Contemporary Music NEW1.indd - Department Of Culture And The Arts

Transcription

Title Birds of Tokyo
Photographer: Grant Sputore – The Penguin Empire
THE PANICS, LITTLE BIRDY, BIRDS OF TOKYO
BIRDY, DOWNSYDE, ESKIMO JOE, ONE HORSE TOWN,
AVENUES, THE PANICS, CARUS, THE CRITICS, LITTLE
ESKIMO JOE, GYROSCOPE, END OF FASHION, THE
JOHN BUTLER TRIO, RED JEZEBEL, HALOGEN, JEBEDIAH,
The Big Day Out
Photographer: Michael Wylie
02CONTEMPORARY MUSIC PROGRAM 06
AUSTRALIAN
THE WESTERN AUSTRALIAN
[INTERIM REPORT]
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contents
3
Introduction from the Minister
4
Introduction from the Executive Director,
Development and Strategy Directorate
5
Profile of the West Australian Contemporary Music Sector
14
Overview of the Contemporary Music Program 2001-2005
includes key initiatives of the WA contemporary music program
27
Profile of the West Australian Music Industry Association
31
2004 Interim Report on the Contemporary Music Program
47
Case Studies
61
Update on the Indigenous Contemporary Music Strategy
67
Snapshot of Activity to be completed January 2007
Appendices
List of Contemporary Music Grants, 2001-06
Taskforce Recommendations
Indigenous Reference Group Recommendations
National Context
ISBN 0-9803166-0-X.
THE WESTERN AUSTRALIAN CONTEMPORARY MUSIC PROGRAM [INTERIM REPORT]
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INTRODUCTION FROM THE MINISTER
Introduction from the Minister
The State Government of Western Australia has made an outstanding
commitment to contemporary music through its Contemporary Music
Program.
Since 2001, the State Government has invested over $5 million
towards the development of the Western Australian music industry.
This commitment is due to continue until 2009 with $850,000 per
year dedicated towards supporting contemporary music.
This interim report tracks the impact of the State Government’s
Contemporary Music Strategy from 2001 to 2004 and evidences the
growth of a burgeoning and talented sector. The report forms the
basis for future evaluation of the Government’s Music Program over
the forthcoming years.
The interim evaluation indicates a marked growth and development
of the music industry accompanied by increased promotion and
awareness of Western Australian contemporary music talent.
The evaluation also indicates that the number of Western Australians
attending live local events has increased as well as the level of
coverage of Western Australian artists and music in local, national and
international print media.
Since June 2003, the number of Western Australian music videos
played on weekly free-to-air national television music programs has
more than doubled. There has also been a consistent increase in
Western Australian Music played on national radio.
The industry itself has never looked better. Producing some of
Australia’s highest selling and most critically acclaimed acts, Western
Australia has deservedly attracted international recognition as a State
of musical excellence.
I am very proud that the State Government has recommitted funding
of $850,000 per annum until 2009 towards the continued success of
the Contemporary Music Grants Program.
Hon Sheila McHale MLA
Minister for Culture and the Arts
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INTRODUCTION FROM THE EXECUTIVE DIRECTOR, DEVELOPMENT AND STRATEGY DIRECTORATE
Introduction from the Executive Director,
Since the State Government’s commitment in 2001 to develop
Western Australia’s music industry, we’ve seen our local music scene
flourish. Western Australia has recently produced some of the finest
bands to come out of Australia including Eskimo Joe, The John Butler
Trio, The Waifs, The Panics, Little Birdy, The Sleepy Jackson, End of
Fashion and Gyroscope.
Part of the vision for Western Australia was a commitment to develop
a music industry that is vibrant, productive and profitable. The
State Government sought to create an environment where Western
Australian musicians can develop their talents into a career and their
economic opportunities into business success stories.
Since September 2002, over 310 grants have been awarded. This has
seen a major increase in the amount of skills development, touring,
recording and well-executed marketing campaigns for Western
Australian bands and artists.
The Department of Culture and the Arts recognises contemporary
music as a significant artform and acknowledges its important role
in the wider contemporary cultural scene. Contemporary Music is
extensively linked with the worlds of fashion, design, lifestyle and
social attitude and individuals, groups and occasionally a whole
generation have used popular music as one of the ways they define
their cultural identity.
This publication is a result of an evaluation conducted on the Western
Australian Contemporary Music Program midway through the first $5
million investment from the State Government of Western Australia.
I would like to thank all those who took part in this evaluation.
The energy and expertise they made available to us has been an
inspiration, fuelling the thinking which has resulted in clarifying
our role in relation to the Western Australian Contemporary Music
Industry and directing us on how to best assist in its development.
Allanah Lucas
Executive Director
Department of Culture and the Arts
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FILEE
PR FIL
OF
OF WESTERN
WESTERN
AUSTRALIAN
AUSTRALIAN
contemporary
music✩
AVENUES, THE PANICS, CARUS,
THE CRITICS, LITTLE
THE PANICS, LITTLE BIRDY, BIRDS O F TOKYO
SECTOR
Above: Atomic Heart Mother
Photographer: Jacinta Matthews
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PROFILE OF WESTERN AUSTRALIAN CONTEMPORARY MUSIC SECTOR
Profile of Western Australian Contemporary Music Sector
“WA bands have had the time to develop away from the interfering gaze of
the record industry. Isolation yielding intoxicating results. Growing up in a far
away place leaves an indelible stamp on the music that emerges.”
Bob Gordon, SPIN
Perth is often referred to as the most isolated capital city in the world and it seems that
this seclusion has bred some of the most talented and creative musicians. This isolation
has helped West Australian bands develop a strong sound of their own, away from the
influences of musical trends that may dominate other cities.
The live scene has always been the focus in the development of West Australian music and
it shows. Stylistically diverse in its sound, the scene produces acts with a world class live
presence. This amazing diversity produces talent across a wide breadth of genres including
rock, pop, blues, country, hip hop, electronic and all points in between.
Another benefit of isolation is the camaraderie that has built up in the local music scene.
With strong support from The Western Australian Music Industry Association (WAM) and the
State Government, Western Australia has become a breeding ground for new talent, new
sounds and a common goal: to show the rest of the world what we have to offer.
The industry itself has never looked better. Producing some of Australia’s highest selling
and most critically acclaimed acts, Western Australia has attracted international recognition
as a scene to watch.
Support for musicians comes from several key organisations. The West Australian Music
Industry Association [wam.asn.au] is the peak representative body for contemporary music
in Western Australia. Each of the following organisations offers targeted support in each of
their specific areas: Kulcha (world music) [kulcha.com.au], Tura (new music) [tura.com.au],
Jazz WA (jazz) [jazzwa.com] and the Perth Jazz Society (jazz) [perthjazzsociety.com].
Andrew Winton performing in guitar heaven at the National Folk Festival Canberra 2006 Photographer: Karen Winton
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Currently there is several major music festivals held in Western Australia each year.
The largest of these, dedicated solely to local contemporary music, is the WAMi Festival
[wam.asn.au]. Held in February alongside the Perth International Arts Festival, the
WAMi Festival includes WAMi Awards, conference events and showcases. Other
significant festivals include In The Pines (local) [rtrfm.com.au/events], The Big Day
Out (local and international) [bigdayout.com], Fairbridge Folk Festival (local and
international) [fairbridgefestival.com.au], Blues at Bridgetown (local and international)
[bluesatbridgetown.com], Totally Huge New Music Festival (local and international)
[tura.com.au], Southbound (local and international) [sunsetevents.com.au] and Rock It
(local and international) [heatseeker.com.au/rockit]. These festivals provide opportunities
for networking, developing resources and showcasing some of our finest musicians with
major international acts.
One of the most important factors in the development of contemporary music in Western
Australia is the availability of suitable venues dedicated to supporting live, local, original
music. The size and location of the venue contributes to its success and more recently,
major international tour sized venues such as MetroCity [metrocity.com.au], with a capacity
of just over 1900, have also supported local shows. There are approximately 28 venues in
Perth supporting totally local contemporary music of all genres.
These include the Amplifier [globeonline.com.au], the Hyde Park Hotel
[hydeparkhotel.com.au], the Rosemount [rosemounthotel.com.au], the Swan Basement
[heatseeker.com.au/venue.aspx?id=Swan%20Basement&tid=1&iid=34],
the Norfolk Basement [norfolkhotel.com.au/Basement%20Lounge.htm],
Mojos [mojosbar.com.au/index.asp] ,the Flying Scotsman and The Fly By Night.
Red Jezebel Photographer: Chris O’Halloran
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The local scene is also supported heavily through band websites and email groups. There
are many useful sites that provide a range of information from legal issues to gig guides.
