Output: Defining and Developing the Music Sector in Northern Ireland

Generator NI is the appointed delivery partner for a three year Music Business Support Programme (MBSP) in Northern Ireland, which is funded by the Department of Culture, Arts and Leisure and by Invest NI.

The programme specifically aims to accelerate the development of skills, audiences, markets and incomes for N. Ireland based artists and businesses.

The NI professional music sector continues to thrive and develop both on the creative and entrepreneurial stages, with many exciting new propositions and a wide range of artists and businesses on steep international audience development and market acceleration curves.

DEFINING AND DEVELOPING THE MUSIC SECTOR IN NORTHERN IRELAND This Output publication has been produced to highlight the current vibrance of music in Northern Ireland. The economic development and commercial growth of the sector is our primary role and hence the core content of Output is focused on these aspects. We also aim to highlight the essential contribution of other key stakeholders in the development of music as a hugely important element in the social and cultural fabric of our lives and of those who visit our country and cities.

This publication coincides with the delivery of Generator NI's flagship annual Output Belfast conference

Made by Generator NI

and showcase event, which we deliver in partnership with Belfast City Council. This event is designed to bring national and international industry practitioners to Northern Ireland, to share best practice and

Mark Gordon

network with our industry, and also to showcase the best of our creative performing talent to the global industry and media.

Nu Graham

Ross Graham Grace Loughrey

To achieve the aims and objectives of our MBSP funders, Generator NI acknowledge and greatly value

Siubhรกn Macauley

their regional, national and international partnerships from both the public and private sectors. Key

Sarah Plunkett

amongst these partners are Belfast City Council, Northern Ireland Screen, Generator UK, Nerve Centre,

& Lucy Skerritt

UK Trade and Investment, PRS for Music Foundation, BPI and AIM.

D E PA R T M E N T O F E N T E R P R I S E , T R A D E & I N V E ST M E N T Music is a crucial part of the creative economy in

There are also many unique opportunities for collaboration

Northern Ireland.

between different creative platforms. Londonderry based animation company, Dog Ears recently collaborated with local

Northern Ireland has produced some of the world’s leading

music company, Smalltown America Records, to provide the score

artists, from James Galway to Snow Patrol, Van Morrison to DJ

for its series “Puffin Rock”. Now available on Netflix, it includes

David Holmes, to current success stories Soak and Bicep. Home

a distinctive, cinematic soundtrack recorded by the Ulster

grown talent like this is helping to shine the spotlight on Northern

Orchestra in BBC Blackstaff Studios. This kind of creative

Ireland’s creative capabilities across the global music stage. It

innovation is to be applauded and I hope many more companies

is estimated that the Northern Ireland music sector contributes

from the Film, TV, Gaming and Animation sector will seek to

£61.5 million in annual GVA to the local economy and employs

work collaboratively with local musicians and publishers.

nearly 4,000 people. My Department’s aim is to build on this to enable the local music sector to both compete globally and

This publication provides a blueprint for developing the economic

realise its significant economic potential.

contribution of the music industry in Northern Ireland and will support the set-up and growth of music businesses, and accelerate

Northern Ireland’s music industry is by definition highly

growth in Northern Ireland’s evolving music industry. As such, I

entrepreneurial. With Executive funding available through the

am pleased to have the opportunity to acknowledge Generator

Music Business Support Programme, we aim to support this

NI’s hard work and dedication as they continue to work closely

entrepreneurial spirit ensuring we have the skills and knowledge

with the sector to develop opportunities in the global marketplace

necessary to exploit the substantial export opportunities,

for Northern Ireland’s artists and businesses alike.

accelerating the growth of the sector and maximising the contribution the music industry makes to the local economy.

Jonathan Bell MLA Enterprise, Trade and Investment Minister

We are committed to ensuring that we capitalise on every opportunity to promote our local talent. Opportunities such as hosting the MTV Music Awards in 2012 provided a unique platform to promote music from here to an international audience.

Invest NI also helps businesses from our vibrant music sector to attend South by Southwest in Texas to promote themselves to key industry players.

D E PA R T M E N T O F C U LT U R E , A R TS & L E I S U R E The primary roles of the Executive are to promote a sustainable

The North’s own growing music offer is continuing to add significant

economy and to promote equality. These objectives are the core of

value to the wealth of cultural attractions for incoming tourism,

my Department’s priority to Promote Equality, and Tackle Poverty

particularly through events such as Belfast's 10 day Belsonic

and Social Exclusion. This is the context for my Department’s role

Festival, now in its 8th year, the 3 day Belfast Tattoo and the

as the government lead on the creative industries – a sector

huge success of the Fleadh in Derry during its City of Culture Year.

recognised across the world as a catalyst for wider economic and social innovation.

DCAL's support and commitment to Derry's year as City of Culture and to the legacy of that initiative was particularly focused on the

Indeed the creative and cultural sectors are increasingly recognised

breadth of benefit that music can bring to community development,

across the world as important drivers of wider economic and social

inspiring creativity and connecting all ages. My Department

innovation. I recognise the importance of music as a key element in

continues to provide support for music in the North through

the creative sector as it presents a wealth of opportunities: helping

a broad range of initiatives targeted towards social, cultural

us to break down barriers; providing a variety of educational

and economic development.

opportunities; as well as helping us to find ways to integrate many diverse and minority groups positively into our society.

My Department's contribution to the support of the music industry sector is best exemplified by its joint commissioning with Invest NI

I would like to emphasise the importance of the arts and culture in

and funding of the Music Business Support Programme, run by

contributing to positive health and mental wellbeing, in creating a

Generator NI who work closely with the sector to develop

cohesive society, in promoting tourism and as an inspirational driver

opportunities for artists and businesses in the global

for the creative industries. Music is an essential part of our cultural

marketplace, and who have produced this publication.

Made by Generator NI

Mark identity and plays a major role in taking our own culture out to the rest of the world.

Gordon

Huge benefits can be derived from working together creatively and Nu Graham

thinking innovatively. As Minister for the Arts, I want the arts, Ross Graham

music and creative sectors to blossom in the North of Ireland.

Grace Loughrey

Siubhán Macauley

Carál Ní Chuilín MLA

Sarah Plunkett Minister of Culture, Arts and Leisure & Lucy Skerritt

SECTION ONE DEFINING THE MUSIC SECTOR THE GLOBAL PERSPECTIVE: AN OVERVIEW

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THE UK PERSPECTIVE: AN OVERVIEW

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THE MUSIC INDUSTRY IN NORTHERN IRELAND

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A) PRODUCTION AND EXPLOITATION OF INTELLECTUAL PROPERTY IN MUSIC i) RECORDED MUSIC AND RECORD LABELS

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ii) ARTIST MANAGEMENT

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iii) MUSICIANS, PERFORMERS, SONGWRITING

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& COMPOSITION iv) MUSIC PRODUCTION

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v) INSTRUMENT MANUFACTURE

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vi) MUSIC PUBLISHING

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vii) MARKETING AND PROMOTION

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B) LIVE MUSIC SECTOR VENUES AND PROMOTERS

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M U S I C F E ST I VA L S A N D L A R G E S C A L E E V E N TS

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TRADITIONAL MUSIC

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SECTION TWO SUPPORTING THE DEVELOPMENT OF THE SECTOR MARKET DEVELOPMENT INTERNATIONAL SHOWCASING, CONFERENCING

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AND TRADE MISSIONS

TALENT DEVELOPMENT

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INVESTING IN MUSIC

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C O N V E R G E N C E , C O L L A B O R AT I O N A N D PA R T N E R S H I P S

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SKILLS DEVELOPMENT BUSINESS SKILLS DEVELOPMENT Made by Generator NI CREATIVE SKILLS DEVELOPMENT

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EDUCATION IN THE MUSIC SECTOR Mark Gordon S O C I A L A N D C O M M U N Nu I T YGraham ENGAGEMENT

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Ross Graham

F U T U R E O P P O R T U N I T I E SGrace Loughrey Siubhรกn Macauley Sarah Plunkett & Lucy Skerritt

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SECTION ONE DEFINING THE MUSIC SECTOR

T H E G LO B A L M U S I C I N D U ST RY: A N OV E R V I E W The global music industry is a highly competitive

Successfully operating within this intensified

environment characterised by continual change

global marketplace requires complex international

and evolution. While existing in its own right as a

connectivity. However, due to the advancement in

communications, and the digital distribution and key creative industry, music businesses converge Made by Generator NI consumption revolution, regional and across the screen and digital content industries, decentralised music industry development and Mark Gordon sustainability has become a truly realistic television, tech, and online media platforms.

Nu Graham proposition.

Ross Graham IP in the music sector is based on copyright Grace Loughrey Effectively growing and sustaining a regional created in both lyrical and musical elements of Siubhรกn Macauley industry demands a comprehensive skills base song writing, composition, arrangement and Sarah Plunkett with world-class production and IP creation. production. IP value in the sector is also created & Lucy Skerritt by the establishment of an identifiable and adding intellectual property (IP) value to film,

exploitable brand, and in the development of

The global music sector can be split into two key

production software and hardware.

activity areas: recorded music and live music.

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An estimated 41 million people are paying subscribers to digital music streaming services worldwide THE RECORDED MUSIC SECTOR is in a constant state of change - most notably with the shifts from physical to digital, and from static to mobile platforms. Consumption of recorded music is more universally accessible and ubiquitous than ever, with royalties and revenue streams from recorded music growing increasingly diverse and complex.

Physical continues to decline while digital music sees significant growth. Listeners increasingly choose services such as YouTube and Spotify to stream music. An estimated 41 million people are paying subscribers to digital music streaming services worldwide (Source: IFPI).

Another area of growth in the global recorded music industry is in revenue and royalties from synchronisation licensing across multi-media content.

