Interviews category: Meet our Associates

1) Please tell us a bit about SongPush, what you do and how you work with music managers and music creators?
SongPush is a creator marketing platform that helps artists, managers and labels generate large volumes of authentic TikTok content using TikTok creators – fast, scalable, and brief-driven.  Managers use SongPush to create momentum around releases, test content angles, and spark organic traction without the overhead of traditional influencer campaigns.  With more than 4,000 major label campaigns in GSA countries alone (Germany, Switzerland & Austria), SongPush is now available in the UK.

 

2) Tell us a bit more about your services and the importance you play in the music industry?
In an attention-driven industry, we help turn attention into streams and growth for artists.  Our platform sits at the intersection of music marketing, creator culture, and technology.  We make creator marketing accessible not just for major labels, but also for independent artists and managers who need speed, volume, and measurable impact.

 

3) What have you been working on recently (if you’re able to say)?
Recently, we’ve focused heavily on expanding in the UK and improving campaign performance through better creator matching and briefing tools.  We’re also seeing strong momentum beyond music, which sharpens our tech and that benefits music campaigns directly.  At its core, everything we build is about simplicity, speed, and results.  For more news and features about the platform visit: https://songpush.storydoc.com/xavbiu

 

4) When is the right time for an artist or manager to start working with SongPush?
We see the best results when a SongPush campaign aligns with a track that is starting to gain traction organically and needs additional momentum to break through.  Our platform also makes ‘kickstarts’ possible, but we advise case-by-case if a campaign and its timing makes sense.  We have seen very smart Indies successfully push their streams for a modest €500 budget, and large-scale campaigns burn €20k without making much of an impact.

Success with TikTok campaigns using SongPush depends on many factors such as the audio snippet itself, the quality, strength and clarity of the creator brief, timing, season, sound and content fit, and so-on.  Budget is just one consideration, which depends on factors such as the traction you are already having with your audio on TikTok, or, if you have no existing traction, how many hypothesis you plan to verify. 

Although we have seen incredible success with some campaigns, despite best efforts, not all campaigns work, especially given the volume of songs released daily.  However, the better you analyse the data upfront and deliver on the parameters outlined above, the more you can leverage our platform.

 

5) What are your plans for 2026?
Our primary goal is to grow awareness of SongPush which includes launching in more music markets, such as the US, France and Spain.  A key focus is to firmly establish our purpose as a leading operating system for creator marketing in music. That means providing further automation, enhanced performance and deeper insights.  We’re also committed to establishing stronger long-term partnerships with managers and labels.

 

6) What new music releases are you currently enjoying?
I tend to jump a lot between genres, but lately I’ve been enjoying Hermanos Gutiérrez – amazing sound. I’m travelling to Mexico soon, so it’s the perfect pre-vibe for it!

 

7) What was the last gig you went to?
I was lucky enough to watch my great friends from FAST BOY play live in Greece at the end of the summer – we used to share an apartment in Berlin.

 

8) Is there anything you would like to say to music managers who are interested in finding out more about SongPush?
Please take a look at some recent case studies:

Universal Music: Paula Hartmann & Berq – ‘GvG’ https://songpush.storydoc.com/P16yxd

Bamboo Artists: panicbaby – ‘claw marks’
https://songpush.storydoc.com/V8JaLk

The Orchard: Raye – ‘Where is my husband!’ 
https://songpush.storydoc.com/VwWmaL

We very much look forward to engaging with the MMF community!

This week we’re joined for our Meet Our Associates’ conversation by Lisa Morris, Founder and partner at  Hardwick and Morris.

Hardwick & Morris is a vibrant firm of chartered accountants and business managers specialising in music and entertainment.

Firstly, could you please tell us a bit about Hardwick & Morris, what you do and how you work with music managers and artists?

The firm was set up by me and Stephanie Hardwick in 2003 when we left a more “traditional” firm of accountants as we wanted to work with clients from the music industry where we had the time to develop strong personal relationships with our clients.

We have worked with music managers and artists since the firm began and we see ourselves as business partners working with them to ensure all their financial administration is being dealt with.

As well as the services you would normally expect of accountants, we also set up and manage bank accounts, credit control, organising insurance (e.g. house, car, equipment, studio) etc.

 

Please share a bit more about your background specifically, how did you get into your role and the work you do with managers and artists?

I trained as a Chartered Accountant at a Top 100 firm and began working with Steph on a portfolio of music clients. Having always been interested in music, I quickly realised that I wanted to specialise in the industry and work with some of the most creative and stimulating people I had ever met.

We decided to set up on our own and the firm grew quickly as we started acting for managers and dealing with the artists that they managed – established artists as well as new up and coming acts.

 

As chartered accountants and business managers specialising in music and entertainment, tell us a bit more about your services and the importance you play in the music industry?