Following are a few local and national sites you may find useful:
WAM wam.asn.au
Key online resource for the development of the West Australian contemporary music industry.
PerthBands perthbands.com
Provides exposure for Perth artists through reviews, gig guides, band info and forums.
RockUs rockus.com.au
Online Australian music magazine with indie rock focus delivering interviews, news and reviews.
Teknoscape teknoscape.com.au
Dance music and electronica resource with event guides, reviews, chat forums and features.
WesternFront wf.com.au
Dedicated to WA’s metal music scene.
Deuce deuce.com
Deuce promotes live electronic music in Perth and the site includes artist profiles.
Heatseeker heatseeker.com.au
Up to date venue, event and gig guide information and online event ticket sales.
Perth Blues Club perthbluesclub.org.au
Dedicated to blues and roots music audiences and musicians.
VIBE Australia vibe.com.au
Promoting the ‘deadly vibes’ of Indigenous Australian culture.
JazzWA jazzwa.com
An extensive jazz musicians directory and event calendar.
SLAM thetrukstop.com/slam
SLAM (Supporting Local Alternative Music) site showcases acts and promotes SLAM gigs.
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Local musicians everywhere require support for releases through labels and distribution,
none more so than those trying to get a foothold in a competitive market from such an
isolated vantage point. The more recent phenomenon of local artists achieving success
through independent record labels is most clearly demonstrated through the combined
success of the John Butler Trio, the Waifs and Jarrah Records
[jarrahrecords.com].
The term independent is used to refer to small record labels that release albums that are,
for the most part, self-funded. Other local independent labels providing support, who
understand the unique situation of musicians in Western Australia, include:
Bloodstar bloodstarmusic.com
Bluestone Records bluestonerecords.com.au
Cardboard City Records cardboardcityrecords.com
Embryo / MGM / Phantom westlinkmultimedia.com
Firestarter Records firestartermusic.net
Kieper Records kieper.com.au
Kismana Music kismana.com.au
littleBIGMANrecords littlebigmanrecords.co.uk
Messiah Records [email protected]
Nefarious nefarious.com.au
Qstik Records qstik.com.au
Rage8 Records rage8.com.au
Redline Records redlinerecords.com.au
Sensei Sound senseisound.com
Sic Squared sic2.com
True Blue Records truebluerecords.com
Vinyl Records vinylmusic.net
Zombi Music stevetallis.com
Zip Records ziprecords.com
Snowman Photographer: Janusz Stzelecki
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Contemporary Music Interim Report
“The Western Australian Government has consistently led the country in both
innovative and generous initiatives for contemporary music. This is proved by
the vast number of WA artists who have made the leap from local to national
to global presences in the last three years.”
Phil Tripp, Managing Partner Immedia, Publisher Australian Music Industry Directory
The State Government of Western Australia has made a significant commitment to
contemporary music through its Contemporary Music Program. Between September 2002
and October 2004, the program offered strategic sector support and distributed over 220
grants in the categories of:
•
•
•
•
•
•
Commercial Development (49);
Fellowships (3);
Mentorship and Skills Development (30);
Production (36);
Touring (48); and
Quick Response (55).
Between February 2002 and October 2004 the total number of grants awarded is 127
this demonstrates a $692,915 investment in the Contemporary Music industry in Western
Australia. The following report focuses on the time period between September 2002 and
October 2004 and presents a snapshot of activity for the first two years of the Contemporary
Music Grants Program.
This evaluation of the State Government’s
Contemporary Music Program indicates a
marked growth in the Western Australian
contemporary music industry. Since
the beginning of the pilot project in July
2002, the number of projects undertaken
by Western Australian musicians has
increased steadily. Subsequently, there has
been continual growth in the amount and
quality of activity including increased sales,
coverage and airplay, more tours, national
and international profiles, and increasing
audience numbers.
The Panics Photographer: Paul Richardson
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Background
In 2001, the State Government of Western Australia made a commitment to develop the
Western Australian music industry with the provision of $5 million over four years.
The Government established a Contemporary Music Taskforce to determine the most
efficient and appropriate application of this new funding. The Taskforce consisted of 17
members, the majority of whom were from the Western Australian contemporary music
industry.
The State Government provided the Taskforce with the following terms of reference:
• Assist in the development and promotion of Western Australian contemporary
music talent.
• Review the current state of contemporary music in Western Australia and its
potential for economic growth.
• Provide marketing opportunities for Western Australian original bands by
sponsoring the establishment of a website to showcase and sell Western Australian
music to the world.
• Provide more safe recreational opportunities for young people and increase live
performance opportunities for original bands by establishing a state-wide youth
music program, where supervised all ages concerts are held in local communities
for 14 to 18 year olds.
• Develop a strong skills base in the areas of performance, production and business
so that the industry is both artistically vibrant and commercially viable.
• Encourage Western Australian bands to tour overseas, interstate and regionally,
including developing regional touring circuits.
The Taskforce met over a period of 11 months. In September 2002, the Taskforce
submitted a 76-page report to the Minister for Culture and the Arts. The Taskforce report
detailed a series of findings and 18 recommendations for implementation of a Contemporary
Music Program.
Razorlilly Photographer: Jacinta Matthews
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Following endorsement of the Taskforce Report, the recommendations were adopted and
implemented by the Department of Culture and the Arts, formerly through ArtsWA1. Key
initiatives include:
•
•
•
•
•
•
•
•
•
•
•
•
•
Establishment of a Peer Assessment Panel (page 14);
Provision of Infrastructure Support for WAM (page 15);
Establishment of an Industry Development Grants Program (page 16);
Establishment of a Quick Response Grant Program (page 17);
Appointment of a Contemporary Music Project Officer for the duration of the four
years;
Establishment of a Music Industry Fellowship (page 15);
Creation of a Partnership Fund to support strategic initiatives (South by South West)
(page 19);
State-wide exhibition of The History of Western Australian Contemporary Music
(page 21);
Development of an interactive Western Australian Music Website (page 22);
Establishment of a state wide all ages Event Program for young people (page 23);
Creation of a Music Education Pack for use by Music Teachers (page 24);
Development of an Indigenous Contemporary Music Strategy through the
establishment of a working group (page 25); and
Implementation of the recommendations made by the Indigenous Contemporary
Music Working Group (page 25).
Initiatives continue to be implemented by the Department of Culture and the Arts.
Interim evaluation of initiatives commenced in August 2004 and a full evaluation of the
Contemporary Music Strategy will be conducted when implementation has concluded.
Following is an update on the progress of each of the key initiatives. For a full list for
Recommendations made by the Taskforce, please see Appendix 5.
1
ArtsWA is now part of the Development and Strategy Directorate.
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VERVIEW
OF THE contemporary
music
PROGRAM ★
THE KEY INITIATIVES OF THE WESTERN AUSTRALIAN CONTEMPORARY MUSIC PROGRAM
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CONTEMPORARY MUSIC PANEL
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SPIN MUSEUM EXHIBITION
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INFRASTRUCTURE SUPPORT
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CONTEMPORARY MUSIC WEBSITE
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INDUSTRY DEVELOPMENT GRANT PROGRAM
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ALL AGES RAMMPAAGE PROGRAM
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QUICK RESPONSE GRANT PROGRAM
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MUSIC EDUCATION PACK
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MUSIC INDUSTRY FELLOWSHIP
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INDIGENOUS MUSIC STRATEGY
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SOUTH BY SOUTH WEST
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CONCLUSION
New Invincibles
Photographer: Szabo Brockwell
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OVERVIEW OF THE CONTEMPORARY MUSIC PROGRAM
Overview of the Contemporary Music Program
The key initiatives of the Western Australian Contemporary Music Program
Contemporary Music Panel
Background
The overarching principle of the Contemporary Music Program is to allow the industry to
participate in determining the direction of funding support.
It was a key priority of the Taskforce that a panel of peers evaluate grant applications. This
recommendation was central to the overarching policy principles of The Department and
reflective of the industry development objectives of the Contemporary Music Program.
Progress of Implementation
The Department established the Contemporary Music Panel in 2002 with the pilot project.
The panel currently consists of 40 musicians and industry personnel with a broad range of
expertise, all of whom are currently active in the Western Australian music industry. Every
three years The Department advertises for new panel members.