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The success of live music on an international scale has seen live music revenues surpass recorded music LIVE MUSIC is wide in scope; from small scale venues serving niche audiences, to large scale festivals with audiences of over 150,000 in attendance, often with associated broadcast.

The success of live music on an international scale has seen live music revenues surpass recorded music. The Made

by Generator NIboom in popularity is down to the unique experience these events offer attendees,

allowing them to engage with music in a personal, tangible way.

Mark Gordon

Nu Graham

Live music events provide an identifiable Ross Grahamcommercial market

opportunity, which attractsGrace highlyLoughrey profitable brand alignments and

sponsorships. These include food, Macauley drink, mobile network, fashion SiubhĂĄn and car brands sponsoringSarah large events aligning with their own Plunkett target markets.

& Lucy Skerritt

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H ES IMCU SI IN C DI N N N R E LIARNEDL A N D T H E MT U UDSUTSRT YR Y I IN NOOR RT HT EHR ENRI N

Northern Ireland has an exceptional track record for producing outstanding creative musical talent and IP. Van Morrison and his sextet of Grammys, punk prodigies The Undertones penning John Peel’s favourite song of all time; the abundance of extraordinary local talent has a long-standing legacy.

With the achievements of classical pianist Barry Douglas OBE, Ivor Novello winning producer David Holmes, celebrated House masters Bicep and the Mercury Prize nominated SOAK, Northern Irish music has shone especially bright on the world stage in recent years.

CASE STUDY 8

SM N I A MLUL TSO I CWIN N ANM U EMRBI C E RAS The music Ireland contributes million in GVA the localtoeconomy Founded inindustry 2001 as in anNorthern independent label in London,£61.5 owner Andrew Ferristodecided relocate per year, employing 1,900 of those people directly employed within a Smalltown America over back3,820 to his people. homeland of Northern Irelandare in 2009.

The label signs both

music business, while the restartists; are in notable music-based roles within include other industries.

TBR) indigenous and international regional signings And So I (Source: Watch You From Afar, More Than Conquerors and Axis Of, whereas Die! Die! Die! (New Zealand), USA Nails The NI music industry hires mostly part-time individuals, making up 58% repertoire. of the workforce.

(London) and Mnemotechnic (France) are examples of their international 37% of individuals are self-employed. (Source: Creative Skillset report).

Smalltown America has a recording studio in Derry~Londonderry, as well as a successful sister AccordingSmalltown to the latest available data,based there in areBelfast, aroundwhich 640 music company America Music, deals businesses with music operating and song in

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Northern Ireland, turning over £166 million per year. The majority of businesses are publishing and licensing. based in Belfast, with more peripheral businesses based mostly in the Derry~Londonderry and Lisburn areas. (Source: TBR)

Smalltown America houses marketing, distribution and audio production from

our HQ in Derry~Londonderry - employing seven staff and offering internships

The music industry in

to four graduates each year.byFor businesses, Made Generator NI NI offers low operational cost, good

access to business property and an increasingly engaged talent pool. Internally,

Northern Ireland contributes

Mark Gordon we've seen increasing customer demand for wider and deeper product lines.

Nu Graham

£61,500,000

Ross Graham Artisanal, physical products such as screen-printed posters, coloured vinyl Grace Loughrey variants and collectible lathe cuts provide good margins outside of our normal Siubhán Macauley product sets - we see fans of bands consuming everything an artist has to offer.

Sarah Plunkett

in GVA to the local

& Lucy Skerritt

economy per year ANDREW FERRIS 9

THE MUSIC INDUSTRY IN NORTHERN IRELAND PRODUCTION AND EXPLOITATION OF INTELLECTUAL PROPERTY IN MUSIC

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i) RECORDED MUSIC AND RECORD LABELS This sector of the industry has without doubt been the area most affected by the radical changes resulting from the revolution in digital and communication technologies across the past two decades. Traditionally labels were gatekeepers, arbiters of taste and investment in the sector – due to the intrinsic power of being the marketing, promotion and distribution mechanism for physically reproduced, recorded music.

As we move into the age of digital streaming, the record label remains a relevant entity, but the commercial arena is a more challenging and ultimately democratically competitive one.

The industry-wide shift to independent and self-releasing records, rather than releasing on corporate and major record labels has been liberating for the creative freedom of artists, as traditional barriers of production, promotion and recording costs have ceased to price out emergent acts from the marketplace.

There is a large DIY ethic surrounding recorded music and record labels in Northern Ireland. Bands start their own labels, self-fund and self-release their own music, assuming the responsibilities to release, monetise and stream their own work. Attached to this are a small number of niche tastemaker labels releasing everything from soundtrack albums to limited runs of hand-pressed 7” singles.

Made by Generator NI

The function of a record label and the key role of A&R (artist and repertoire) within labels retains its

Mark Gordon

value, to be attached to even a modest indigenous record label can be perceived as a critical and financial

Nu Graham

endorsement of an artist’s songwriting talent and earning potential. Northern Irish artists have been

Ross Graham

signed to both national and global labels: acts such as Ash, Snow Patrol, Two Door Cinema Club,

Grace Loughrey

Therapy? and more recently SOAK, have grown their careers in the global marketplace through

Siubhán Macauley

successful creative and business partnerships with both independent and major labels.

Sarah Plunkett

& Lucy Skerritt

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CASE STUDY 12

SMALLTOWN AMERICA Founded in 2001 as an independent label in London, owner Andrew Ferris decided to relocate Smalltown America back to his homeland of Northern Ireland in 2009. The label signs both indigenous and international artists; notable regional signings include And So I Watch You From Afar, More Than Conquerors and Axis Of, whereas Die! Die! Die! (New Zealand), USA Nails (London) and Mnemotechnic (France) are examples of their international repertoire.

Smalltown America has a recording studio in Derry~Londonderry, as well as a successful sister company Smalltown America Music, based in Belfast, which deals with music and song

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publishing and licensing.

Smalltown America houses marketing, distribution and audio production from our HQ in Derry~Londonderry - employing seven staff and offering internships to four graduates each year.byFor businesses, Made Generator NI NI offers low operational cost, good access to business property and an increasingly engaged talent pool. Internally, Mark Gordon we've seen increasing customer demand for wider and deeper product lines.

Nu Graham Ross Graham Artisanal, physical products such as screen-printed posters, coloured vinyl Grace Loughrey variants and collectible lathe cuts provide good margins outside of our normal SiubhĂĄn Macauley product sets - we see fans of bands consuming everything an artist has to offer.

Sarah Plunkett & Lucy Skerritt

ANDREW FERRIS 13

ii) ARTIST MANAGEMENT An artist manager’s role is to coordinate

In recent years, more and more artists are

their artist’s career development and help

choosing to self-manage - the “DIY business

to secure and maximise creative revenue

model” - often successfully handling their own

streams from their artist's IP. The typical

business affairs, particularly during the earlier

business arrangement between artist and

stages of their career path. Nonetheless, it would

manager would be an agreement that the

be rare for an artist to progress towards

manager would represent the act for the

substantial recording and publishing deals, live

betterment of the artist's career and

representation, or large scale endorsements

business development, for a share

without employing the services of a full-time

(typically 20%) of net incomes.

manager (or managers).

Managers help to influence and conclude key business and financial decisions surrounding a musician's progress within the industry; and with associated legal services will act as a key broker towards concluding deals between an artist, producer, composer or performer with other operators and service providers of the music industry.

THE CLAMEENS ON TOUR IN INDIA

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CASE STUDY

RUMOURMILL MUSIC Mark Holden's Derry~Londonderry based management company RumourMill Music is one of the new crop of regional management operations that have

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emerged over the past few years in Northern Ireland.

As an artist manager based in Northern Ireland, I have successfully negotiated multiple high profile opportunities for my artists, The Clameens. Since my appointment as the band’s manager, I have secured a record deal with 25 Hour Convenience Store (a London based record label run by Gary Powell of The Libertines). As a result of this, the label and I are currently strategising business exports to European territories.

Made

by Generator NI Mark Gordon The support of Generator NI, PRSF and UKTI has helped access Graham UK and international Nu export market development opportunities Ross Graham

including The Great Escape, Liverpool Sound City and NH7 Grace Loughrey

Weekender Festivals in India. This support has resulted in a Siubhán Macauley

significant growth of business opportunities for companies Sarah Plunkett

such as my own in Northern Ireland. & Lucy Skerritt

MARK HOLDEN 15

iii) MUSICIANS, PERFORMERS, SONGWRITING & COMPOSITION

Musicians and performers along with

Northern Ireland has a rich musical

songwriters and composers are the

history and a vibrant performance culture.

primary creators in the music industry,

From traditional musicians to band

providing the assets and creative expertise

members, NI produces a plethora of

that generate incomes amongst the

innovative, contemporary composers

professional sector.

and instrumentalists.

Partners in the entrepreneurial and

Individual musicians and performers are

ancillary service sectors of the music

often self employed or are characterised as

industry also commercially capitalise

being micro businesses, and sometimes

upon and exploit these assets created

employ and sub-contract services to third

by artists.

parties (session musicians, touring partners, support services).

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CASE STUDY

SOAK CASE STUDY Bridie Monds-Watson is a singer songwriter from Derry~Londonderry, performing under

D V I SOAK. D HShe O Lwas Mpicked E S up by Rough Trade Records, who released her debut theA name

album Before We Forget How to Dream in May 2015. SOAK has without a doubt been one Made by Generator NI of the most successful breakthrough artists from Northernand Ireland in recent years,Belfast. even He David Holmes is a producer, music supervisor, composer DJ born and bredin being nominated 2015.

