Music City? - Report

“Artist development relies on access.
Measuring new talent is important
but the biggest issue is reaching out
to all artists. We need mentoring,
better education on the enormous
potential of collaboration and
research affecting policy. Right
now, the music 'scene' and music
'business' feel too disparate – hence
[there are] some group fears of
them not working well together i.e.
quashing of creativity and monetising
creativity.”
Aoife Robinson, Fundraising and
Development
“Actually, things like Merseyside
Arts Foundation and LIMF Academy
do a great job at development and
over the past few years it's shown,
with more industry eyes on artists
up here than in years. Plus the
festival scene is good which helps
with artist/audience development.
It's the venues beyond all else that
need support. Some music industry
wide frequent (quarterly?) meetings
would be helpful though – the thing
that lets down bands is knowledge of
the nitty gritty like PRS, royalties,
licensing, touring et al (which
admittedly Sentric are posting some
great information on) that would be
super helpful and easy to implement.”
Andrew Ellis, Artist Consultant and
Manager
“More conscious effort for
representation of different
socioeconomic identities. More
opportunities to grow organically, to
fail, experiment. Artist development
should not be framed only in
'financial success' terms.”
Jon Davies, Musician and Promoter
“New music in Liverpool right now
is very middle class – more working
class artists and those from modest
backgrounds need support, and they
aren't getting it.”
Anonymous
“The Liverpool music community is
very narrow and has been for a long
time. It is predominantly white,
straight, male and band-orientated.
Though the likes of Bido Lito! have
improved music coverage in the city,
as well as started discussion about
improvement, it is still painfully
slow in its development. Women are
not encouraged, BME artists are
not encouraged, certain genres are
not encouraged. As a result, they
will not apply to play festivals or
to write for Bido Lito!/GIT, they
will not put themselves forward for
support slots at venues (even if they
knew how to) because realistically,
is anyone going to give them a chance
when those making the decisions
aren't like them?”
Christina McKenna, Music Lecturer