A full list of Contemporary Music panellists, with brief biographies can be found at
artswa.wa.gov.au
Rachel Dease, Schvendes Photographer: Steve Dart and Joe Kapiteyn
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Infrastructure Support
Background
The Taskforce acknowledged the need to support infrastructure in the local industry and
provided funding for the West Australian Music Industry Association (WAM) to become
the peak representative body for contemporary music. Annual funding of $191,000 was
approved and has since been increased to $255,000. In addition, WAM have received 11
grants totalling $666,717 for projects and events including assisting artists with showcasing
at the South by South West Music Festival and Conference and managing RAMMPAAGE as
a devolved funding program.
The Department of Culture and the Arts is currently managing a triennial contract with
WAM for the period 2006 - 08. Having now produced two sound business plans WAM has
strong leadership, a professional staff structure (up from 1 FT in 2002 to 9 in 2006) and a
definite vision alongside its mission “to develop the Western Australian contemporary music
industry. Ongoing activities such as the WAMi Festival, annual Kiss My WAMi compilation
disc, WAM Song Of The Year and general advocacy, referral and information services
have all consolidated and increased in profile and value. New activities such as a schools
program, the RAMMPAAGE all ages event funding program, Indigenous Music Program,
Regional Program and developing International Market Development Strategy (which has
included showcasing and supporting WA acts at the annual South by Southwest Festival
in Austin Texas since 2004) are helping to position WAM not only as a leading cultural
organisation but also are beginning to have a discernible impact on the profile of and
respect for the industry both in the broader community locally, and the industry nationally
and internationally.
Total funding made available annually through the Contemporary Music Strategy $255,000
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Industry Development Grant Program
Background
The Taskforce concluded that project-specific programs would not be the most efficient
method of disbursing funding. Rather, it indicated that a general grant program open to a
range of activities was the preferred model. In addition, the grant program would adhere
to the principle of engaging with the industry and allow both the applicants and the panel
determine what sort of activities would best suit career and industry development. This
program was piloted in 2002.
The Department of Culture and the Arts administered a peer assessment process to assess
applications to four rounds of funding under the Contemporary Music Industry Development
Grant Program in 2003 and 2004. Categories of funding within this program are:
• Commercial Development;
• Touring;
• Mentorships and Skills Development; and
• Production.
The program has delivered a significant increase in access to funding resources and
resulted in an increase in activity, both nationally and internationally. Western Australian
musicians are now better resourced in terms of both skills development and marketing.
In addition, more industry development projects have been initiated than were previously
possible resulting in increased national profiles and more sustainable careers. As acquittal
reports of grants are received, more detailed evaluation of program outcomes can
commence.
Total funding
To October 2006, a total of 497 applications have been received requesting a total amount
of $5,221,035. 203 projects have been funded, to a value of $2,140,588. These amounts
do not include funding for WAM, Quick Response or the Music Industry Fellowships.
Information on grant recipients and panellists can be found on the ArtsWA website at
artswa.wa.gov.au
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Quick Response Grant Program
Background
Consistently through the Taskforce’s deliberations, members noted the importance of
musicians being able to take advantage of opportunities as they arose. Although there is
a significant degree of planning in the industry, there are occasions when opportunities to
tour Australia with an international act, play at an important festival, or work with a visiting
producer cannot be foreseen. It is at the heart of the entrepreneurial nature of the industry
to be able to jump at these. The Quick Response Grant Program is a critical component of
the contemporary music policy.
The Department of Culture and the Arts administers monthly rounds of funding under the
Contemporary Music Quick Response Program. This program has allowed local artists to
take up exceptional last minute opportunities to develop their business and audiences.
For example, Little Birdy received assistance to tour with The Dissociatives, and both The
Avenues and the Panda Band received funding to showcase to industry on the east coast.
Total funding
To October 2006, 92 applications have been received for Quick Response funding,
requesting a total of $439,561. 66 projects have been funded, to a value of $315,772.
The Kill Devils Photographer: Darren Mok
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Music Industry Fellowship
Background
On advice from The Department of Culture and the Arts, the Taskforce recommended
that $40,000 be provided for a Music Industry Fellowship. This Fellowship was available
to experienced industry practitioners who were seeking financial support to take their
careers in a new direction. The Taskforce agreed that, in keeping with the intent of the
contemporary music policy to support all facets of the industry, the Fellowship should be
available for all practitioners including musicians, managers, producers and record labels.
The Department of Culture and the Arts called for applications for the Contemporary Music
Fellowship for three consecutive years from 2002. The Contemporary Music Panel initially
awarded a Fellowship of $30,000 in 2002, and then one of $40,000 in 2003 and 2004.
The Department of Culture and the Arts has received 25 applications for the Fellowship
program, and has awarded $110,000 in total.
The first Fellowship was awarded to Alan Pigram, previously of Broome band Scrap Metal,
and currently of the Pigram Brothers. Alan worked extensively with internationally renowned
producer Kerryn Tolhurst to develop his skills as a producer and engineer.
Blues artist Steve Tallis was the second recipient; he used the Fellowship to embark on a
journey of musical development that took in Greece, Macedonia, Africa, India and France,
enhancing his skills as a composer and musician.
The 2004 Fellowship was awarded to Alan Corbet, well known for his extensive work in
the development of Western Australian jazz music and markets. Alan used the Fellowship
to develop national and international networks, distributions and touring opportunities for
himself and other Western Australian jazz artists.
The Fellowships were not continued as the funding
has been re-distributed to more strategic initiatives.
Total funding made available from the
Contemporary Music Strategy $110,000
Libby Hammer
Photographer: Janusz Strzelecki
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South by South West
Background
As previously mentioned, the Quick Response Funding program provides funding for
musicians and people in the industry to access the many last minute opportunities available
in contemporary music. A Partnership Fund, for broader strategic initiatives, has also been
established and in consultation with the Contemporary Music Project Officer, a partnership
between WAM, Austrade and the South by South West festival was established.
Austrade (the Australian Trade Commission) approached The Department of Culture and
the Arts in late 2003 to discuss potential involvement of Australian activity at the annual
South by South West music conference and showcase in Austin, Texas.
After advice from South by South West that five West Australian acts had been selected to
officially showcase at the 2004 event, and notification that two West Australian acts had
been selected for an Australian Music (BBQ) Showcase coordinated by the Australian Music
Collective, The Department of Culture and the Arts provided support for this activity in three
ways through the Partnership Fund:
• It offered specially allocated Quick Response funding for all bands travelling to
Austin to officially showcase;
• It provided funding to the Australian Music Collective to assist with merchandising
and production for the Australian Music (BBQ) Showcase; and
• It funded a Western Australian Music Showcase organised by WAM.
Attendance at the Western Australian Showcase has been excellent, and reports and media
releases on the outcomes are very positive.
The Panda Band Photographer: Scott Adam
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Funding made available for South by Southwest initiatives:
Western Australian Music Industry Association (to stage the WA showcase at SxSW)
2004
2005
2006
TOTAL WAM
$10,000
$7,000
$10,500
$27,500
Australian Music Collective (to stage the Aussie BBQ at SxSW)
2004
2005
2006
TOTAL AMC
$3,200
$5,000
$5,000
$13,200
WA Bands invited to showcase at SxSW
2004
End of Fashion
Tucker B’s
$5,000
$5,000
2005
Gyroscope
$10,000
Little Birdy
$10,000
The Panda Band $10,000
2006
The Flairz
Gyroscope
End of Fashion
TOTAL Bands
$10,000
$10,000
$10,000
$70,000
Total funding made available from the
Contemporary Music Strategy to
October 2006 is $110,700.
The Panda Band Photographer: Scott Adam
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Spin Museum Exhibition
Background
MuseumLink, in collaboration with the Department of Culture and the Arts and the
Taskforce, initiated the development of a ‘History of Western Australian Contemporary Music
Touring Exhibition’. The exhibition was designed to raise awareness of the creative depth
and breadth of Western Australian contemporary music and toured throughout the State
over a 12-month period including:
12/06/04-28/08/04
Geraldton
27/09/04-16/01/05
Kalgoorlie
05/03/05-26/04/05
Albany.
The contemporary music exhibition, entitled Spin, curated by Anna Edmundson and
researched by Bob Gordon, was launched in Perth in early February 2004. The exhibition
was attended by more than 80,000 people and ran until the end of May 2004. The
exhibition then toured the State, and was shown in several regional locations before
returning to Perth. More than 5,000 people in the Geraldton region attended the exhibition
and over 18,000 people attended in Albany.
Total funding made available from the Contemporary Music Strategy was $103,500.
Bianca Jade Photographer: Christian Blanchard
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Contemporary Music Website
Background
After consideration of the objective of establishing a West Australian music website, the
Taskforce recommended the development of a small-scale industry site by WAM, with the
capacity to grow over time in response to market demand.