Sheprogressing has headlined European,and UScomposing and started his careerfor as a Mercury DJ at the Prize tenderinage of 15, to producing his Mark Gordon Australian touredtowith thefilm likesscores. of Bombay Bicycle Club, collaborated own tracks,tours, in addition whole He was commissioned

by Dannywith DeVito to score Nu Graham Chvrches and performed music festivals Glastonbury, Latitude and Steven Soderbergh’s film at Out of Sight in 1998, later sound tracking theBestival. renowned films Ross Graham ‘Ocean’s Eleven’, ‘Ocean’s Twelve’ and ‘Ocean’s Thirteen’.

Grace Loughrey SOAK showcased at Brighton based The Great Escape in 2013 and 2015, Holland's Siubhán Macauley Eurosonic in 2015 and SXSW (pictured) in Texas in Film 2015&with the which help and support of David founded a production company, Canderblicks Music, released Good Sarah Plunkett UKTI, Invest NI and Generator NI,record helping raise her profile in the international Vibrations, a film biopic of Belfast shop owner Terri Hooley; David also created the & Lucy Skerritt music market. soundtrack for the film. Belfast-based, BBC and RTÉ TV show The Fall also featured music scored by David Holmes as did the recent award winning feature film ’71.

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CASE STUDY

C I A R A N L AV E RY Ciaran Lavery is an alternative folk singer songwriter from County Down, building a successful international business based primarily upon his global popularity on music streaming services. Ciaran has toured across Europe and played many times in the US, including the 2014 UKTI Songwriters Mission in Nashville and Folk Alliance in Kansas.

Ciaran has surpassed 20 million plays on Spotify, mainly with tracks Shame and Left for America. Ciaran Lavery is a skilled songwriter and performer, and also a talented co-writer as can be heard on his collaborative mini-album Sea Legs with local electronic artist Ryan Vail.

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The last twelve months have been very successful for me as a musician and for my team that have helped to pave a path for both me and my reputation as an artist among an ever developing and impressive scene that exists in Northern Ireland right now.

Every day we work toward building a long term career so my music can be as relevant in 20 or 30 years as it is today. It's a long road.

C I A R A N L AV E RY

CASE STUDY

BARRY DOUGLAS Barry Douglas OBE is a leading international pianist who in 1986 was awarded the hugely prestigious Tchaikovsky International Award and went on to develop a high profile international career. Barry also works as a conductor, and regularly performs at St. Luke’s lunchtime series, in London. He founded Camerata Ireland in 1999; an orchestra which works across the border to nurture and develop young Irish and Northern Irish talent.

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Camerata Ireland performs at home and abroad including Belfast, Derry~Londonderry, Cork, and Dublin, plus tours to USA, China, South America, Europe and India this season. Randox is our Global Sponsor, a fantastic arts business Made by and Generator NI partnership. We are also

supported by Arts Council Northern Ireland and Arts Council Ireland.

Mark The climate for the arts inGordon Northern Ireland is not optimum at the

Nu Graham moment due to austerity, and many arts organisations are struggling Ross Graham or disappearing. However, artists who work in Northern Ireland are Grace Loughrey

determined to make a positive contribution to society. Camerata has Siubhán Macauley

just launched an education initiative in North Belfast, which has been Sarah Plunkett

very well received. There is a lot to do and I am sure we will get there.

& Lucy Skerritt

BARRY DOUGLAS 19

CASE STUDY

ULSTER ORCHESTRA The Ulster Orchestra is the only symphony orchestra in Northern Ireland that operates on a full time basis. Founded in 1966 by the Arts Council of Northern Ireland, the orchestra has performed across the globe in places such as Hong Kong and mainland Europe – however the orchestra mostly performs in Belfast’s Ulster Hall. The Ulster Orchestra provides the vast majority of classical music-based outreach work within Northern Ireland, developing cultural and artistic engagement within classical and contemporary music.

T H E U L ST E R O R C H E ST R A , C O N D U C T E D BY P R I N C I PA L G U E S T C O N D U C T O R J A C V A N S T E E N , O C T 2 014

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Made by Generator NI Mark Gordon Nu Graham Ross Graham Grace Loughrey Siubhรกn Macauley Sarah Plunkett & Lucy Skerritt

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iv) MUSIC PRODUCTION The recording and production sector in

In the modern digital age much recording can

Northern Ireland consists of a variety of

be, and often is, undertaken in “home� studios,

practitioners and businesses combining

using a PC and a range of software, where once

creative skills with technical and

recording desks and outboard equipment

engineering expertise, operating on

costing tens or hundreds of thousands

various scales.

was required.

The technological landscape of this

The Northern Irish sector includes a range of

sector has been subject to significant

small and mid-sized facilities run by experienced

advancements over recent years.

engineers and producers, across a range of

The costs of recording equipment and

musical genres, supplying services both to

hence associated services were formerly

local clients and increasingly servicing an

much higher, with considerable budgets

international client base from Europe,

required to adequately equip and resource

the USA and further afield.

recording facilities.

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CASE STUDY

D AV I D H O L M E S Made by Generator NI David Holmes is a producer, music supervisor, composer and DJ born and bredin Belfast. He started his career as a DJ at the tender age of 15, progressing to producing and composing his Mark Gordon own tracks, in addition to whole film scores. He was commissioned by Danny DeVito to score Nu Graham Steven Soderbergh’s film Out of Sight in 1998, later sound tracking the renowned films Ross Graham ‘Ocean’s Eleven’, ‘Ocean’s Twelve’ and ‘Ocean’s Thirteen’.

Grace Loughrey Siubhán Macauley David founded a production company, Canderblicks Film & Music, which released Good Sarah Plunkett Vibrations, a film biopic of Belfast record shop owner Terri Hooley; David also created the & Lucy Skerritt soundtrack for the film. Belfast-based, BBC and RTÉ TV show The Fall also featured music scored by David Holmes as did the recent award winning feature film ’71.

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CASE STUDY

ANALOGUE CATALOGUE Analogue Catalogue is a newly established, high quality residential analogue recording studio in County Down. Recording to 24 track 2” Tape through a vintage Trident Series 80B desk, the studio team originally recorded a wide range of artists at their Manchester studio from 2003 to 2013. Recent clients of Analogue Catalogue include The Vaselines (Sub Pop), Jeffrey Lewis (Rough Trade), King Creosote & Jon Hopkins (Domino), Barbarossa (Memphis

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Industries), James Yorkston (Domino), The Aliens (EMI), and Fionn Regan (Universal).

Swimming against the tide of the digital revolution, Analogue Catalogue has successfully carved itself a niche in vintage recording techniques. Head Engineer/Producer Julie McLarnon learned her skills at the legendary Strawberry Studios where she worked with Happy Mondays, New Order, 808 State and The Charlatans to name but a few. Analogue Catalogue was based in Manchester for over a decade where we developed a global reputation for making great records to magnetic tape without a computer in sight. Last year we shipped our entire studio and its reputation to Julie’s homeland in rural County Down. Positioned equidistant from both Dublin and Belfast Airports we have successfully maintained our international clients, whilst also becoming a valuable asset to homegrown talent.

ROB COT TER 24

v) INSTRUMENT MANUFACTURE Instrument manufacture in Northern Ireland is a growing sector that prides itself on producing unique acoustic and electronic instruments of a high quality. The sector is highly competitive, concentrated and export led. Manufacturers in Northern Ireland focus on high-end, niche instrument manufacture, and range from long established market leading craftsman led brands such as the prestigious Lowden Guitars to newly emerging electronic instrument manufacturer Patchblocks.

C A S E ST U DY: R U AC H CASE STUDY Ruach was set up in director Stephen Henderson’s garage in 2011. Ruach produces and

ANALOGUE CATALOGUE

internationally distributes cajons, a type of percussion instrument made from birch wood or cherry wood, along with a number of accessories. Ruach prides itself on its environmentally friendly

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approach, a new tree for every instrument made.

Analogue planting Catalogue is a newly established high quality residential analogue recording studio in County Down. Recording to 24 track 2” Tape through a vintage Trident Series 80B desk,

the studio team originally recorded a wide range of artists at their Manchester studio from Made by Generator NI Delegating and exhibiting at SXSW by(Sub Invest NI, really 2003 to 2013. Recent clients of Analogue Catalogue includesupported The Vaselines Pop),

validated and current products in theBarbarossa American(Memphis market, Jeffrey Lewis (Rough Trade), my Kingnew Creosote & Jon Hopkins (Domino), Mark Gordon Industries), Jameshelping Yorkstonme (Domino), Aliens (EMI), and Fionn Regan (Universal). find outThe how consumers Nu Graham engage with the brand and

helping to plan how to get into that market effectively. I was able to Ross Graham

shoot video marketing assets and expand my network of global Grace Loughrey

Siubhán Macauley business contacts at events held by the British Music Embassy. It’s a Sarah Plunkett challenge to develop a sustainable new manufacturing company in Lucymanage Skerritt to reach a global market.

Northern Ireland unless&you

STEPHEN HENDERSON 25

v i )i ) MMUASRI KC E PT U I NB G L I SAHNI N D GP R O M O T I O N A small In the music number industry, of highly a music professional publisher local

The current establishment music publishing of a marketable industry brand in can

sector-specific (or publishing company) services are is responsible available to for both

often translate Northern Ireland into is important mainly characterised ancillary by a

regional clients, ensuring the songwriters and to a national and composers and

incomes small number from the of independent sales of merchandise, companies with

international receive payment client when base their wishing compositions to

such as t-shirts developing music and catalogues. physical record (Manysales local

develop are usedthe commercially. regional market.