We help our clients by bringing structure and process to them – the industry continues to evolve and respond to an increasingly complex digital and financially regulated world.

As a result, there are a huge number of issues for clients to consider such as licensing, tour accounting, digital releases, royalty management and copyright administration. We have an in depth understanding of these areas and can guide them through these aspects.

We also work closely with a network of other experts in the industry, such as those providing royalties’ services, copyright administration/neighboring rights/global digital releases and catalogue and copyright valuers as well specialist lawyers and a worldwide network of tax specialists.

 

What has Hardwick & Morris been working on recently?

In 2023 we have seen the firm continue to expand – we have a team of over 30 music specialists – as our clients are doing more and more especially worldwide tours.

In respect of tours, we can help with the tour budgeting as well as on the road support culminating in final tour accounts. We also work closely with tour managers ensuring the financial side of things runs as smoothly as possible.

 

What are your plans for the rest of 2023?

January was a very busy time for the firm due to the personal tax filing deadline – it is important for us though that our clients should not be surprised by what needs to be paid to HMRC in January as we have already worked with the client in ensuring adequate cash has been put aside to pay future tax liabilities.

The rest of the year is also looking busy as our artists continue to tour and we are already planning to take on more team members to deal with our expected growth from both existing clients as well as new clients that we continue to take on.

 

When is the right time for an artist or manager to start working with a firm such as Hardwick & Morris?

Frankly from the start – it is important to get things properly structured from the outset. Come and talk to me or one of my partners and tell us what you are doing now, what your plans are and your ultimate aspirations. No situation is the same and we will look at your specific circumstances and those of the artists and provide a bespoke plan about how we will work together which will evolve as the circumstances change.

 

What new music releases are you currently enjoying?

As well as keeping up to date with the music our clients release, my teenage kids ensure that I stay up to date, particularly when they take control of the music playing in the car!

 

What was the last gig you went to?

Due to other commitments, I don’t go to as many gigs as I would like to now but the last one was with my daughter to see Ed Sheeran at Wembley – it turned into an office party as most of our team was also there!

 

Is there anything you would like to say to managers who are interested in finding out more about Hardwick & Morris?

In general, don’t leave it too late until you take advice from an accountant – come and talk to us – the first chat costs nothing and I always enjoy meeting new people in the industry!

This week we’re joined for our Meet Our Associates’ conversation by Rick Inglessis, Associate Director (Entertainment) at Howden.

Howden create and configure specialist insurance services by giving our people the infrastructure, technology and freedom to get the best results for clients.

 

Firstly, could you please tell us a bit about Howden, what you do and how you work with music managers and artists?

The Entertainment team provides all types of insurances for all aspects of the music industry, specialising in contingency insurances for Artists, Management and Promoters.

Please share a bit more about your background specifically, how did you get into your role and the work you do with managers and artists?

For 5 years I was part of a music management team dealing with the everyday challenges of trying to break a band into the industry. In this position, I had responsibility for the insurance aspect of the management company and took on the main role in negotiations with brokers, which I found really interesting, and challenging! This all set me up well for an opportunity that came my way in 2000, to work within a Broking firm to head up their music department. Now, with over 20 years’ experience specialising in music insurances, I have found the perfect home at Howden.

As a specialist insurance broker tell us a bit more about your services and the importance you play in the music industry?

Due to my experience with the managing company, I am all too aware of the incredible difficulties and risks that can be faced at any time, in the music business. Therefore, I believe I have a little more foresight when it comes to helping and supporting a client with their insurance programme.

What has Howden been working on recently?

The music industry moves continuously and is always evolving, therefore the insurance solutions we offer our clients have to reflect this. We are constantly working at improving the coverage we can offer our clients.

When is the right time for an artist or manager to start working with an insurance firm such as Howden?

Honestly, as soon as possible. We understand that insurance isn’t always a priority at the beginning as budgets are always tight, however, there’s always a necessity for some basic insurance cover that the artist(s)/management would need. We pride ourselves in discussing our clients’ insurance needs on a very personal level – to the point that if we believe your existing policy fits your needs, we would advise you stick with it. If we can help you, we absolutely will.

What new music releases are you currently enjoying?

I’m a traditional rocker! I love guitar music and particularly enjoy seeing ‘Alter Bridge’ live. I’m very much looking forward to their album release later this month.

What was the last gig you went to?

Mason Hill in Camden Town – really good!

Is there anything you would like to say to managers who are interested in finding out more about Howden?

If you need any advice, just give us a call and let’s see if we can help!

 

Email: Rick.Inglessis@howdengroup.com

Music Insurance Brokers are an experienced music and entertainment insurance broker, providing advice, service and polices for all parts of the music sector.

The team are passionate about music, love seeing and hearing new talent and try to make the subject of insurance a little bit interesting and easier to understand. This week we have a catch up with Insurance Partner Steven Howell!