The Department of Culture and the Arts has approved WAM’s proposal for the development
of a new interactive West Australian music website. Development of the site has
commenced. The website will focus on the needs of the West Australian music community
and audiences and provide information and links to existing individual and organisational
sites that promote and sell music internationally. Information on legal and professional
issues for musicians is contained on the site and bands and artists will be able to edit and
update their own information. The website, to be launched in 2007, will include discussion
forums for the industry.
Total funding made available from the Contemporary Music Strategy is $75,000.
Natalie Gillespie Photographer: Jonas Bresnen
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All Ages RAMMPAAGE Program
Background
An important component of the contemporary music policy is greater access for young
people to Western Australian original music. It benefits the industry as it draws the attention
of young people towards locally produced music and it benefits young people (particularly
those living in regional Western Australia) as they can experience live music in a safe
environment.
Since 1999, The Department of Culture and the Arts has worked with Healthway and the
Department of Community Development (Office for Children and Youth) to establish a pilot
Drug and Alcohol Free All Ages Events funding program for Western Australia. The Lotteries
Commission and the Department of Local Government and Regional Development came on
board in 2000 and the total budget for the pilot program was $416,000.
In addition to providing opportunities for young people all over the state to experience live,
Western Australian music, the pilot also sought to:
• Develop new audiences for contemporary music; and
• Develop new skills in performance, technical skills, events management and marketing.
The program contributes to all of the other policy goals including audience development,
building information networks, increased touring and more regional gigs.
A pilot Drug and Alcohol Free All Ages Events funding program, called RAMMPAAGE
(Regional And Metropolitan Music Program for all Ages), distributed funding of $18,000 to
11 communities in metropolitan and regional Western Australia to produce a series of events
for local young people over a 12-month period. A “How to Stage an Event” Handbook was
produced, and an informational website and helpline were also established to assist young
people involved in the program. Participating communities have since submitted reports
on their event series. An evaluation of the program has seen the RAMMPAAGE program
developed and is now run as a devolved funding opportunity through WAM.
Total funding made available to October 2006 through Contemporary Music Strategy is $410,000.
Karnivool at Crabfest
Photographer: Jesse Hill
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Music Education Pack
Background
As part of an audience development strategy, the Taskforce recommended the creation of
a comprehensive teacher training package including workshops and training materials for
distribution to all interested schools in Western Australia.
The Education Package was developed by several music teachers in partnership with
ArtsEdge, the Department of Education and the Department of Culture and the Arts. The
package offers music teachers a range of options for introducing their students to Western
Australian contemporary music, across a variety of different subject areas. It incorporates
information, contact details for industry organisations and existing school-based music
programs run by the industry. Professional development (PD) for teachers to assist in the
uptake and use of the education pack is offered throughout the State. 300 packs have
been produced and are being promoted and distributed on demand by WAM. Teachers
around Western Australia have received the pack with great enthusiasm.
The WA Music Education Pack is a resource that can improve teachers’ capabilities for
delivering music education through activities that are relevant and stimulating for students.
The project has been timely, coinciding with a wave of interest in developing music
education, as evidenced by the Federal Government’s National review of music education.
The pack’s primary objective is audience development for WA contemporary music. The
pack has also directly enhanced the quality of educational benefits delivered by WAM
and Abmusic’s Schools Program through in school concerts and workshops with bands
(incursions) across regional Western Australia, which again is an audience development
mechanism. Partnerships with Woodside Energy, RTR and Abmusic which have directly
resulted mean more schools host concert incursions that are integrated with classroom
learning through the education pack.
In the three years since its November 2003 launch, the WA Music Education Pack has
been distributed to over 750 teachers and has brought WA music to many new ears. With
the pack as its principle resource, WAM’s Schools Program is now reaching around 25,000
students annually who are experiencing local artists at school, when they otherwise would
not have been.
Total funding made available through the Contemporary Music Strategy
to October 2006 is $39,747
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Indigenous Music Strategy
Background
During the Taskforce’s discussions it became clear that while Indigenous musicians faced
the same challenges as the rest of the industry, particularly regional musicians, there
were additional hurdles to overcome. A lower level of access to infrastructure and skills
development across the board particularly impacted on Indigenous musicians’ capacity to
pursue successful careers. At the same time, a growing proportion of applicants to The
Department of Culture and the Arts’s Indigenous Arts Panel were musicians. There was
clearly a growing demand for support for the Indigenous music sector.
Following consultation with Indigenous members of the Taskforce, the recommendation was
made to allocate $500,000 to develop the Indigenous music sector in Western Australia,
with an undertaking by The Department of Culture and the Arts to establish a Working
Group to develop the details of a support program that best suits the particular needs of the
Indigenous music sector.
An Indigenous Contemporary Music Reference Group met in March 2003. This group
established priority areas for development to be delivered through strategies in addition
to the funding program. The Department of Culture and the Arts has examined options
for implementing programs that progress the priorities and has coordinated several pilot
projects in regional areas.
The Department of Culture and the Arts continues to implement the strategies of the
Indigenous Arts Development Policy, especially in relation to the Indigenous Contemporary
Music Strategy. The Department of Culture and the Arts completed the implementation
of several pilot programs under the Indigenous Contemporary Music Strategy, including
music workshops at Jamieson community in the Ngaanyatjarra Lands and workshops in
remote Kimberley communities delivered by Goolarri Media
Enterprises. The Department of Culture and the Arts
also increased funding to the WAM to bring the part-time
Indigenous Music Officer to a full-time position.
In addition, The Department of Culture and the Arts is
working strategically with key stakeholders including the
Australia Council, WAM, Abmusic and Goolarri Media
Enterprises to deliver music marketing and promotion
programs as described in the ‘Music Stick’ business plan
for an Indigenous Music Business Unit for the period
2006-2008.
Alice Haines Photographer: Tony Harrison
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Conclusion
The Department of Culture and the Arts will continue to implement the recommendations
of the Contemporary Music Taskforce throughout 2006. Evaluation of outcomes of the
Contemporary Music Strategy commenced in August 2004. A full evaluation will be
conducted at the end of the current programs.
Certainly, the Western Australian industry has experienced significant growth and many
individual acts and music businesses have benefited from funding programs and initiatives.
The State Government is committed to maximising development opportunities for the local
industry, and will assess the success of its current strategy and make decisions about future
policy accordingly.
David Hyams and the Miles To Go Band Photographer: Tony Harrison
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PR FILE
WAM
OF
WEST AUSTRALIAN MUSIC
INDUSTRY ASSOCIATION
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PROFILE OF WAM
Profile of WAM
The West Australian Music Industry Association (WAM) is a non-profit membership based
association and the peak representative body for contemporary music in WA.
It receives $255,000 per annum on a triennial contract basis from The Department of
Culture and the Arts. In addition, between 2004 and 2006, WAM also received $666,717
for strategic initiatives in conjunction with the Department of Culture and the Arts such as
South by South West, an interactive website and RAMMPAAGE All Ages Funding Program.
WAM actively lobbies government and funding agencies on an ongoing basis to advocate
fair funding levels for the WA contemporary music industry; WAM contributed to the Liquor
Licensing Act review for example. The Government has recently indicated its ongoing
financial support for the industry and, late in 2004 announced, the Sound Attenuation
Program; a strategy to assist live, original, contemporary music venues develop sound
attenuation measures.
WAM’s website hosts the valuable information resource the Artist & Industry Database
which houses contact details for well over 1,000 individuals. WAM GUFF: Legalease IT,
a comprehensive online legal resource for the WA music industry is also available on the
site. The Smarter Than Smoking Schools Program & Woodside Energy Regional Schools
Program, provides concerts, workshops and resources to schools across WA – and is
presented by WAM, Abmusic and RTR-FM. WAM’s successful partnerships reflected in this
title have allowed the creation a new Education Officer position
The revamped WAMi Festival, which includes a Conference component & the WAMi Awards
is a great success. The festival continues to be WA’s most significant showcase, networking
and professional development event; and alongside the Kiss My WAMi compilation CD, it
raises the profile of WA music nationally and internationally.
WAM works to deliver a major WA presence at the global South by Southwest event and the
All Ages Program Coordinator is developing a statewide grants program supporting all ages
events called RAMMPAAGE.
For more information on WAM, its services and events log on to wam.asn.au
Objectives
•
•
•
•
•
To build audience for local music - live and packaged product.
International Market Development.
Skills and Professional Development for Practitioners.
Business development for record labels and managers.
Enter into discourse with a view to influencing governments on issues of legislation,
funding and policy.
• Increase and broaden debate and discussion on industry issues.
• Effect sustainable cultural change such that local music is more highly valued in
the broader community.