In committing to a

online or writers doatnot livehave shows. publishing agreements

publishing contract, a songwriter or

and rely on royalty collection agencies to

The creation composer "assigns" of tailored the copyright music marketing of their

In relation collect theirtodue theroyalties). marketing opportunity and

and promotion composition to is a publishing essential incompany. securing

brand development, the importance of close

meaningful media endorsement of local

creativemanaged Locally collaboration and based between publishing the music

repertoire, In return, the allowing company thelicenses opportunity to

sector and the companies are contingent now engaged design in sourcing and screen and

further resonate compositions, helps in the monitor national where and

sectors cannot signing creativebe compositional overestimated. and song

international marketplace. compositions are used, collects royalties

writing talent from Northern Ireland, Ireland,

and distributes them to the composers.

the UK and internationally - including

Marketing and promotion within music They also secure commissions forthe music

copyrights originating from France,

industry and promote is increasingly existing compositions about brandto

the USA, Australia and Iceland.

development and film identification as well as recording artists, and television. brand alignment.

The copyrights owned and administered by publishing companies are arguably the most important forms of intellectual property in the music industry.

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CASE STUDY

JSEMF A F LRL O TO BW I NNS OAN M EP R I C A M U S I C Jeff Started Robinson as a record is the label ownerinand 2001, managing the Smalltown directorAmerica of Jeff Robinson brand developed PR, a freelance a marketing publishing consultancy arm in 2011,that headed provides

by Charlene cross-media Hegarty. campaigns Smalltown for the America creative Music industries. is a During music publisher Belsonic and Music composition Festival Jeffagency, Robinson based PRincoordinated Belfast. With media an array campaigns of talented with artists Northern including Irish writers, Noel Gallagher, composers Elbow, and artists Biffy Clyro, on their Florence roster, +Smalltown the Machine, America Paulo Nutini, Music has 30 Seconds been ableTo toMars, place Beady music Eye, with Plan brands B, such and Paul as MTV, Weller.

O2,He Vodafone also represents and

“

children’s Toyota. media company Dog Ears.

Smalltown America Music have strategic partners in place in 4 of I started my company, Jeff Robinson PR in 2009 and have been the 5 key music markets - North America, UK, Germany & France. actively expanding year on year. Although initially 100% music Smalltown America Music continues to demonstrate growth year focused we decided to expand into all elements of the creative on year - we have increased our core staff base, the volume of our industries, including restaurant and Theatre PR. The growth of the catalogue and theMade geographic spanNIof our intellectual property

by Generator company has benefited greatly from the assistance given by public rights. We have agreed deals with a number of global brands sector supported music development initiatives, helping with Mark Gordon including Toyota, Vodafone, O2 and Icon Films. advice, early funding opportunities and mentoring, which has been Nu Graham

influential in the business decisions I have made. We are very lucky Graham We face competition Ross at every stage from major and independent Grace in this country to have theLoughrey support and backing of the arts and publishers, however, we have been very successful in landing global Siubhán Macauley creative industry sector, which in turn keeps us producing talent deals. We remain committed to new talent, unique IP and the Sarah Plunkett and supporting the industry at the highest level. strength of our offering. & Lucy Skerritt

NAS ROTNY C H A JREL FE FN RE OHBEIG 27

vii) MARKETING AND PROMOTION A small number of highly professional local

The establishment of a marketable brand can

sector-specific services are available to both

often translate into important ancillary

regional clients, and to a national and

incomes from the sales of merchandise,

international client base wishing to

such as t-shirts and physical record sales

develop the regional market.

online or at live shows.

The creation of tailored music marketing

In relation to the marketing opportunity and

and promotion is essential in securing

brand development, the importance of close

meaningful media endorsement of local

creative collaboration between the music

repertoire, allowing the opportunity to

sector and the contingent design and screen

further resonate in the national and

sectors cannot be overestimated.

international marketplace.

Marketing and promotion within the music industry is increasingly about brand development and identification as well as brand alignment.

28

CASE STUDY

JEFF ROBINSON PR Jeff Robinson is the owner and managing director of Jeff Robinson PR, a freelance marketing consultancy that provides cross-media campaigns for the creative industries.

During Belsonic Music Festival Jeff Robinson PR coordinated media campaigns with artists including Noel Gallagher, Elbow, Biffy Clyro, Florence + the Machine, Paulo Nutini, 30 Seconds To Mars, Beady Eye, Plan B, and Paul Weller. He also represents

“

children’s media company Dog Ears.

I started my company, Jeff Robinson PR in 2009 and have been actively expanding year on year. Although initially 100% music focused we decided to expand into all elements of the creative industries, including restaurant and Theatre PR. The growth of the Made by Generator NI

company has benefited greatly from the assistance given by public sector supported music development initiatives, helping with Mark Gordon

advice, early funding opportunities and mentoring, which has been Nu Graham

influential in the business decisions I have made. We are very lucky Ross Graham Grace in this country to have theLoughrey support and backing of the arts and

Siubhán Macauley creative industry sector, which in turn keeps us producing talent

Sarah Plunkett and supporting the industry at the highest level. & Lucy Skerritt

JEFF ROBINSON 29

THE MUSIC INDUSTRY IN NORTHERN IRELAND

THE LIVE MUSIC SECTOR, EVENTS A N D F E ST I VA L S

30

THE LIVE MUSIC SECTOR The live music sector is the largest area of

In 2014, over 260,000 music tourists attended

Northern Ireland’s music industry, turning over

events, generating £84 million for the Northern

£44 million per year and employing over 700

Irish economy and sustaining 694 full time

individuals in a variety of roles (Source: DCAL).

jobs. A Northern Ireland Tourist Board’s visitor survey revealed that 4% of tourists holiday in

The roles involved include musicians, DJs and

NI primarily to visit a concert or event

performers, venue promoters and producers,

(Source: UK Music/NITB).

behind-the-scenes sound and lighting technicians, and venue hospitality staff.

The 'night-time economy' encompasses a

Live music and music promotion is staged

variety of areas, including hospitality, catering,

in a variety of spaces from small pub and club

travel, pubs and clubs. Within the night-time

venues to large scale concert halls, and urban

economy, live music and club culture is a key

and rurally staged outdoor music festivals.

driver in attracting people to the larger towns and cities of NI.

Live music events play a crucial role in attracting tourism, fundamental to the local

The live music industry in Northern Ireland

economy, while highlighting and supporting the

accounts for over £44 million in turnover,

cultural identity of Northern Ireland.

making it the largest sector within the core music industry (Source: TBR).

31

i) VENUES AND PROMOTERS Belfast and Derry~Londonderry, where most

A vibrant live scene also provides an important

night-time music venues are concentrated,

platform for local musicians, DJs and

have a dynamic nightlife with a variety of

performers to develop their skills and careers.

pubs, clubs and music venues. Large

They also function as important cultural and

scale venues such as the Ulster Hall,

social hubs, promoting community involvement

the Waterfront, the Royal Opera House,

in cities and towns, especially community

the Millennium Forum and the SSE arena

focused venues such as the Nerve Centre in

bring international music artists into

Derry and the Oh Yeah Music Centre in Belfast.

Northern Ireland, with smaller venues such as the Limelight complex, the Mandela Hall,

A major component of the night-time economy

the Black Box, T13, Aether and Echo and the

in Northern Ireland is a booming clubbing

Errigle Inn serving the more niche interests

scene, with DJs and electronic dance music

of music audiences.

drawing in clubbers from across the country.

Club nights in Box, Aether and Echo, Kremlin,

Events across these venues are often

El Divino, Ollie’s, Thomson’s Garage, Limelight,

curated, marketed and produced by live

Chinawhite and Lavery’s prove to be highly

music promoters, who specialise in booking

popular both at the weekends and with the

talent, promoting events to audiences and

student population during the week.

managing the associated production and ticket sales.

Outside of Belfast, popular clubs include Kelly’s in Portrush, Sally’s in Omagh and Sugar and Envy in Derry~Londonderry.

32

CASE STUDY

PRODUCTION SERVICES IRELAND Belfast based Production Services Ireland (PSI) is the leading supplier of sound and lighting

“

equipment and expertise to the live music and performing arts sector throughout Ireland, and also working successfully in the UK, European and Asian markets.

PSI has grown substantially over the past 10 years, covering more live events than ever before, and this growth has enabled us to open a branch in Dublin in 2011, and to form partnerships with UK based companies, building a support network, and setting a standard of service on both sides of the Irish Sea. This, in turn, has enabled us to take contracts touring Europe, USA, China and Japan, and allows us to promote PSI outside our local catchment area.

The live sector in NI is constantly growing, and the standard is always on the up. In NI we have had, in the past, to play the ‘poor cousin’ with visiting acts expecting to have to settle for a sub-standard service; something we at PSI have kicked against for years! It is now recognised that NI has an amazing amount to offer in this sector, and we are producing some outstanding new talent, as well as attracting more and more major, established players to our venues, easier to do with a world-class venue in the SSE Arena Belfast.

S E A N PAG E L 33

34

CASE STUDY

SHINE Shine Productions is a major Belfast based events and promotion company as well as being one of the UK’s longest running underground club nights. Shine is also closely associated with the three Limelight venues in Belfast, The Academy venues in Dublin and the annual outdoor

“

multi-day Belsonic festival in Belfast’s Custom House Square.

Northern Ireland continues to punch considerably above its weight in the context of the UK live music industry.

Our live events have grown exponentially in terms of size and frequency over the last 5 years, and avail of business partnerships and relationships within the UK and Ireland, as well as with European and global organisations.

Belfast feels as much an essential stop on a UK touring run as Dublin, or any of the major cities in England and Scotland, and is very much a favourite stop-off for many international artists touring in Europe.