Firstly please tell us a little bit about who you are, what you do at Music Insurance Brokers and how you work with music managers.

I head up the music division at MIB.  We are a specialist insurance broker for people that work in the music industry.   We provide insurance policies to protect managers and the artists they work with.  From equipment and liability to travel and cancellation we have polices to protect everyone.

What new music releases are you enjoying currently?

I am currently loving the new Dub Pistols Album – Addict.  Plenty of Jungle and DnB tunes!

How has business been for you since the COVID-19 pandemic hit?  Any significant challenges?  How are you are adapting your services?

We usual insure a lot of tours and festivals so we spent most of the first lockdown cancelling policies and giving back premium to clients which was tough but the right thing to do.  Many artists have been looking at other ways to monetise their music and we have seen a rise in enquiries for song writer indemnity cover (breach of copyright)  which can be a contractual requirement when selling music for sync.

The role of the manager has evolved massively in recent years, as highlighted in the MMF’s 2019 report Managing Expectations, with managers taking on an increasing amount of responsibilities.  Has this influenced the way you work with managers at Music Insurance Brokers?

Historically the subject of insurance was traditionally left to the business manager or accountant.  However recently some day to day artist  managers are getting involved in arranging insurance too.

Are there any managers you particularly enjoy working with – or consider to be doing brilliant work in their field?

Matt Greer (Frank Carter & The Rattlesnakes) – a pleasure to deal and doing brilliant work with the band.

Do you think there are any positive opportunities or changes in the music industry you believe we will see happen “once we’re though the other side of all this” (Covid)?

The audience will cherish and value the live experience even more than before – live music in 2021 and beyond will be booming.

Is there anything you would like to say to managers who are considering working with you at Music Insurance Brokers or finding out more about what you do?

Whatever you do in the music industry then talk to us – we can help 😀

Thank you Steven and Music Insurance Brokers for supporting the MMF and our membership through our Associates programme.

For more information please visit the Music Insurance Brokers website or contact Steven Howell at steven.howell@musicinsurance.net

This week we get to know Tina Sunderland, Director – Music & Entertainment Team at SRLV.

SRLV is one of the leading specialist accounting firms in the industry representing clients including performing artists, record companies, music publishers, production companies, actors, film stars, TV personalities and many more.

Firstly please tell us a little bit about who you are, what you do at SRLV and how you work with music managers.

I joined SRLV just over 7 years ago, a London based accountancy firm which has been specialising in the music and entertainment industry for over 30 years. As a director in the music and entertainment team, I work with clients such as musicians, songwriters, managers and record labels, which has given me a good understanding of all aspects of the music industry itself. We work with our clients to help them achieve their financial goals by essentially acting as their internal finance function and trusted financial adviser. We provide accounting, vat and day to day business management services whilst also providing general business structuring and tax advice where needed. I tend to have a hands on approach, working closely with managers as well as specialist lawyers and bankers advising on contracts, tax planning, budgeting and cash flow planning. As a result, I always find that I am involved in all aspects of my client’s financial affairs.

What new music releases are you enjoying currently?

My ‘go to’ artists during lockdown, who have all had new releases over the last few months, have been Mahalia, H.E.R., and Jorja Smith. Jorja’s performance of ‘By Any Means’ on BBC’s live lounge a couple of months ago was amazing and Mahalia has just been nominated for three MOBO awards, as well as a Grammy, which is very much deserved!

How has business been for you since the COVID-19 pandemic hit?  Any significant challenges?  How are you are adapting your services?

Some of our clients have been affected more than others and with so many new government measures that have come into play, we still seem to be really busy. We have been supporting our clients with advice and cash flow management to ensure they come out the other side of this as best as they can, or simply carrying on with the day to day accounting and tax function of our clients businesses, where the reporting requirements and filing deadlines unfortunately haven’t gone away (albeit they have eased slightly).

There has of course been a slowing down in tour related work which we are usually heavily involved in i.e. tax planning, budgeting and tour reporting. We are hopeful touring will resume next year and we are looking forward to the day when we can get back to some sort of normality within the live industry. The ethos of SRLV is very much centred around people and we pride ourselves on having strong relationships with everyone we work with. One of the biggest challenges we have faced is not being able to have that personal/face to face interaction with colleagues and clients. Although we managed to have a fully functioning remote office with very little notice and without any real difficulty, admittedly, we have had to focus much more on reaching out to maintain communication with our clients and colleagues to ensure they feel looked after and our staff stay motivated. The likes of zoom and teams have made this much easier but I am looking forward to the day when I don’t have to say ‘We can’t hear you, you are still on mute!!!’ and of course, when I can see everyone in person.

The role of the manager has evolved massively in recent years, as highlighted in the MMF’s 2019 report, with managers taking on an increasing amount of responsibilities.  Has this influenced the way you work with managers at SRLV?