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PROFILE OF WAM
Activities
• Advocacy for industry interests;
• Information services;
• Dedicated programs and project officers for Indigenous and
Regional WA industry support;
• WAMi Festival;
• Kiss My WAMi compilation CD-DVD;
• WAM Song of the Year;
• In school program to develop audiences, performances and
enhance music education;
• RAMMPAAGE a grants program for all ages events including free events
management training for some communities and a full time coordinator
who can support people in developing their ideas;
• Showcasing and promotion for international market development such as
South by South West (USA) and In The City (UK);
• Annual representation at MIDEM (Marché international de l’édition musicale);
• WAM is working towards a major new strategy aimed at bringing WA music
to global music markets;
• WAM actively lobbies government and funding agencies on an ongoing basis
to advocate a better environment for WA contemporary music industry through
funding and legislation;
• WAM is the leading force behind AMIN – the Australian Music Industry Network
working to build industry support and also an instigator of the national lobby group,
the Contemporary Music Working Group;
• The Artist & Industry Database at wam.asn.au has contact details
for well over 1,000 individuals;
• Monthly eNews bulletins list loads of industry opportunities;
• WAM GUFF: Legalease IT, also online, is a comprehensive online
legal resource for the WA music industry;
• WAM are the WA agent selling the Australiasian Music Industry Directory
(or AMID);
• WAM are a reference point for referral on any music industry topic.
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PROFILE OF WAM
WAMi Festival and Song of the Year
• The WAMi Festival ‘06 hit new highs of media exposure – raising the profile of WA
music;
• WAMi Festival & Conference continues to be WA’s most significant showcase,
networking and professional development event; presenting a statewide music
festival with over 100 events;
• A compilation CD-DVD is produced annually to coincide with the Festival. It is
distributed to media and industry locally, nationally and internationally;
See wam.asn.au for artist profiles of those involved, reviews, WAMi Award winners
and profiles of the WAM Hall of Fame inductees including Bon Scott, Kim Salmon
and Dave Hole.
Joel Quartermaine, Eskimo Joe Photographer: Kelly Armstrong
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INTERIM
REP RT
local product
product sales
local
✩sales
THE PANICS, LITTLE BIRDY, BIRDS OF TOKYO
AVENUES, THE PANICS, CARUS, THE CRITICS, LITTLE
touring activity
activity
touring
AUDIENCE media
airplay
LEVELS FOR
LIVE MUSIC
business
activity
activity
Above: The Kill Devil Hills
Photographer: Tyrone Knights
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INTERIM REPORT
Interim Report
In August 2004, the Department of Culture and the Arts engaged a Research Officer to
undertake an interim evaluation of the Contemporary Music Program. The interim report
was required due to the:
• lack of available industry data which curtailed the initial economic review
• general difficulty in obtaining feedback and data from sectors of the industry
• need to establish a control point for future evaluation
SCOPE
The scope of the interim report was as follows:
1. To provide an interim evaluation of policy implementation of the Contemporary Music
Funding Program to October 2004, establishing a control point for further evaluation
and to provide quantitative data in the following areas:
•
•
•
•
•
•
Sales of local product
Audience levels for live local music
National media coverage
National and international airplay
Quantum of touring activity by WA artists
Quantum of local Business activity
2. To provide qualitative data in the following areas:
• National and international media coverage;
• National and international touring opportunities for WA artists; and
• Evidence of increased growth of contemporary music networks
3. To establish recommendations for the evaluation framework for final assessment of policy
NOTE: The interim report excluded evaluation of the Indigenous Contemporary Music
Strategy and associated Program. This Strategy focuses on a series of pilot programmes and
action research programs. Evaluation of this program commenced at the end of 2005.
Methodology
The report comprised the following:
•
•
•
•
•
•
•
In-depth interviews with Industry members;
Analysis of the available acquittal data from the Industry Grants Program;
Collation of data pertaining to West Australian presence in National Sales Charts;
Collation of data pertaining to radio airplay of Western Australian Musicians;
Collation of information pertaining to National and International television coverage;
Collation of data pertaining to sales of WA Music locally;
Analysis of available mechanisms and systems for media monitoring and local sales
tracking; and
• Collation of information pertaining to attendance at live local music.
These full reports can be accessed through the ArtsWA website at artswa.wa.gov.au
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INTERIM REPORT
Due to the nature of the contemporary music industry there were some difficulties
experienced in data collection:
• Music stores stocking and selling the majority of local releases do not tend to keep
accurate records of sales. Stores that do keep detailed records such as Sanity do
not attract the same amount of custom for local product, nor do they break down
data by State of origin;
• Local music is often placed in music stores and sold ‘on consignment’ rather than
coming in through orders from record labels and distribution companies and therefore
data is limited. CDs are also quite often sold at gigs where no records are kept;
• Record labels are reticent to give sales figures;
• Audience numbers are difficult to monitor because the band or promoter usually
provides the door person at the venue and, as such, venues do not keep the
relevant information. As long as the venue does not go over capacity there is no
real need to keep accurate records;
• Venue managers and booking agents change regularly, as do venue live
entertainment formats so figures for continuous periods are also difficult ascertain;
• Mainstream press charge a search fee for providing records of publications relating
to Western Australian local releases. It is difficult to know exactly what key words to
search for as there are numerous topics and band names that could appear so this
could potentially be a costly exercise; and
• Local street press have a physical copy of all publications that are searchable for
free, however, the hours it would take to do so proved inefficient.
Key Findings
Although there is significant difficulty in accessing reliable data; analysis of sales revenue,
chart, airplay and sales activity as well as anecdotal feedback, all indicate a measurable
rise in the amount and extent of Western Australian activity in the local, national and
international arena.
Increases have been registered in the areas of television and radio airplay; revenue from
local ticket sales, record sales and royalties; audience levels for live local music and local,
national and international touring activity.
More Western Australian acts have charted, were signed to major international record labels
and have toured or showcased internationally than ever before.
At the beginning of The Department of Culture and the Arts funding in 2003, there were no
Western Australian artists in the Music Network’s Hot 100 Airplay list. Similarly, Western
Australian acts did not appear in Australian radio Top 20 charts nor on the ARIA (Australian
Record Industry Association) charts for singles or albums, and local acts were virtually
ignored by commercial radio and television.
By September 2004, there were five Western Australian acts in the Music Network’s Hot
100, three in the Top 20 Australian charts and four singles and three albums on the ARIA
Charts. Independent Western Australian artists had made ARIA history by topping both
the singles and albums charts and in one month alone, ‘Rage’ played 38 videos from
Western Australian acts while Video Hits played 20.
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INTERIM REPORT
By the end of November 2004, five releases from Western Australian artists had reached
platinum (70,000) sales and three had reached gold (35,000). This major chart success by
multiple Western Australian acts at any one time is a first. These eight Western Australian
releases alone represent sales of 735,000 units with a retail value of over $16 million.
Overall, information from industry sources and independent data indicate that there has
been an enormous increase in activity by Western Australian artists since June 2003.
Summary Findings
• Based on a small sample of local record sales, there has been an average annual
increase of 48% in the sales of Western Australian product since 2001.
• There has been an incremental monthly increase in national sales of
Western Australian product since the implementation of The Department of Culture
and the Arts funding.
• The number of Western Australians attending live local events has increased overall.
The Interim Evaluation has been unable to confirm the exact level of increase.2
• There has been an increase in the level of coverage of Western Australian artists
and music in local, national and international print media. The Interim Evaluation
has been unable to confirm the exact level of increase.
• Since June 2003, the number of Western Australian artists’ singles being played
monthly on radio has trebled.
• Since June 2003, the number of Western Australian music videos played on weekly
free-to-air national television music programs has more than doubled.
• There has been a steady annual increase in the membership of the
Western Australian Music Industry Association. Between 2001 and 2004,
membership has increased tenfold.
• Since 2001, APRA3 royalty revenue for Western Australian artists’ international
sales, as a percentage of national total, has increased by 48%.
• Since 2002, APRA royalty revenue for Western Australian artists’ from domestic
sales has increased by 43% compared with a national average growth of 21.7%.
• Since 2002, APRA royalty revenue for Western Australian artists has grown at twice
the rate of the national average.
2
The Research Officer indicated that live venue audience levels are difficult to measure. Venues tend to monitor audience
numbers only to ensure capacity is not exceeded. Promoters, rather than venue managers, run and monitor door take.
The larger and more anticipated gigs use a combination of door sales and presales, typically through up to six ticketing agencies
per gig or a range of record stores and any one venue may be used by dozens of different promoters over a relatively short
period of time.