JOE DOUGAN 35

CASE STUDY

LIMELIGHT In 1987, the Limelight (pictured) opened as a nightclub, later expanding into neighbouring premises, becoming three rooms, now known as Limelight 1, Limelight 2 and Katy’s Bar. Over the years, Limelight has played host to bands like Oasis, Biffy Clyro, Snow Patrol and The Libertines. In 2010, County Dublin based MCD and Belfast based Shine Productions bought and rebranded the three venues.

The Limelight hosts 5 regular club nights on Mondays, Tuesdays, Thursdays, Fridays and Saturdays, with a wide range of music genres. Club nights during the week attract the considerable student population of Belfast, whereas weekend nights attract both students and young professionals.

CASE STUDY

MOVING ON MUSIC Moving on Music is a not-for-profit charity organisation, who since 1995 have become one of the premier promoters of jazz, traditional, roots, classical and cross-over genres of music in Northern Ireland. They promote one-off events, curate tours, run the Brilliant Corners jazz festival in Belfast, and host an array of education and outreach projects. These projects have previously included ‘Beyond the March’, an initiative designed for members of marching bands to explore music making and share ideas about the development of musical repertoire and style. Workshops provided opportunities for musicians to develop their skills alongside experienced musicians and composers.

36

CASE STUDY

THE ODYSSEY COMPLEX The Odyssey is a large multi-purpose leisure complex consisting of the Odyssey Pavilion, the SSE Arena Belfast and the W5 science exhibition centre. Its 10,000 capacity arena has welcomed Robbie Williams, Lady Gaga, Dolly Parton, Michael Bublé and Black Sabbath to name but a few. After Adele announced that the first show for her 25 tour would be in Belfast, tickets for the two dates at the SSE Arena sold out in minutes.

In November 2011, Belfast hosted the MTV EMAs (pictured), attracting 20,000 visitors to the Odyssey Arena. The event contributed over £10 million to the local economy, proving to be one of the biggest drivers of music tourism in Northern Ireland to date. (Source: NITB, 2011).

Further to those in attendance, over 600 million people across the world watched the award show’s broadcast, boosting Northern Ireland’s image, and helping to portray a positive, exciting and international image of Belfast.

37

i i ) M U S I C F E ST I VA L S & L A R G E S C A L E E V E N TS Northern Ireland is home to a number of unique music festivals in various urban and rural venues and locations; each catering to particular audiences across a wide spectrum of styles and genres. These events also provide a wide range of short term service contracts and employment within the sector.

Although most festivals feature high profile headline artist/performers, the role that festivals and large music events play in providing a prominent platform for emerging local talent cannot be overestimated.

CASE STUDY

BELSONIC Every summer since 2008, Belfast’s Custom House Square becomes an outdoor arena for around a week, with 35,000 people celebrating the year’s most acclaimed popular music.

Starting as a three day festival, Belsonic’s popularity soon grew, increasing to 10 days of events, with headliners such as Florence and the Machine, Biffy Clyro, Dizzie Rascal and Thin Lizzy.

Belsonic is run by Shine Productions, who have crafted an event that yearly attracts large audiences and stimulates substantial inward visitor numbers, with both indigenous and international tourists travelling to Belfast to experience the expertly curated music culture.

38

39

40

FESTIVAL

CASE STUDY CASE STUDY

41

“

AVA's debut was fantastic, a proper celebration of the creative arts in Northern Ireland and has really helped turn a global spotlight onto the city.

T I M M Y ST E WA R T / T ďšş B O N E 42

AVA festival and conference is a new annual event celebrating established and emerging talent in visual arts and electronic music in Northern Ireland. AVA, which stands for ‘Audio Visual Arts’ was created by Up! Productions in collaboration with Generator NI. The first AVA festival was held on Saturday the 30th of May 2015. AVA incorporates both a conference element during the day and a live music element during the evening.

THE CONFERENCE During the daytime, various events, panels and discussions took place with leading national and international experts in electronic music and audio visual arts. In 2015, 200 people were in attendance, and keynotes were led by DJ Nu-Mark of Jurassic 5 and Adam Smith, who notably directed videos from The Chemical Brothers and The Streets. Panels and discussions were led

by Generator NI, Shine.net, Ableton, Hospital Records, Sentric Music, Paul Hamill and others.

The conference aspect of AVA is designed to engage people of all ages and career stages in the local and international audio and visual arts industries.

THE LIVE MUSIC During the evening, leading DJs performed to a large, energetic crowd. In 2015, 2500 people packed into T13 for an array of audio visual and electronic dance music performances. Headliners included Bicep, Ejeca, Optimo, Space Dimension Controller (pictured) and Phil Kieran.

BOILER ROOM Boiler Room is a recognised global leading brand/music platform that organises small, intimate gigs, streaming them on their website to hundreds of thousands of online fans around the world.

Boiler Room made its debut appearance on the island of Ireland at AVA festival with huge success.

Over 170,000 people watched the live boiler room broadcast, in addition to over 110,000 views post-event. Debuting Boiler Room in Ireland and NI has put Belfast on the electronic music scene and destination map.

43

AVA’S W I D E R CONTRIBUTION AVA Festival contributed significantly to the development of the electronic music sector in NI, delivering a positive potential tourism impact from the success of AVA in addition to the audience of the live Boiler Room stream. AVA Festival attracted almost 10% of their attendees from outside of Northern Ireland, which for a festival in its infancy, is impressive.

ROMAIN TARDY S P E A KS AT AVA

Additionally: •

DJ duo Schmutz were signed to an agent and booked in Berlin as a direct result from featuring on the AVA Festival Boiler Room Live stream.

•

DJ Sid Carey won the emerging electronic producers competition and was signed to the Extended Play label and will have his track released on EP and feature on the Feel My Bicep blog.

•

DJ Timmy Stewart received a booking in South America (Argentina) off the back of his feature on the AVA Festival Boiler Room Live stream.

•

The Visual Artist Collective – Guerrilla Shout has since been booked to create a feature video for AKON, netting 2 million views on You Tube.

44

•

T13 Venue has now been approached by a number of organisations/music opportunities, which has led to subsequent bookings (one from Ministry of Sound) for the venue, worth a considerable amount of money.

•

Each street food stall at AVA was offered a pitch at the Tall Ships event off the back of AVA.

“

•

Intern student has subsequently received a job after her 6-month placement at AVA Festival.

AVA Festival and Conference was a complete success in year one due to an exceptional team and line-up, artist support and the robustness of key partnerships. Leveraging the various resources, outside of financial support, added content and strength to the AVA offering. These partnerships included Generator NI as our key partner for the free daytime conference, Boiler Room as our broadcast partner, streaming our outdoor stage live across the world, Ableton as another of our conference partners, providing software and hardware content and artist lead workshops, Tourism Ireland and Belfast City Council for funding and the Commercial Education Trust for the initial seed funding and continual support and guidance.

AVA F O U N D E R S A R A H M C B R I A R 45

CASE STUDY

CIT Y OF DERRY JAZZ A N D B I G B A N D F E ST I VA L Since 2002, Derry~Londonderry has played host to thousands of jazz, big band and blues fans, over a long weekend in May, with world-class performers such as Jamie Cullum and Jools Holland. The festival annually features over 100 musicians, with performances across 60 venues including shopping centres, restaurants, bars and theatres.

CASE STUDY

CELTRONIC As one of the leading electronic music festivals in the country, Celtronic (pictured) attracts thousands of visitors annually with a lineup of both local and national acts, including Chic ft.

Nile Rodgers, David Holmes, Objeckt, Move D, Derrick May, Ripperton, Ben UFO and Karenn.

Celtronic is known world-wide as an intimate festival, where big name acts that usually play to hundreds of thousands of punters, play for just a few hundred. The owners of Celtronic also run a high-specification recording studio in Derry~Londonderry, providing a space for the emerging electronic dance music pioneers to record their music.

46

“

In Derry~Londonderry, we have found in recent years in addition to major events and concerts, niche music events can be great ways of attracting 'music/festival tourists' to the city through events like Other Voices, Music City, City of Derry International Choral Festival and Celtronic. Among the reasons for the success of Celtronic over the years is due to its unique festival format of major international acts playing in relatively small, intimate spaces. The festival also continually showcases the best emerging and established local and national producers as well as showcases from the region’s leading club nights and promoters. The festival's non-profit making ethos means that the festival is one of the best value festivals in the country with a 5 day access all events pass costing only £40.

GARETH STUART

47

iii) TRADITIONAL MUSIC The world of traditional music, as beloved

Around £790,000 of public investment was

as ever by local communities, provides both

made in 2014-2015 for traditional music

cultural and economic worth to Northern

organisations, events and projects in Northern

Ireland. In addition to the indigenous

Ireland, from Arts Council NI, the Ulster Scots

market, trad serves as a continued draw to

Agency and Foras na Gaeilge.

international visitors and cultural tourists.

A 2014 report stated that over £42.2 million Often performed in informal settings in

was contributed to the economy by the

small pubs, ‘sessions’ are a lively, cheerful

traditional music sector, mostly from secondary

expression of local cultural tradition.

spending. Although these figures are notably

Popular venues and music tourism

increased by the Fleadh in Derry in 2013, they

destinations include Kelly’s Cellars,

still show the level of return on investment and

The Sunflower Pub and Madden’s Bar in

value that the traditional music sector offers

Belfast, Peadar O’Donnell’s, Sandino’s and

the Northern Irish economy.

Grand Central Bar in Derry~Londonderry.

(Source: Comhaltas Ceoltóiriί Éireann).

CASE STUDY

THE TRADITIONAL MUSIC FORUM The Traditional Music Forum was established by the Arts Council of Northern Ireland (ACNI) in 2014 as part of its commitment to support the Traditional Arts of Northern Ireland; one of 10 priorities identified in the Arts Council’s Music Strategy (2013-2018). The Forum draws together traditional music organisations and artists with the aim of helping the sector to explore and develop their aspirations. In addition, the Forum acts as a cross-community advocacy group for the inclusion of traditional music in formal music education.