Managers now having that 360 approach falls in line with how we work with them. We really enjoy being part of all aspects of the artists business and being a sounding board for managers. It is really important for artists to have that support system of key advisors and the manager is at the forefront of this. MMF are doing great things with their Accelerator programme which prepares and develops young managers for this role, educating managers in areas that they may not necessarily have much experience in. I feel privileged that I often get to speak on the Accelerator panels, sharing my knowledge on the finance side and SRLV are a huge advocate of the programme.

Are there any managers you particularly enjoy working with – or consider to be doing brilliant work in their field?

We work with so many brilliant managers and I can honestly say I love working with them all. One manager who I have worked closely with for a long time is Jackie Davidson MBE, a manager the MMF knows very well. She is truly inspiring not only in what she does as a manager but also with what she has achieved. Jackie has been a massive support to young, up and coming artists and has always been passionate about driving change within the industry in regards to diversity and transparency. Having just been elected a PPL Performer Director (congratulations Jackie!), I am looking forward to seeing what she does next!

Do you think there are any positive opportunities or changes in the music industry you believe we will see happen “once we’re though the other side of all this” (Covid)?

The live music industry has come to a halt which is extremely sad but during this time, we have all had a chance to reset and perhaps unknowingly, this has given artists an opportunity to get even more creative without being pulled in different directions. Some of our clients have been working on livestream concerts which has been a great way to stay in touch with audiences but I can’t wait to hear the new music that will be released and performed after this is all over. Once we are through the other side of the pandemic, 2021 will be an exciting year for the music industry I am sure and our appreciation for music will be more prevalent than ever.

Is there anything you would like to say to managers who are considering working with you at SRLV or finding out more about what you do?

We are here to help! As mentioned above, managers do have increasing responsibilities and we can support them whether it be by looking after the artists from a financial perspective or even assisting the managers themselves with their accounting and tax affairs. It is extremely important to have the correct set up from the beginning otherwise it can prove costly and often messy to unravel. If a manager has any questions regarding business structuring, accounting, vat and tax compliance, or just needs some general business advice for them or their artist, please do not hesitate to pick up the phone or drop me an email.

Thank you, Tina and SRLV for supporting the MMF and our membership through our Associate’s programme.

You can email Tina at – Tina@srlv.co.uk

This week we catch up with Lara Baker, Director of Business Development, UK & Ireland at Songtrust.

Songtrust is the world’s largest technology solution for global music publishing royalty collection and administration. It was founded to simplify music rights management and remove the complexity of the publishing landscape. Songtrust administers more than 2,000,000 songs and represents more than 300,000 songwriters, with a core mission to help songwriters, music creators, and rights holders.

Firstly please tell us a little bit about who you are, what you do at Songtrust and how you work with music managers.

I handle business development in the UK & Ireland for Songtrust – for those who don’t know Songtrust is the world’s leading technology solution for global music publishing royalty collection and administration. The idea is to simplify music rights management and remove the complexity of the publishing landscape, so that any writer at any stage in their career can collect what they’re due. Songtrust’s core mission is to help musicians, publishers, labels, and managers easily track and collect global publishing royalties for their music catalogues.

Songtrust administers more than 2,000,000 songs and represents more than 300,000 songwriters. So whether managers are working with developing artists/writers who are currently just with their PRO, or with established artists/writers coming out of publishing deals, or with producers who have writing credits, or whether the management company themselves wants a publishing company set up – we can help! We are so pleased to be working with many MMF members already.

What new music releases are you enjoying currently?

I’m loving the new Bring Me The Horizon album which features my friends Nova Twins – they’re going from strength to strength and it’s great to see things exploding for them. They’re true girl power! Also the massive tune ‘Red Card’ from Frisco, who is a Songtrust client. And my song of the summer (although that’s long gone now isn’t it) was ‘BRB’ by Mahalia, which was co-written by Songtrust writer Nayla Nyassa (aka Sillkey).

How have things been for Songtrust since the COVID-19 pandemic hit?  Any significant challenges?  How are you are adapting your services?

It has been the strangest year, and I’m so grateful that Songtrust and the leadership team at Downtown has been really supportive of staff through all of this (my US colleagues have had the added stress of the election, as if COVID wasn’t enough). We have actually been busier than ever, and we are acutely aware that with many income streams that artists usually rely on (live, for example) being on hold for the foreseeable, educating artists/writers and their teams about collecting everything that they are due in the publishing space is vital. So much money is being left on the table, and now more than ever we need to make sure that this money reaches the writers. Having songs correctly and globally registered has never been more vital. We have always worked hard to educate creators, but this year we have increased the number of free webinars and educational resources we are providing, to help writers understand their rights and how to collect what they’re due.

The role of the manager has evolved massively in recent years, as highlighted in the MMF’s 2019 report, with managers taking on an increasing amount of responsibilities.  Has this influenced the way you work with managers at Songtrust? 