Venue Managers and Bookers also change regularly, as do venue live entertainment formats.
3
Australasian Performing Rights Association
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INTERIM REPORT
---------------------------------------------------------------------------------------------------------------------
Local Sales of Western Australian Product
78 Records was chosen as the store through which to measure record sales of
Western Australian artists in WA from 2001 to 2003. Of all the independent
music retail outlets in Western Australia, 78 Records is the largest in size and
turnover, has the widest range of Western Australian artists in stock, and is
the only independent store to be fully computerised.
--------------------------------------------------------------------------------------------------------------------Each year from 2001-2003 there is a substantial increase in the number of Western
Australian artists featured in the Top 100 sellers: Based on this sample of local record
sales, there has been an average annual increase of 48% in the sales of Western Australian
product since 2001.
It is important to note also where bands make the crossover from alternative genres to more
mainstream markets such as adult contemporary and also from AIR (Australian Association
of Independent Record Labels) charts to the more mainstream ARIA charts. Radio airplay
is another area where this is relevant as it demonstrates increased sales and popularity of
the product.
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INTERIM REPORT
National Sales of Western Australian Product
There has been an incremental monthly increase in national sales of Western Australian
product since June 2003. This has been tracked in weekly charts 2003 – 04 from ARIA,
AIR, Sanity (National Top 50), The Music Network (Retail National Order Charts) and ARIA
End of Year charts.
Major Chart Success and Awards for Western Australian Artists
By the end of November 2004, five releases from Western Australian artists had reached
platinum (70,000) sales and three had reached gold (35,000) (source: ARIA). This major
chart success by multiple Western Australian acts at any one time is a first.
These eight Western Australian releases alone represent sales of 735,000 units with a retail
value of over $16 million.
In 2001 there were six Western Australian artists nominated for ARIAS with one winner:
The John Butler Trio with their album Three as Best Independent Release.
In 2002, five nominations were made with no winners.
In 2003 there were 15 nominations for Western Australian artists with four winners, all for
the Waifs’ album Up All Night.
In 2004 an extraordinary 20 nominations were made with five winners, including John
Butler for Best Male Artist. In the same year he was the first independent artist ever to win
the prestigious APRA song of the year award when his hit single Zebra from the John Butler
Trio’s number one debuting album Sunrise Over Sea was voted the winner.
“The JB Seed has been a dream of mine (and the team I work with) for many
years now and I am excited it’s finally breaking the surface and becoming a
reality. I received a few grants in the formative years of my career that gave me
a great boost and invaluable assistance, and so I appreciate how significant this
funding can be to an artists’ development, and long term goals.”
John Butler quoted from thejbseed.com
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INTERIM REPORT
Increased Attendance at Live Local Music
The number of Western Australians attending live local events has increased overall.
Local promoters report that audience levels for live contemporary music generally in
Western Australian have seen significant growth over the last 2 years, with an increase in
numbers and frequency of tours, festivals and events and corresponding ticket sales;
• One Perth based promoter reports that his company’s annual ticket sales have
increased from $1.5 million in 2001 to $4.5 Million in 2003 and approximately
$5 million in 2004. This is due to an increase in audience demand and numbers at
each event although the number of events has remained the same;
• Overall there has been an increase in the number of local promoters operating in
Western Australia and an increase in the number and scale of activities of existing
promoters;
• Over the last three years five new festivals have emerged in Western Australia as
well as a series of new events in outdoor venues such as Kings Park, the Supreme
Court Gardens and the Fremantle and Perth Esplanades;
• At least 3 specialist local music venues have made major investments in upgrading
facilities to take advantage of this increasing industry activity;
• WAM has also seen a major increase in WAMi Festival event audience figures
since 2001;
• Two live venues were surveyed for details of audience figures. In Venue 1, the
Rosemount, live music audience numbers have tripled since 2001 and doubled
since main room renovations were completed in 2002 (based on bar take), with
the venue currently attracting between 3,000 and 5,000 people per month to live
music gigs (local and tours); and
• The second venue, The Amplifier has seen a major increase in audience numbers
for local acts over the last 3 years, especially in 2004. Local acts are booking and
selling out the main room with increasing frequency. The number of touring acts
performing at Amplifier has doubled every year since 2002, although touring acts
are not the main focus of the venue.
“I’ve never seen as many shows – local, national and international – in one
year as in this year and bigger local acts are pulling the same numbers as
national and international tours. Eskimo Joe sold out Amplifier for their
single launch and had to turn away hundreds more…when they came back
to launch the album, they had 1100 in the main room and half that many
again lining up down the street unable to get in! The talent coming out of
WA is just phenomenal and Perth bands have got smarter and savvier in the
marketplace…so they are not perceived as just ‘Perth acts’ anymore, but
national touring acts…”
Jeff Halley, Monster Management.
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INTERIM REPORT
Improved Media Coverage – Radio
There has been a consistent increase in Western Australian music played on national radio.
National airplay charts show that in June 2003 a small number of Western Australian artists
were showing up in the top 25 by genre on alternative formats. However, there were no Western
Australian acts in the Music Network’s Hot 100 or the top 20 Australian artists on radio.
By the end of 2003, Western Australian artists appearing in the top 25 by genre had begun
to cross over into the more lucrative commercial formats of Contemporary Rock, Adult
Contemporary, Nights and Pop, and acts Eskimo Joe, John Butler Trio, The Waifs and Little
Birdy had all entered the Music Network’s Hot 100.
Since June 2003, the number of Western Australian artists’ singles being played monthly on
radio has trebled.
Triple J
Triple J support for Western Australian artists also saw a remarkable increase in 2003 and
2004. New tracks from Western Australian acts are added every month and particular
programs have a large percentage of Western Australian tracks.
Home & Hosed, the Australian Music Show which broadcasts weekday evenings has
featured Western Australian acts heavily throughout 2004. From January to October 2004,
139 separate tracks from 54 Western Australian artists were played a total of 403 times on
the program with 24 interviews with Western Australian acts also receiving air time. On a
number of shows broadcast in 2004, close to 50% of total tracks have been from Western
Australia, often with an interview or live set.
Other programs have also shown strong support on the station include Roots and All who
regularly play unsigned Western Australian artists.
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INTERIM REPORT
RTRfm
Local music focussed RTRfm has seen a steady growth in sponsorship and subscriber
numbers. This is reflected in the recent upgrade to facilities for the station and the move
from its original site in Nedlands to new premises in Mt Lawley. Interest and confidence in
the local music industry has allowed the station to increase its profile and organise bigger
fundraising events such as local music festivals ‘In the Pines’ and the newly created ‘Winter
Music Festival’. RTRfm, with assistance from The Department of Culture and the Arts, has
also employed a local music producer, dedicated to sourcing and programming new local
music and interviews.
Sponsorship
In 2004 the station made $128,099 in sponsorship. In 2005 RTRfm made $223,000.
Figures for 2006 stand at $93,000 until the end of April.
Fundraising
In 2004 the station raised $103,727 in fundraising. In 2005 RTRfm made $130,000 and to
April 2006, the figure stands at $55,310.
Radiothon and listener numbers
In 2004 the station had $196,555 pledged during Radiothon, the annual sponsorship drive,
from 2680 subscribers. In 2005 RTRfm had $212,465 pledged from 2800 subscribers.
As RTRFM does not participate in the ratings surveys, it is difficult to measure listener
numbers, however the figures above indicate that listenership is on the rise.
Local Music
As part of their licence RTRfm are required to play 25% Australian music. At the start of
2005 RTRfm played approximately 10% Western Australian music. This grew to just over
16% by September 2005 and has increased again to 18% in 2006. At the start of 2005
RTRfm interviewed about 20 local bands per month. This increased to 58 local band
interviews per month by September 2005 and this has remained steady ever since. This is
a direct result of the creation of the local music producer position at RTRfm, as funded by
The Department of Culture and the Arts.
1pm and
RTRfm
also3pm.
has a dedicated local music program, Homegrown, every Saturday between
1pm and 3pm.
Harry Smith
Photographer: Paul Richardson
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INTERIM REPORT
Media Coverage – Print Media
•
Street Press
Editors of both X-Press and Groove magazine indicate that there has been an
enormous growth in activity and profile of Western Australian artists over the last
year and press lists on local music web sites support this. Groove’s circulation and
readership has also seen an increase since its inception in 2002. More recently,
Drum media has joined in with a solid percentage of local content.