48

CASE STUDY

FLEADH CHEOIL NA HÉIREANN I N D E R R Y ~ L O N D O N D E R R Y , 2 0 13 The all-Ireland traditional music festival has been held in various towns and cities across Ireland since 1951. The festival includes competitions, attracting the best traditional musicians from around the world. In 2013, the largest fleadh to date was held in Derry~Londonderry, attracting over 430,000 people to the city over 8 days.

Derry~Londonderry hopes to be awarded the opportunity to host the Fleadh in 2017 and 2018, due to the success of the city’s previous Fleadh. The popularity of the Fleadh in Derry~Londonderry shows how important traditional music is to Northern Ireland, reinforcing the role of music in the depiction and expression of cultural identity.

49

SECTION TWO SUPPORTING THE DEVELOPMENT OF THE SECTOR

50

MARKET DEVELOPMENT Often at the forefront of global trends, the music industry is known for its versatility, and the speed with which it adapts to and avails of technological advances. The shifting sands of the modern marketplace can help or hinder, requiring constant consideration, examination and often re-evaluation.

Commercial music has always been driven by media, broadcast and publicity. As technological change accelerates, new audience development avenues emerge apace, with online and mobile digital platforms now dominating market and audience access alongside traditional and broadcast media.

The turnover time for most growing music businesses and artists is just as rapid: business models can quickly become unsustainable if practitioners are not mindful of the ongoing emergence and decline of trends and new business models in IP distribution, monetisation and exploitation.

INTERNATIONAL SHOWCASING, CONFERENCES AND TRADE MISSIONS Attendance, delegation and showcasing at

every year, often with funding from regional

selected national and international music

support initiatives and partnerships including

conferences and events can be a vital learning

Invest NI, Generator NI, Belfast City Council and

experience for established and emerging music

ACNI; frequently in partnership with a range of

businesses alike. Network-building and skills

national organisations and initiatives including

development opportunities abound for emerging

UK Trade and Investment, BPI (British

IP creators and their contingent businesses.

Phonographic Industry), AIM (Association for

Northern Irish artists and companies attend a

Independent Music) and PRS for Music

large and diverse range of global conferences

Foundation.

51

CASE STUDY

BERNADETTE MORRIS Bernadette is a fiddle player and fluent Irish speaking singer who has performed across the globe, including showcases at Celtic Connections, Folk Alliance and WOMEX. She released her debut album All the Ways you Wander in 2013, a fresh look at many

“

traditional Irish folk songs, produced by Beoga member Sean Ă“g Graham.

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Belfast has proved a great base to develop my musical career, with support from Generator NI and The Art's Council of N. Ireland. I currently produce, manage and perform my music both locally and internationally. I have attended Womex and performed at Celtic Connections, Germany and Folk Alliance International in the US, representing Irish culture and arts abroad. I intend to continue the development of my business and move into new markets, starting with a business development trip to India with the support of Generator NI and Belfast City Council.

BERNADETTE MORRIS

CASE STUDY

SOUTH BY SOUTHWEST (SXSW) South by South West in Austin, Texas has developed into the world's largest convergent creative industries festival, originally a purely music industry focused event, it now brings together over 35,000 professionals from all media industries. Northern Irish businesses respresenting the best from all corners of ‘music, film and interactive’ attend SXSW as part of a major trade mission each year.

“

SXSW for us has become a key event that broadens our fan base and market profile. It introduces us to new people in the music media both in radio and in TV, both in the US and at home. We were invited on BBC 6 Music - Steve Lamacq showed up to our Northern Ireland showcase at Latitude 30. We saw attendance at our UK shows grow massively with sold out gigs. At least 10 major Irish and UK festivals have booked us since SXSW which will keep us flush financially so we can carry on promoting the new album.

THE LOST BROTHERS 53

CASE STUDY

START TOGETHER STUDIO A T T H E G R E A T E S C A P E 2 015 The Great Escape in Brighton, is a three day music festival, conference and showcase event which attracts over 3,000 delegates comprised of music industry professionals and around 16,000 music loving punters. Rocky O’Reilly attended The Great Escape in 2015, to expand and maintain his client base, ensuring the

“

sustainability of Start Together Studio.

I have already started working on new projects for UK based record labels after meetings at the festival. I have made around 30 new contacts with whom I have communicated after the event. I also appeared as a panellist for the Music Producers Association, improving my experience level and raising my profile. I have made a strong contact with a new producer manager and expect to be working with them on an ongoing basis in the near future. As well as working for new labels and artists already, I have been in meetings for future work with a number of UK based artists & managers. I believe I have secured representation with a new producer-management company.

ROCKY O ’REILLY 54

TALENT DEVELOPMENT Support for emerging talent on a local and

Those selected benefit from an accelerator

regional scale is essential, as multinational

programme for exceptional NI creative talent,

corporate music businesses now choose to

which includes a wide range of tailored support

invest in artists that are already regionally

initiatives such as campaign planning,

developed, pre-identified, endorsed and

supporting attendance at trade missions

market-ready. Talent development support

and industry showcases, fostering creative

provides the foundation for a platform

collaboration, promotion and marketing

of initial success that attracts further

support and the production of world-class

investment and partnership towards

digital video content in partnership with

global market success.

Northern Ireland Screen.

One of the four, core elements of the

The programme also provides participant artists

Generator NI programme is the delivery

and their business partners with the opportunity

of an annual Talent Development

to partake in a series of 4 two day 'compacts' a

Programme. Each year the Generator NI

year – providing hot house knowledge and

Talent Development Programme supports

network development on specialist areas

the development of an identified group of at

in the industry.

least 6 exceptional artists, bands, producers and performers. These acts are identified

Notable outputs and successes of the Talent

through Northern Ireland’s own version of

Development programme include Ciaran

Generator (UK)’s national Tipping Point

Lavery, Silences, Alana Henderson and

programme – whereby key industry and

Jessica Doherty.

media tastemakers identify and tip what they believe to be the next big thing across all genres of music.

55

CASE STUDY

EMMA HORAN Emma Horan is a 16 year old singer songwriter from Lurgan. She rose to recognition through YouTube, with her cover of Mumford and Sons’ Little Lion Man, which charted on iTunes. Since then, she has been on tour with X Factor star Janet Devlin and played at industry conferences such as Festival of Icons. She has been working closely with Generator NI through mentoring and the talent development programme, to

“

develop her skills as an artist and songwriter.

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I have had such an amazing year with music. As I started online putting videos up of myself singing, things have just gone crazy! I have gained so much support for my music and that means everything to me, my manager Nick has been brilliant. This year I have been writing music lots through Generator NI's development programme and my writing skills have progressed so much and I have had such fun.

During the summer I have been co-writing with a songwriter and producer Tre Sheppard and have loved every minute of it and cannot wait to release the music we have created. The team around me are great and I couldn't have done it without them.

EMMA HORAN

CASE STUDY

ALANA HENDERSON Alana Henderson took part in Generator NI’s annual talent development programme in 2014, and from then has gone from strength to strength. After recording her EP Wax and Wane, Alana was selected as a touring backing singer and cellist for Irish singer songwriter Hozier. The

“

international touring and export of her musicianship has enabled Alana’s career to become a

sustainable and successful ongoing venture.

During the early stages of developing my music career in Northern Ireland, support from Generator NI allowed me to develop my business through recording and performance opportunities, assisting me in expanding my reach so that I could tour on a small scale as a solo artist in Europe (Germany, Austria) and perform at conferences in the USA (Oregon, Washington). Through these local networks in the NI music scene, I made great connections in the industry.

I was introduced to Hozier in early 2014 and began touring internationally as part of his band as well as opening his shows on occasion (Germany, Austria, Netherlands, UK). I have toured extensively throughout the USA, Australia, New Zealand and Europe. This expanded my fan base significantly, broadened the ‘reach’ of my music in the global market, increased my online streaming figures (Spotify 4,000,000+ streams) and established connections which I am certain will lead to future collaborations and projects.

ALANA HENDERSON 57

TA L E N T D E V E LO P M E N T ( C O N T. ) The Nerve Centre in Derry~Londonderry,

The Oh Yeah Music Centre in Belfast also

Northern Ireland's leading Creative

delivers its own talent development programme:

Learning Centre, also delivers a wide range

Scratch My Progress, offering a series of

of talent development initiatives in

musical acts the chance to hothouse their talent,

Derry~Londonderry and the North West.

learning about the business of music as well as

Its Music Sync Programme, delivered as

the skills of performing and writing.

part of the UK City of Culture and Legacy programmes, provided a landmark music

The Scratch concept was inspired by the work

development intervention in support of

of Battersea Arts Centre in London, which

young people across the city and

pioneered the idea of a 'ladder of progress'

community.

using achievable steps and constant feedback.

The project allows artists to test and develop

The Nerve Centre has also partnered with

their ideas “from scratch� with the audience,

Generator NI in the hosting and delivery

and each other. Scratch My Progress is a

of a wide range of successful talent

partnership with PRS for Music Foundation,

development initiatives including the

Pledge Music, Help Musicians, and the Arts

48 Hour EP Bootcamp, the MTV Music

Council of Northern Ireland.

Academy and the Resonate Futures programme.

58

INVESTING IN MUSIC Seed investment opportunities for music

The Arts Council of Northern Ireland supports

businesses are notoriously difficult to

individual artists through SIAP (Support for

secure. Traditional routes for start-up

the Individual Artists Programme) to help

business funding often come from bank

established and emerging artists take that

loans; however these can be hard to secure

all important next step in developing their

in the music industry, where 77.4% of small

professional artistic careers.Â

and medium enterprises (SMEs) self-fund the initial stages of their business.