Managers have to have a thorough understanding of every income stream available to their artist, and I know publishing administration can often feel like a minefield! Some managers I deal with have an indepth understanding of the publishing world and how publishing administrators like Songtrust add value, others are new to it and understandably ask for a certain amount of education and explanation. I’m really happy to provide resources like our Modern Guide to Music Publishing or jump on Zoom and present an overview of music publishing and how to manage your rights in this area. When it comes to global publishing administration, there are no stupid questions!

Are there any managers you particularly enjoy working with – or consider to be doing brilliant work in their field?

As I worked for AIM for many years and then consulted for the MMF before Songtrust, I am fortunate to know many in the management world really well, and it’s a community I love working with! I’m pleased that so many MMF members are using Songtrust to handle publishing admin for their writers, and I couldn’t possibly single any out!!

In terms of brilliant work I am in awe of Charlie Pierce who manages UK Americana artist Yola. The breakthrough success she has had in the US (including 4 Grammy nominations!!) has been so inspiring to watch. Charlie and Yola have an incredible partnership and Charlie laid everything on the line to follow her belief in Yola. I love to see women lifting each other up.

Do you think there are any positive opportunities or changes in the music industry you believe we will see happen “once we’re though the other side of all this” (Covid)? 

Well I miss live shows so much and for me livestreaming gigs really doesn’t compare with the real thing! BUT I do think that now we’re getting the hang of the technology and the payment models, livestreaming will be a useful additional income stream and option when gigs return. For example when gigs sell out, or for people in other countries who can’t attend shows in real life, it presents an opportunity.

I’ve also found that this year has given many managers who often don’t have the headspace for publishing admin the time needed to get rights management and registrations in order for their writers, and that will certainly serve them well in the longterm.

Is there anything you would like to say to managers who are considering working with you at Songtrust or finding out more about what you do?

We are a very friendly team and as I said, there are no stupid questions when it comes to publishing, so please just get in touch!

Thank you, Lara and Songtrust for supporting the MMF and our membership through our Associate’s programme.

You can email Lara at – lbaker@songtrust.com 

Today we speak to Martin Goebbels, Head of Music & Touring at Miller Insurance.

The music team at Miller Insurance value relationships with up-and-coming artists to global music icons equally – working with artists, managers, agents, promoters at all levels of the music industry to provide cover for all aspects of their business.

That demands an in-depth understanding of the specialist music insurance market, a client’s risk profile, their objectives and aspirations. The expert Miller music team – led by Martin Goebbels, and including Pamela Choat, Rose Burgess and Holly Leary – each with many years’ experience, are amongst the most knowledgeable and connected broking teams in the business.

 

Firstly please tell us a little bit about who you are, what you do at Miller and how you work with music managers.

I’ve specialised in insurance solely for the music industry for 40 years, and am part of the Music division at Miller, where our team’s music experience ranges from 15 to 30 years, which is crucial in offering clients the service and experience they need. My team and I joined Miller 2 years ago, as we liked the fact that Miller was a specialist insurance broker, providing a personal service and a collegiate approach to its clients.

On a daily basis, we deal with managers, tour managers, but also accountants who have become increasingly involved in handling insurance in recent years. A great advantage to couple with the years of experience is the personal relationships and trust we’ve built with our clients.

I’ve always attended music events – whether it be Great Escape, SXSW, Eurosonic, ILMC etc. or much smaller gatherings – to make sure we have true insight into the music business and the various issues facing our clients.

What new music releases are you enjoying currently?

Unsigned act Jodie Alicia who I saw pre-lockdown has a great track “My Mistake”,
Kawala – “Pure Desire”, Bad Sounds EP – “Escaping from a Violent Time”. Really enjoying Dermot Kennedy too.

How has business been for you since the COVID-19 pandemic hit? Any significant challenges? How are you are adapting your services?

Adapting to working from home was seamless as Miller run a paperless system. Every member of staff already had a laptop and mobile, and management have been exemplary, so there was no gap in service, which has been amazing.

We have continued to take on new clients as things like equipment still need to be insured even if gear may be in storage in these times. We maintain contact with existing clients and keep in regular contact with all insurers so we are totally ready for when events open up again.

The role of the manager has evolved massively in recent years, as highlighted in the MMF’s 2019 report, with managers taking on an increasing amount of responsibilities.  Has this influenced the way you work with managers at Miller?

I’ve always welcomed speaking to younger managers (or older managers!) who may have limited awareness of insurance and when/how it should be considered. MMF training sessions have always been a delight to speak at and be part of. We always look to educate clients about what insurance they could have, when they may need it and the possible pitfalls of some online or non-specialist policies so they can make a more educated decision.

Whilst we deal with managers and tour managers, often acts prefer their accountants to handle insurance for them and we have good relationships with all the main music accountants.