•
Western Australian Publications
‘Music Today’ Editor, Simon Collins reports that The West Australian newspaper has
significantly increased its coverage of Western Australian artists and music. From
minimal coverage in 2002, ‘Music Today’ now regularly has a Western Australian cover
story and at least one major Western Australian feature. Six Western Australian artists
have had 12 separate ‘Music Today’ covers since June 2003. Western Australian
contemporary music stories have also moved to the general news section at the front
of the paper and into The West Magazine, meaning that overall coverage of Western
Australian music has tripled since 2002.
“…I believe that there are more people getting out to see live music
generally, but especially the bigger local bands – so you see not just the usual
local music audience, but a greater percentage of mainstream punters. There
has been a real hype around WA music over the last year, creating a ‘vibe’
that has got people thinking more about local music as a solid entertainment
option. They walk into local gigs and think Wow! People are waking up to the
fact that they (local acts) really are good – WA music is finally getting the
attention it deserves…”
Simon Collins, 9 November 2004.
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INTERIM REPORT
•
National and Interstate Publications
Since late 2002 many articles have appeared in national and interstate publications
that have seldom, if ever, featured Western Australian artists. These include
most of the major Australian daily newspapers (The Age, The Australian, Sydney
Morning Herald, Courier Mail) and Australian magazines (Audio Technology, Rolling
Stone(Aust), The Bulletin, Instyle, Cleo, Vogue, Who and NW). Many of these articles
have focused on the remarkable range and depth of musical talent coming out of
Western Australia.
“Perth is spewing out contenders for the Future of Rock ‘n’ Roll crown at a
crazy rate…”
Vogue, June 2004.
•
International Publications
From 2003 to 2004 Western Australian artists have been featured and reviewed in
international publications including;
•
•
•
•
•
•
•
•
•
The New York Times (daily circulation 1,136,433);
Billboard (US);
Rolling Stone UK & US (1.3 million in the US alone);
Mojo UK (circulation 114,626);
Uncut UK (monthly 110,015);
NME (UK);
The Face (UK);
Q (UK); and
publications in New Zealand, Spain, Germany, Brazil and Japan.
“As an impartial observer and commentator, I am happy to say that the profile
of WA artists has TRIPLED since September 2002. Look at how many WA
acts got nominated at the ARIA awards! Over here in the East, we can’t stop
talking about the ‘Fremantle Sound”… the amount of WA acts who did well
at this year’s South by Southwest is remarkable too…”
Christie Eliezer, Australian bureau chief for US Music Industry ‘bible’ Billboard Magazine.
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INTERIM REPORT
Media Coverage - Television
Analysis of available data for national television airplay indicates an increase in the number
of Western Australian videos being played on Australian free to air television. Since June
2003, the number of Western Australian music videos played on weekly free-to-air national
television music programs has more than doubled.
Additional research data demonstrates that there has been an increase in Western
Australian artists appearing on prime time television and feature programs including:
•
•
•
•
•
The 7.30 Report;
George Negus Tonight;
Rove Live;
Stateline; and
The Panel.
International Airplay
The number of Western Australian artists
receiving international airplay has also
increased since 2003 and includes John
Butler Trio, The Waifs, The Sleepy Jackson,
End Of Fashion, The Panics, Gyroscope,
Little Birdy, Jebediah, Saritah, The Flairz,
The Chevelles, Dom Mariani, Full Scale,
Last Years Hero, The Fuzz, Carus and
Sodastream.
The Fuzz Photographer: Jacinta Matthews
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INTERIM REPORT
Increased Royalty Revenue from Domestic and International Sales
Since 2002, the Australasian Performing Rights Association (APRA) royalty revenue for
Western Australian artists from domestic sales has increased by 43% compared with
a national average growth of 21.7%. Since 2002, APRA royalty revenue for Western
Australian artists has grown at twice the rate of the national average. Since 2001, APRA
royalty revenue for Western Australian artists’ international sales, as a percentage of the
national total, has increased by 48%.
International Activity
More Western Australian artists are signed to overseas labels or have releases in territories
outside Australia than ever before.
Overseas signings and releases include;
•
•
•
•
•
•
•
•
•
•
The Sleepy Jackson (US and UK);
John Butler Trio (US);
The Fuzz (Japan);
The Chevelles (Spain, Brazil);
Full Scale (US);
Last Years Hero (Japan);
The Fuzz (Japan);
M16s (Eur);
John Butler
Tucker Bs (US); and
Sodastream (US, UK, Japan, Spain, Germany).
Photographer: Kim Tonelli
Music Industry Association Membership
Membership of the West Australian Music Industry Association, (WAM), has grown steadily
since 2001. By 2004, there had been a tenfold increase. This indicates a comparative
increase in industry engagement, collaboration and business acumen whereby musicians
understand the benefits of industry association membership.
“The Western Australian Government has been immensely supportive of WAM
which in its growth and evolution has served the industry well in education,
advocacy, networking, regional initiatives, awards and other programs. It’s
heartening that WA has seen the wisdom in promoting home grown artists at
a crucial festival and business event such as South by South West and the
results are obvious in the high profile, media recognition, sales and progress
of Western Australian acts in the global music market.”
Phil Tripp, Managing Partner Immedia, Publisher Australian Music Industry Directory.
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Touring Activity
Local touring promoters report that touring, including national and international supports
and festivals is an area of marked growth for Western Australian acts with the frequency of
eastern states tours by Western Australian artists at least doubling since 2001. Over the last
2 years touring has increased significantly for three main reasons;
• cheaper airfares;
• increased profile leading to more Western Australian acts being selected to support
national and international tours; and
• the touring support offered to Western Australian acts by the State Government
through The Department of Culture and the Arts.
A monthly diary of activity by Western Australian musicians from June 2003 to November
2004 demonstrates a rise in touring activity including increased opportunities for Western
Australian musicians to tour with international blockbuster touring acts.
The increase in the level of national tours by Western Australian acts whether as headline or support
has been reflected in improved chart position (especially AIR charts) during and post tours.
Looking at the tables within this report it is clear there is a corresponding increase in
sales around March and April 2004, then again in July and August of the same year. The
number of video clips shown on television increases in March and April, and again in
September. Similarly radio airplay and the number or singles in the Music Network’s Hot
100 peak in April of 2004 and also around September.
“In general the audience that has gone to see a WA band in the last year is
dramatically larger than at any time in the past and the frequency of ES tours
by WA artists has at least doubled and probably tripled since 2001. Most
entry level bands only earn about $200 per gig, so it takes a long time to save
to record, promote and tour a release. A $5000 touring grant can save a band
six months and get them on the road while a release is still fresh. In terms of
radio airplay and profile that timing is everything…”
Heath Bradbury, Manager of four WA acts: Jebediah; Bob Evans; El Horizonte; Rhibosome.
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Future Directions
The Interim Evaluation has established a trend of industry growth and established base data
suggesting that the Western Australian contemporary music sector is more buoyant than
ever before. The provision of base data provides a means to establish a comprehensive
evaluation framework. This will enable the Department of Culture and the Arts to further
measure the direct impact of the Contemporary Music Program. It is proposed that the final
evaluation build on the data and monitoring mechanisms of the Interim Evaluation, tracking
measurable trends against key indicators and within defined measures.
Data tracking options
Print Media Monitoring
There are several options with regards to future tracking of media articles however the
difficulty lies in narrowing the scope of the search for it to be effective as the process relies
on a keyword search.
Information was sought from two Media Monitoring Companies with appropriate services.
Retrospective monitoring costs between $40 and $100 per hour and are restricted to
searches within the company database. As many of the desired publications are not
included in this database, this process is not recommended. Ongoing monitoring costs
approximately $340 per month plus a fee of between $2.60 and $3.50 per summary. The
summaries are provided weekly via email and search parameters can be tailored to include
specific music industry publications and the internet, as well as general print and electronic
media. This would be likely to cost approximately $6,000 per year.
All major newspapers and publications have archives accessible by paying search fees
of between $40 and $100 per hour. Newstext, Australia’s largest and most accessible
newspaper database, contains nearly 30 million articles from over 150 News Corporation
newspapers worldwide and most articles published in News Limited’s papers in Australia
since 1984.
Local street press Australia wide have hard copy archives, however physical searches are
time consuming.
Radio and Television Monitoring
Information is available through The Music Network (Industry subscriber Charts Magazine),
this includes: Radio additions, plays, charts and formats; and Television appearances
including stories, performances, video clips and uses as background music.
Charts
ARIA (aria.com.au) and AIR (air.org.au) charts are available on their websites and show
information by singles, albums and genre.
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Arts Monitor Report 2005; Patterson Market Research; April 2005
“During 2001 the Department of Culture and the Arts ran a series of questions in a telephone omnibus survey in order to monitor key elements and indicators of the Arts and
Culture industries. The Department commissioned Patterson Market Research to complete
iterations of the Arts Monitor in 2003, 2004 and again in 2005.