There are five separate funding streams within

Outside of the music industry, only 39% of

the SIAP programme including general arts

SMEs self-fund. (Source: Wilson et al,

awards, artists career enhancement scheme,

2001).

major individual award and travel awards. In 2015/2016, ACNI made 155 SIAP awards to

Artists and businesses from the music

artists totalling ÂŁ415,000.

sector in Northern Ireland have been supported financially in various capacities

by Invest NI, DCAL, ACNI, the Creative Industries Innovation Fund, Belfast and Derry City Councils, and national entities UKTI, PRS Foundation, AIM and the BPI.

59

CASE STUDY

MALOJIAN The Arts Council of Northern Ireland supported local artist Malojian (Stevie Scullion) with two individual artist awards recently. The funding provided Stevie with the opportunity to attend a showcase event in Nashville, the mecca of music in the United States of America. He had the chance to perform and network with an audience of influential industry and media delegates. This award also provided the opportunity for Malojian to spend time co-writing in Nashville with other songwriters, opening his work to

“

a new group of people.

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I hope to create at least 5 collaborative new song copyrights and part of the process will be studio sessions to finesse and record those works. I have always wanted to record in Nashville as some of my favourite records were recorded there. I believe working in this environment will greatly enhance my skills as a musician and songwriter.

STEVIE SCULLION

CASE STUDY

INVEST NI’S TECHSTART SEED INVESTMENT PROGRAMME Established by Invest Northern Ireland as part of its Access to Finance strategy, techstart NI is providing support for early stage technology businesses and university spin-outs. Inflyte App is a music promotion platform that allows record labels, pluggers, PR companies and publishers to send branded digital music promo campaigns direct to their clients' mobile devices for feedback

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online or offline, wherever they are. The company secured a £150,000 investment from techstart NI.

Inflyte was delighted to welcome techstart NI as its seed investor. We have found the process and manner in which the transaction was handled to be commercial but light touch with the investment being closed in less than six weeks.

I’m delighted to say that Inflyte has had a really strong opening twelve months in business. When we launched last year we were working with a small number of independent electronic record labels, but our client list now includes leading global music brands such as Defected, Cocoon, Mad Decent and Ram Records. We’re exclusive providers for many of the UK’s leading PR agencies including Your Army and Renegade Music and over the past few months, Inflyte has delivered content for artists as wide-ranging as Madonna, New Order and the Stereophonics.

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CONVERGENCE, COLLABORATION A N D D E V E LO P I N G PA R T N E R S H I P S Two heads are better than one, and the

Working with creative music businesses too can

music industry has never been one to shy

elevate the offerings of tech startups, producing

away from even the most unexpected of

hardware and software servicing the music

mash-ups.

industry.

The creative industries are in one of the

Developing partnerships between creatives and

strongest positions to collaborate, and stand

businesses across these convergent sectors is

to gain remarkable benefits.

essential to maintaining sustainability within the music industry. These partnerships co-create

Within the realm of screen, for example: film,

products and digital content, adding untold

TV, advertising, online, apps & gaming, there

value to one another's propositions, ultimately

exists the need for a steady stream of music

multiplying money-making potential.

and sound IP creation.

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CASE STUDY

HYPERDUCK SOUNDWORKS The relationship between gaming and music is strong. The global gaming industry is worth over $74.2 billion per year*. Music is used in almost every game on the market, providing huge opportunities for composers and music rights holders.

Profiting from the popularity of music within the gaming industry, is HyperDuck SoundWorks, a Belfast based company that specialise in sound design and music composition for the gaming and media industries. They have worked with some of the most celebrated independent game creators, most notably, creating the full score for ‘Dust: An Elysian Tail’. (*Source: Superdata)

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As a small business, being based in Belfast has proven to be an integral part of our growth. We have substantially grown an international client base over the past 5 years, and can proudly say we've made connections with people all over the world who are both professional colleagues and eager fans. In making people aware of what HyperDuck SoundWorks can do, we feel that it has also helped put the spotlight on Belfast's creative sector, and shown people what it is really capable of.

CHRIS GEEHAN

CASE STUDY

ON MUSIC With music being used constantly on new platforms and within new technologies, it becomes a challenge to retain intellectual property rights, and to direct royalties to the correct places.

On Music provides various services such as music data processing services, negotiation and licensing, and electronic reporting and music cue sheet delivery to major broadcasters, music companies, copyright societies, distributors and independent producers. Formed in 2005, with offices in Kent and Belfast, On Music is owned by managing director, Liz Lavery, a copyright

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expert with over 25 years of experience in the industry.

As a full service music data company; processing international music data for copyright societies, broadcasters, publishers and online, our clients include BBC Worldwide, UKTV, PRS for Music, PPL, and Bloomberg TV. Since 2005, we have seen vast growth; branching out into the international market. Our service provides music genre specialism and internal data quality experts.

Being based in Belfast allows us to be cost-effective for our London, LA and New York based clients and also providing services for local publisher LLC Media working with Northern Ireland composers and production companies.

L I Z L AV E RY

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CASE STUDY

S C O R E D R AW M U S I C Score Draw Music is an award-winning music production company. Since 2004 the company has been commissioned by all major broadcasters in the UK to deliver incidental and title music and score for projects ranging from network docu-drama to sports. Score Draw has also delivered bespoke music towards brands including Adidas, The Body Shop and Milka.

Score Draw’s work in children’s television includes titles, songs and underscore for the multi-award winning Nickelodeon Jr pre-school animation “Lily’s Driftwood Bay”. In 2014 the company also composed all the music for the documentary Road which opened the Belfast Film Festival.

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Exporting music IP and the identification of global media production partners remain essential for a company like ours to grow; however what has benefited us equally is the support NI Screen have given the indigenous media and production sector. Our two top tier pieces of activity in documentary and children’s television are both propositions produced and created in Belfast-and both are world class.

RICHARD HILL

CASE STUDY

PATC H B LO C KS Patchblocks are programmable synthesisers – musical hardware that can be edited to create the user’s desired sound using software on a PC or Mac. Patchblocks can be connected seamlessly together like a jigsaw, to create a wider variety of sound options.

Sebastian Heinz is the mind behind Patchblocks, having developed the hardware and software during his PhD study at the Sonic Arts Research Centre at Queen’s University Belfast. Sebastian started a Kickstarter crowdfunding project to gain initial start-up funding, which was hugely

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successful, hoping for £10,000 but raising over £67,000.

In the last year we have built a strong network of distribution partners world-wide, including retail stores like Conrad Electronics, Thomann, Rapid and Juno. What has started as a student project has now even appeared in a TV ad in some European countries. Additional staff has joined our team and we are working on a range of new products.

Being a Belfast based start-up means we are surrounded by a vibrant community of creative talent, but also allows us to get a wide range of support from institutions like Invest NI, assisting us in marketing and R&D.

SEBASTIAN HEINZ

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SKILLS DEVELOPMENT BUSINESS SKILLS DEVELOPMENT Developing sector specific music business

These range from one to one advice and

skills and knowledge is integral to the

guidance, through seminars and workshops on

creation of sustainable careers in the music

particular essential industry skills, the delivery

industry. Entrepreneurial skills are also

of short courses, all the way up to large scale,

essential to success, as many of the

multi-event conferences.

commercial opportunities available remain viable only to those able to work on a

In an industry that relies so much on sector

freelance and contract basis.

specific knowledge, it is difficult to overestimate the benefits that experienced, knowledgeable

Most in demand are an array of industry

mentoring can provide to those in the earlier

specific business skills, focused on the

stages of business and career development.

development, management and marketing of talent and associated Intellectual Property

Generator NI provides mentoring to those in the

and copyrights.

local music industry in three specific ways: open access one-to-one mentoring, group mentoring

In partnership with public and private sector

and a tailored mentoring programme for priority

stakeholders, Generator NI has delivered a

artists and their business partners from the

wide range of business skills initiatives and

Talent Development Programme.

events, supporting business development and helping to engender and support entrepreneurship across the sector.

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CASE STUDY

MANAGEMENT SKILLS MASTERCLASS In association with Honeycomb - Creative Works, Generator NI produced a two-day residential management masterclass for a group of Northern Ireland’s rising indigenous artist managers.

The masterclasses involved talks and workshops aimed specifically at developing management techniques while establishing networks with leading industry professionals.

Mentors included Huw Stephens (Radio 1), Julian Deane (UK based Raygun Music), Graham Brown (US based The League International), and Adam Shearer (UK based Partisan Records).

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CASE STUDY

MPC MUSIC GROUP Paul Brown started MPC Music Group when he signed singer songwriter Jessica Doherty.

Paul attended the management masterclass skills development event, networking with other

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industry professionals and developing management techniques.

In our first year of operation, MPC Music Group has been able to increase the profile of our artist Jessica Doherty. As a result of the support of Generator NI, Jessica performed at the BPI Sync mission in Los Angeles. Her debut single Wolves tolled up thousands of online hits and enabled Jessica to perform with artists such as Rainy Boy Sleep, Ciaran Lavery, SOAK and Janet Devlin as well as performing on Radio Ulster for BBC Music Day. This momentum has allowed us to expand to further our work with additional artists and industry across the UK and Ireland.

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SKILLS DEVELOPMENT CREATIVE SKILLS DEVELOPMENT Songwriting, composition, musicianship,

Exceptional songwriting is arguably the critical

arrangement, production and performance are

economic driver in the creative content sector of

the core creative skills that collectively drive

the music industry, an undoubtedly highly skilled

the music industry.

craft to hone.