Are there any managers you particularly enjoy working with – or consider to be doing brilliant work in their field?

I’ve been privileged to work the pioneers of management “back in the day” right through to today’s entrepreneurial managers. It would be unfair to start mentioning names as there are so many and I don’t want to miss anyone out!

But all managers do brilliant work with the rapidly evolving technology and ever changing landscape – and that is before getting into the artistic and ego side of their artists!

Do you think there are any positive opportunities or changes in the music industry you believe we will see happen “once we’re though the other side of all this” (Covid)?

For many years, I’ve tried to encourage clarity on show contracts – who is responsible for what when a problem occurs. That has been a struggle at times so perhaps that is one positive to come out of many negatives of this, although I appreciate not all will see it that way. However, ultimately it gives some clarity and should avoid nasty disputes.

It has made people appreciate contact is key and working together rather than against, can be a big benefit.

From a purely personal perspective, maybe the ever-increasing size of productions will be re-considered and bring the whole economics of touring into a new perspective?

Is there anything you would like to say to managers who are considering working with you at Miller or finding out more about what you do?

Don’t ever be scared of an insurance broker!! Many people keep brokers at arm’s length, but remember we are here to help you, so the more you make us part of your team and share information the more we can help, especially if a problem arises – which is exactly when you need insurance to react.

I emphasise that we work for the client, not the insurer, and are available to give the best possible advice at all times – literally all times, as we understand this is not a 9-5 business. It is vital to deal with a specialist in any area in life and that includes insurance, so we encourage people to ask us as many questions as they wish – no question is ever too silly!

Away from regular tours you’ve insured, what experiences can you share?

There have been many over the years, but Wembley Stadium multi-artist shows celebrating Nelson Mandela’s 70th birthday and later, following his release from prison, the celebration show at which he made his first major speech to the world. To be side of stage was spine tingling.

Guitar Legends in Seville in 1991 had a mind-blowing line-up that included, among many others, BB King, Bo Diddley, Les Paul, Brain May, Roger Waters, Robert Cray, Joe Walsh. To stand in a tiny rehearsal room watching Bob Dylan, Joe Cocker, Keith Richards, George Benson and Jack Bruce play together was so surreal!

The Great Music Experience in Japan in front of the world’s largest wooden temple and featuring Japanese and western musicians including INXS, Joni Mitchell, Jon Bon Jovi, Ry Cooder and Bob Dylan with the Tokyo Philharmonic Orchestra

To see an unsigned Ed Sheeran play to 15 delegates after a music conference he had been hanging out at to make contacts – I still have the demo EP – probably the only time I’ve seen a hardened music crowd instantly stop and listen! I love seeing new acts so early….in recent years I’ve seen Dua Lipa, Stormzy, Dave, Celeste, Lewis Capaldi, Georgia, Sam Fender and so many more play in tiny clubs before taking off.

Are there any slightly unusual claims you can reveal without breaking confidentiality?

The more serious situations range from civil unrest – more recently, in places such as Hong Kong and Istanbul. Volcanic ash grounding flights across the world as well as general airline strikes and a drone closing Gatwick. One particular ill-fated tour included a brain aneurysm, an intestinal adhesion and a ruptured hernia…..and all that after one of the band had already suffered Rocky Mounted Spotted Fever, which is a potentially fatal disease.

Perhaps more humorous, would include insuring a single against reaching number One (the song was Happy Talk by Captain Sensible), or Mari Wilson who was famed for her beehive hairdo and insured it against falling down in stage. Finally, I can’t forget the poor lady at an early festival when loos were a plank across a pit – yes the plank gave way and the distraught lady disappeared!

Thank you Martin and Miller Insurance for supporting the MMF and our membership through our Associates programme.

Contact Martin at martin.Goebbels@miller-insurance.com 

Today we speak to Jim Sanders, Director of Business Development at Ochre.

Ochre is a powerful D2C technology platform running artists and labels direct-to-consumer ecommerce operations. In addition, Ochre offers warehousing and store management services, providing a flexible set of tools for music companies.

Firstly please tell us a little bit about who you are, what you do at Ochre and how you work with music managers.

Over the past 15 years I’ve worked at various digital music companies including 7digital, Deezer and Vevo implementing business development strategies to help grow their businesses.

I joined Ochre in March 2019 on an exciting journey just as the music industry began to adopt the technology we’ve built to optimise its D2C retail, marketing and operations.

We’ll often be working directly with managers to give them complete control and flexibility over their artists retail business. And sometimes indirectly, by instead giving access to data and other features from artist stores run by their label or merch partners where those stakeholders are using Ochre for their e-commerce solution.

What new music releases are you enjoying currently?

This year I’ve really loved Laura Marling “Song For Our Daughter” and Fontaines DC “A Hero’s Death”. Partisan Records label store is run on the platform, so it was very satisfying to see lots of these records being sold via Ochre.

Also, with the recent lack of gigs and festivals, Nick Cave’s Idiot Prayer live streamed performance at Ally Pally was a big highlight.

How has business been for you since the COVID-19 pandemic hit?  Any significant challenges?  How are you are adapting your services?

Business has been good as a lot of retail has moved online, although many larger release campaigns have been pushed back to next year.

Our overall services have not been affected or changed significantly, but there are lots of people wanting to scale up their D2C quickly and we have been able to help them do this.

D2C remains one of the few revenue streams that an artist can be in complete control of and so in recent challenging times we’ve seen various positive and creative reactions to the situation from limited merch drops creating brand new revenue streams, launches of online stores to sell stock manufactured for cancelled tours, through to clients running fundraising projects in support of talent and other great causes throughout lockdown.

The role of the manager has evolved massively in recent years, as highlighted in the MMF’s 2019 report Managing Expectations, with managers taking on an increasing amount of responsibilities.  Has this influenced the way you work with managers at Ochre?

Managers have been taking on more and more responsibility in recent years and working directly with Ochre allows our clients to retain strategic control over important areas. When this happens with D2C there’s often a real impact on the success of that artist store.

When a manager and therefore the artist is closely involved in decisions over their own retail brand and product offerings this always leads to more transactions outside of the traditional music release cycle, which can have a huge impact on an artists overall income.

Are there any managers you particularly enjoy working with – or consider to be doing brilliant work in their field?

There are a couple of things that spring to mind. We work with Dan Jenkins at Raw Power Management on their artist store for Don Broco and I love the effort they put into lookbook style fashion photo shoots for each merch drop. It’s much more engaging for fans, it also shows that they care about this stuff and really get their audience.

Also, we’ve very recently begun a project with Candy Artists who have taken a refreshing approach which will see them launch and run multiple artist stores for their entire roster of acts including Dream Wife, Our Girl, Willie J Healey, Dry Cleaning and more. Taking this strategic decision to become retailers operating multiple stores is a very smart move and will benefit from many long term efficiencies created.

Do you think there are any positive opportunities or changes in the music industry you believe we will see happen “once we’re through the other side of all this” (Covid)?

Since March we’ve been working with a number of clients to create a solid long term retail set up, rather than something that is simply reacting to the current changes and so these positive initiatives will definitely help those businesses thrive well beyond the current pandemic.

Is there anything you would like to say to managers who are considering working with you at Ochre or finding out more about what you do?

Take a look at some of the amazing clients we work with and their unique approach to D2C marketing and retail.

But more importantly say hello! I’m always happy to hop on a call, share my screen to demo the platform and talk through how other clients are working with us.

Thank you Jim and Ochre for supporting the MMF and our membership through our Associates programme.

You can contact Jim at jim@ochre-platform.com

Firstly please tell us a little bit about who you are, what you do at Tysers and how you work with music managers. 

Yes, we have changed names again I think for the 4^th time but it’s still the same people working behind the scenes. I work with managers in conjunction with Tour Managers and Accountants depending on what type of insurance is needed and help to advise on what is the most suitable policy and crucially, at the moment, when is the best time to buy. Usually the most involvement I have with managers is when placing Non Appearance insurance cover ahead of a Tour as a lot of this is based around the budget and logistics of the tour. I will also work with managers when it comes to the day to day insurances such a travel and liability for their artists also.

What new music releases are you enjoying currently?

Celeste – Hear My voice (Still love Stop This Flame), Maisie Peters – Maybe Don’t Winona Oak – Control (not sure if its new but it is to me), Leon – Who You Lovin’.

How has business been for you since the COVID-19 pandemic hit?  Any significant challenges?  How are you are adapting your services? 

As we specialise in placing insurance within the Live events industry the pandemic has been a particularly challenging time for our business also. The most positive thing for us this year is that our non- Appearance policies had cover for communicable disease on the policies.  I know this is not available now, but it has been at least positive to be able to work with our clients in settling their claims in what has been an extremely tough year. The major challenge we now face is that it isn’t possible to insure against Covid 19 as an insurable loss. We have adapted our services during the pandemic by making sure clients are still insured but we are negotiating premiums with insurers to make sure they represent current business activities.  It is so important for us to understand the evolving needs of the client and Tysers have been working with the MMF, CPA and many of the other associations in Live music to proactively put forward a proposal so that we as an industry can at least plan for the future.

The role of the manager has evolved massively in recent years, as highlighted in the MMF’s 2019 report, with managers taking on an increasing amount of responsibilities.  Has this influenced the way you work with managers at Tysers? 