A range of creative skills development

Much commercially successful popular music is

initiatives are delivered by Generator NI and

now co-written and co-produced. Co-writers and

other sector stakeholders with the aim of

producers are able to share expertise, creative

helping to develop best professional practice in

innovation and ultimately share royalties and

these key creative areas – including mentoring

incomes when a song or recording achieves

sessions, creative seminars and masterclasses

success.

with internationally acclaimed practitioners.

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CASE STUDY

SONG CAMP As a strategic creative intervention towards developing creative skills, Generator NI devised and delivers a yearly high-level, skills acceleration event for over 25 leading songwriters, composers and producers. Song Camp takes place in a group of cottages near the Giant’s Causeway, Co. Antrim.

While most of the writers are from Northern Ireland, Honeycomb - Creative Works have helped to identify and support additional co-writers from the ROI and the Western seaboard of Scotland, with Generator UK identifying artists from the North East of England to take part.

Song Camp focuses on strengthening writing skills and collaborative creative network development, as well as the actual creation of new songs, productions and copyrights.

Feedback from those taking part has been unanimously positive and enthusiastic.

To help the songwriters develop their skills Generator NI has engaged the services of seasoned professional writers as mentors. These included: Tim Wheeler: lead singer and songwriter of Ash. Paul Steel: professional songwriter for Mika, Nicola Roberts, Charlie Simpson.

Gary Clark: professional songwriter for Natalie Imbruglia, McFly, Emma Bunton.

Paul Aidan: professional songwriter across genres for Atlantic, Sony, Universal.

Rod Jones: guitarist and writer in Idlewild.

James Allan: lead singer and songwriter for Glasvegas.

Stuart Fleming: membership development for PRS in Scotland and NI. 72

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EDUCATION IN THE MUSIC SECTOR The role of music in education and the

“The benefits are greatest when musical

quality of music education provision is of

activities start early and continue over a long

principal importance to the development of

period of time. The teaching of music must also

the exceptional creative talent that

be of high quality for the benefits to emerge.''

underpins a successful music sector.

The ‘National Plan for Music Education’ Studies also indicate that effective music

strategy also encourages creative development

education has much broader development

with technology. The focus on STEM subjects

benefits for children and young people.

(Science, Technology, English and Mathematics) has now shifted to STEAM, including the Arts

In the recently published:

as a core subject area.

'The Power of Music - a research synthesis of the impact of making music on the

Across Northern Ireland, the DCAL funded

intellectual, social and personal development

Creative Learning Centres in Armagh,

of children and young people',

Derry~Londonderry and Belfast are helping to

Professor Susan Hallam, MBE said:

develop the learning of music through the use of technology and software. These centres help

"The research shows there is compelling

guide music education facilitators towards best

evidence for the benefits of music education

practice in composition and musicianship in the

on a wide range of skills including: listening

digital age.

skills which support the development of language skills, enhanced literacy and some mathematical skills.

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CASE STUDY

THE SONIC ARTS RESEARCH CENTRE The School of Creative Arts at Queen’s houses the Sonic Arts Research Centre (SARC), a state of the art education and research facility. Accommodating a huge Sonic Laboratory, the centre provides a space for the creation of innovative music and audio, and for research and experiments into compositional and performance work. The centre hosts seminars and performances from visiting artists and houses 40 PhD students, encouraging a

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vibrant academic and musical culture.

The Sonic Arts Research Centre has, since 2004, made an important contribution to the music industry research, creative output, international connections and an intense programme of concerts, seminars and festivals. The Sonorities Festival of Contemporary Music continues to attract cutting edge artists working with sound and technology from all over the world. Our students and researchers have transformed Belfast’s cultural landscape with innovative performances and exhibitions across the city. Projects such as the Soundscape Garden in East Belfast, the Belfast Soundmap and the newly commissioned sonic gardens for the NI Hospice building are testimony of SARC’s impact in the wider community.

PEDRO REBELO

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MusED2015

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SOCIAL AND COMMUNITY ENGAGEMENT Community focused music activities have the capacity to broaden participation and engagement with the sector. Making music accessible to people of all backgrounds and communities is essential, as a vehicle to improve the lives of those who might not otherwise be able to experience music, and by providing an access point to the industry for those individuals. Organisations such as the Oh Yeah Music Centre, The Nerve Centre and the Andersonstown School of Music engage local people in music, enhancing skills and developing opportunities.

CASE STUDY

THE OH YEAH MUSIC CENTRE The Oh Yeah Music Centre is a space dedicated to local music, with various initiatives and projects aimed at opening the doors to music potential for all ages; but mostly focused on youth. Oh Yeah is a registered charity, with support from ACNI, The Lottery Fund, PRS Foundation, NITB, Belfast City Council and more. The centre houses office space, a recording studio, rehearsal rooms, a music exhibition and a music venue with a bar. The centre was opened in 2007 by Gary Lightbody (Snow Patrol) and ex-assistant editor of the NME, Stuart Bailie.

Popular projects include Volume Control, which aims to inspire young people aged between 14 and 19 to develop their own music industry and events enterprise, promoting their own gigs, and starting a record label, through dedicated mentoring. The Scratch my Progress initiative also aids the development of enterprise through supporting emerging artists, meetings and workshops with lawyers and accountants, vocal coaches, PR experts and other industry professionals. In recent years Oh Yeah have expanded their outreach programme to older people, engaging in cross-community projects about punk and music in NI’s recent history.

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CASE STUDY

NERVE CENTRE The Nerve Centre, a purpose-built multimedia arts centre first opened in 1999, facilitates creative collaboration between young people working in arts and popular culture. The Nerve Centre runs a range of music related projects, an exemplar of which being SYNC Music Promise in the Community, which offers free access to music creation, performance, production and mentoring for young people in Derry~Londonderry. The Nerve Centre provides many opportunities for skills development in the music sector, including music instrument tuition, accredited music production and performance courses, and has hosted the Managing a Music Business Enterprise course with Generator NI.

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Since 2013, thousands of young people have participated in the Nerve Centre's ground breaking SYNC creative music education programme. Embedded at community level and targeting 'hard to reach' young people, SYNC has delivered a wide range of creative and performance opportunities; developed an alternative accredited music curriculum which allows young people to progress to further education / industry career pathways; launched some amazing young talents on the music scene; and made a hugely positive contribution to the personal development of participants.

MARTY MCGILL

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FUTURE OPPORTUNITIES “There is a growing recognition of music as a transformative power, not only as a cultural staple but also as an economic driver. Boosting the music economy brings multiple dividends to communities, from advancing artistic and cultural growth, to generating substantial economic impacts from job creation and tourism spending, thereby increasing GDP. A vibrant music economy creates the quality of life that makes people want to live and work in a Music City, giving these communities an added edge in business attraction and retention.”

(Source: The Mastering of a Music City) “The music business continues to expand into new markets and create new business models, attracting more users to digital music services and bringing artists to a wider global audience.

Global revenue from performance rights - generated from broadcast, personalised streaming services and venues - saw strong growth - rights income was up 8.3 per cent. Revenues from synchronisation deals — the use of music in TV adverts, films and brand partnerships was up 8.4 per cent in 2014.”

(Source: The voice of the recording industry worldwide. IFPI) A thriving music sector within the creative industries both contributes to the economy, and also acts as an effective attractor to incoming visitors and investors.

It is essential therefore that the Northern Ireland sector works closely with public and private stakeholders to ensure that it maximises and sustains its share of the future global market opportunity.

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FUTURE OPPORTUNITIES “There is a growing recognition of music as a transformative power, not only as a cultural staple but also as an economic driver. Boosting the music economy brings multiple dividends to communities, from advancing artistic and cultural growth, to generating substantial economic impacts from job creation and tourism spending, thereby increasing GDP. A vibrant music economy creates the quality of life that makes people want to live and work in a Music City, giving these communities an added edge in business attraction and retention.”

(Source: The Mastering of a Music City) “The music business continues to expand into new markets and create new business models, attracting more users to digital music services and bringing artists to a wider global audience.

Global revenue from performance rights - generated from broadcast, personalised streaming services and venues - saw strong growth - rights income was up 8.3 per cent. Revenues from synchronisation deals — the use of music in TV adverts, films and brand partnerships was up 8.4 per cent in 2014.”

(Source: The voice of the recording industry worldwide. IFPI) A thriving music sector within the creative industries both contributes to the economy, and also acts as an effective attractor to incoming visitors and investors.

It is essential therefore that the Northern Ireland sector works closely with public and private stakeholders to ensure that it maximises and sustains its share of the future global market opportunity.

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FUTURE OPPORTUNITIES “There is a growing recognition of music as a transformative power, not only as a cultural staple but also as an economic driver. Boosting the music economy brings multiple dividends to communities, from advancing artistic and cultural growth, to generating substantial economic impacts from job creation and tourism spending, thereby increasing GDP. A vibrant music economy creates the quality of life that makes people want to live and work in a Music City, giving these communities an added edge in business attraction and retention.”

(Source: The Mastering of a Music City) “The music business continues to expand into new markets and create new business models, attracting more users to digital music services and bringing artists to a wider global audience.

Global revenue from performance rights - generated from broadcast, personalised streaming services and venues - saw strong growth - rights income was up 8.3 per cent. Revenues from synchronisation deals — the use of music in TV adverts, films and brand partnerships was up 8.4 per cent in 2014.”

(Source: The voice of the recording industry worldwide. IFPI) A thriving music sector within the creative industries both contributes to the economy, and also acts as an effective attractor to incoming visitors and investors.

It is essential therefore that the Northern Ireland sector works closely with public and private stakeholders to ensure that it maximises and sustains its share of the future global market opportunity.

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Made by Generator NI Mark Gordon Nu Graham Ross Graham Grace Loughrey Siubhรกn Macauley Sarah Plunkett & Lucy Skerritt