I am increasingly seeing managers being involved with placing insurances for their artists whereas the actual placing of this business has quite often come through other channels such as accountants. Whilst this is still common, its incredibly helpful when Managers are involved as they know every detail about the artist/ tour routing/ crew etc and this is extremely helpful when placing insurances to make sure they respond how you would like and need them too.  Whether it be management or accountants, it is great to work with all of the layers throughout the industry vertical.

Are there any managers you particularly enjoy working with – or consider to be doing brilliant work in their field? 

I don’t think there is a manager that I have not enjoyed working with.  This year has been tough for everyone and it is great to be able to pick up the phone to managers and for them to be able to pick up the phone to me when it is a good or bad day.

Do you think there are any positive opportunities or changes in the music industry you believe we will see happen “once we’re though the other side of all this” (Covid)?

Absolutely.  Internally, if we do not have hope for a brighter future there is no chance that there will be one.  We will endure some pain for the moment but there is no doubt about the resilience of the people within this industry.  It is not an industry that is going to re-train.  Music forms such a large part of people’s lives and whilst the landscape might shift a bit, it will come back with a vigour and enthusiasm that we have not seen in years; we’ll all get that old fashioned feeling.  It will be like the first drink after three days in the desert, the first kiss of someone you have been campaigning for two months or a hot bath when you have come in from a long dog walk in the rain.  When live music gets up and running again, it is going to feel amazing.

Is there anything you would like to say to managers who are considering working with you at Tysers or finding out more about what you do?

Just call me if you want to talk about insurance or anything else…  I’m mainly working from home so it can get a bit boring so the more people I can talk to, the better!

We are absolutely delighted to announce that TikTok have joined the MMF as an Associate! Read more about the partnership in the press release. 

Activities already planned under the Associate partnership include access to best practice resources on TikTok for MMF members, exclusive virtual training sessions co-hosted by TikTok and leading UK managers, and an in-person event in London, likely to be Autumn 2020, once social distancing measures are eased.  Our first exclusive online training event for MMF members takes place on June 16th – watch this space for details!

Before that, we got a chance to sit down with Paul Hourican, Head of Music Operations UK, TikTok, to ask him a few questions.

Partnering with The MMF is a great way for TikTok to connect with the biggest community of managers in the world, and all the artists they represent. We’re hoping this partnership will help their members fully understand our platform and ensure they can make the most of its features so they can reach a wider global audience.

Why is TikTok partnering with The MMF? 

A number of MMF members are already utilizing TikTok for release campaigns, including those quoted in the press release. Their Associate Programme offers a perfect opportunity to develop a two-way dialogue with more than 850 UK based music managers and the artists and creators they represent.  

TikTok is constantly looking at new ways to support the music industry. For example, we recently worked with Help Musicians as part of its COVID-19 relief support for struggling artists. 

Has the partnership had anything to do with COVID-19?

We have been working on this partnership for some time, before the onset of the COVID-19 pandemic. While this partnership isn’t a response to the pandemic, anything we create for MMF members will of course take into account the impact of COVID-19, such as incorporating social distancing measures into any events, hosting virtual sessions and providing resources that account for our current situation.

The MMF is renowned for supporting innovation. The Associate Programme plays a key role of the organisation’s activities – and helps connect the UK’s community of 850+ managers with the world’s most innovative and artist-friendly businesses, whether they’re DSPs or other artist-related services. 

What does the membership involve?

TikTok will be creating a number of educational resources, training sessions and events exclusively for MMF members. The first event will be on 16 June.

How long has TikTok signed on to be an Associate partner? How much is the cost of the partnership?

We’re not disclosing the contractual details of the partnership.

Is this a UK-only partnership?

Yes, this is UK-specific.

How does this fit with TikTok’s wider strategy for music?

Music has been an integral part of TikTok since the app launched. As a platform that was created to lower the barriers for creation, TikTok allows users to create and share video content directly from their phones, making the process of adding music to videos simple and straightforward. By doing this, TikTok has changed the way Gen Z and Millennials consume music. Everyday users listen and create videos using millions of songs from the TikTok playlist, driving unprecedented music discovery and trends.

Moving forward we want to continue to facilitate music discovery, working closely with the entire industry to bring the most exciting music content to our creative global community.

How is music monetised on TikTok?

TikTok is committed to sharing value from its platform with artists and rights holders.

How does TikTok protect artists’ licensing rights?

TikTok is an exciting platform for songs and emerging artists to gain exposure and breakthrough with a wide and varied audience. We work closely with rights holders to build and protect a library of sound on the platform which is available for users to infuse in their own short videos.

The interests-based recommendations system helps our creators to be discovered with a new and global audience. This is key to nurture transboundary communities where our users can connect, share and inspire one another with creative ideas.

How do independent artists benefit from being on TikTok?

TikTok offers a unique platform for music. By enabling artists to promote their music to a global audience, TikTok enables them to build a strong and highly engaged fanbase, giving new music talent an opportunity to be discovered and to create unprecedented viral trends.