Attendance of a popular music concert was at 32%, an increase of 5% compared to 2004
and an increase of 9% on 2003.”
Between 2003 and 2004 there was a 5% increase in the number of people attending a WA
original music performance in the last three months, and a 6% increase again in 2005 to
take it up to 22%.
The number of purchases of WA local music recording in the last three months went up
from 5 to 15% with the Waifs, John Butler and Little Birdy making up the majority of artists
sold.
Little Birdy Photographer: Darren Mok
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case
★
studies
The Chevelles P A G E
PAGE
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End of Fashion
Gyroscope
PAGE
57
48
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L i tt l e B i r d y
Above: Little Birdy Photographer: Darren Mok
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The Chevelles
Contemporary Music Grant: Touring
Application no:
96125
Amount:
$19,268
Granted:
11 March 2003
Purpose:
A 22-day promotional tour to America and Brazil in support
of the group’s newly released album “Girl God”
The Chevelles
Background:
Formed over 10 years ago, The Chevelles are a band virtually ignored by Australian radio
but, like a number of other Australian power pop acts, have found a market in Europe,
South America and the United States.
The band has released four albums in Australia, two in the United States, three in Spain
and one each in Brazil and the United Kingdom. Solid representation from labels in Spain,
Brazil and the United States is consolidating their current success and has increased
existing audiences in these territories allowing for expansion into new territories.
The release of the band’s most recent album “Girl God” in 2002 stimulated a number of
new developments prior to the proposed tour. Six tracks from the album were added to the
MTV internationally syndicated shows “Fraternity Life “ and “Sorority Life” and the single
“C’mon Everybody” was included on a CD compilation given away free with every Sony
Discman purchase around the world from October 2003 – a total of five million copies.
Zip Records (US) secured the placement of “Girl God” in the Tower Records chain of stores
across the United States and Tronador, the band’s Brazilian label, issued a compilation
featuring the track “Angelina Jolie” from “Girl God” free with 30,000 copies of the Brazilian
surf magazine “Hardcore”.
Six “Girl God” tracks were also featured in a number of Brazilian surf videos and the album
received airplay in Spain, Brazil, Scandanavia, the UK and the US, including KROQ FM’s
(LA) Rodney Binganheimer, one of the America’s most influential and popular broadcasters.
The internationally syndicated “Little Steven’s Underground Garage” and “Cherry Bombs”
on Liquid London also featured the Chevelles making it an excellent opportunity to tour and
capitalise on the international media interest.
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Activity:
The Chevelles booked 14 shows as part of their tour, six in the United States, five shows in
Brazil and three in Spain. The Department of Culture and the Arts support was sought for
contribution towards travel costs.
Outcomes:
The United States
This was the first North American tour for the band and the shows were at well-known
inner city clubs with audiences of approximately 200 – 500 people per show. In addition,
meetings were held with a range of industry personnel including representatives from Tower
Records, Burnside Distributors and the International POP Overthrow Festival, which brings
together around 200 pop acts from around the world and is held in eight states across
America and, more recently, in England.
Press coverage was extensive including general print media and a range of industry and
online media websites. On air interviews and airplay included five major US stations and the
tour was promoted internationally on “Little Steven’s Underground Garage” radio show.
The US shows provided an opportunity for the existing fan base and industry representatives
to finally see the band perform live and for The Chevelles to demonstrate their commitment
to promoting their new release, now on US record store shelves.
Brazil
The Chevelles have previously toured Brazil where they have a burgeoning fan base and
solid support from their label Tronador. The five Shows on this tour were at well-known
clubs with audiences of 500 – 800 per show.
Media Coverage included Surfing Magazines such as Venice, Hardcore, Fluir and
Boardsport Observer; Street Press such as Rock Press and Trip; and newspapers
including Folha de Sao Paulo, Esrado de Sao Paulo, Correio de Povo, Zero Hora and Diario
Catarenese. Live interviews were conducted with radio stations Ipanema (Rio), PopRock
(Rio), Atlantida (Sth Brazil), MIX (Sao Paulo) and 89Rock (Sao Paulo).
Spain
The band’s original intention had been to tour only Brazil and the United States, but after
some logistical difficulties with the Brazil leg of the tour and the opportunity to play in Spain
becoming available, the band decided to include the additional dates.
The Chevelles have toured Spain previously and the shows there this time around served to
build on their profile in a region where the band has continued support from a consistent
and loyal fan base and label representation. Despite doing the shows at short notice,
coverage was received in print and electronic media and the three shows sold out at
presale, with audiences of 300 – 500 per show.
Though they were only in the country for four days, the band was able to meet with key
industry contacts such as DOC Music, Love To Art Touring and Bittersweet Records where
they built on existing business relationships and discussed plans for future expansion into
emerging markets in Chile, Argentina and Portugal.
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Further Developments:
• The band have sold over 5,000 copies of “Girl God”, with only a few hundred of
these being Australian sales.
• Tronador have released a 15 track version of “Girl God” in Brazil, re-pressed
“Delirium” a 20 track ‘best of’ and included a Chevelles track on the compilation
“Aussie Surf Music” Volume Three.
• “Girl God” tracks were play-listed on a number of stations across the United States
and on Trash Surfin’ Radio, the world’s largest internet radio network.
• The Chevelles were invited to tour Chile and Argentina in April 2005, performing
Australian Embassy shows as well as club dates.
• “Girl God” received increased airplay in Japan, with 500 copies sold through
import in the last 12 months.
• A feature on The Chevelles was published in The West Australian Newspaper
Magazine following the tour.
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CASE STUDY:
END OF FASHION
Original Grant:
Contemporary Music:
Application No:
Amount:
Granted:
Purpose:
Quick Response
96822
$5,000
16 January 2004
End of Fashion Photographer: Tony Mott
To enable End Of
Fashion to travel to
the South by South West Music Festival and Conference
and to the UK for showcase performances.
Subsequent Grants:
Contemporary Music:
Application No:
Amount:
Granted:
Purpose:
Touring
97608
$12,260
21 January 2005
Undergo an Australian tour to support the first single release
from the forthcoming “End of Fashion” debut album
Contemporary Music:
Application No:
Amount:
Granted:
Purpose:
Quick Response
98606
$10,000
30 January 2006
Attendance at South by South West Music Festival and
Conference in Austin, Texas.
End of Fashion
Background:
End Of Fashion formed in 2003 after main members Justin Burford and Rodney Aravena
left The Sleepy Jackson to form their own band.
The teaming up of Burford, an accomplished songwriter, Aravena, a respected producer
at the now famous Debaser studio in Fremantle (Producing artists such as Eskimo Joe,
Little Birdy, The Sleepy Jackson, The Avenues and Steve Parkin) and Vanessa Thornton of
Jebediah led to an immediate interest in the band and consequently a management deal
with Bill Cullen at One Louder Entertainment (Music Managers Forum, Manager of the Year
2002) was signed.
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Their first track “Rough Diamonds” was included on the 2003 WAMi compilation and was
given extensive national airplay on Triple J and community radio prior to release. Their
1st official single “Anything Goes” was added to high rotation by Triple J in it’s 1st week of
release in November 2003 and was the 15th most played track on alternative radio formats
across the country by December 2003. The video for “Anything Goes” began national
airplay on Rage in December 2003 and the band was also featured as one of Triple J’s ‘next
crop artists’ in 2003, giving them extensive additional national coverage.
Their manager, Bill Cullen travelled to the UK in July 2003 to undertake meetings for all
artists managed by One Louder. He received an overwhelmingly positive response to the
End Of Fashion demos in particular and came away with a firm offer from Island Records
to release a “Rough Diamonds” single. Labels and management contacted by One Louder
in the US had also expressed interest in hearing further recordings and seeing the band
perform live.
In February 2004, End of Fashion supported Little Birdy on their first national headlining
tour. The band then signed a one EP deal with independent label Hello Cleveland for their
debut 4 track release “Rough Diamonds/Anything Goes” (released March 1, 2004) and
prior to the South by South West Music Festival and Conference (SXSW), had received
strong interest from a number of major labels, particularly EMI.
Consequently, travelling to the United States for SXSW was timely and capitalised on the
momentum the band had created.
Activity:
End of Fashion were one of only 20 Australian acts, of 200 applicants, invited to perform
at SXSW in December 2003. End Of Fashion decided to incorporate two further showcase
performances in London to take advantage of industry interest whilst overseas. Support
from The Department of Culture and the Arts was sought for contribution to airfares.
Their original intention had been to travel to SXSW to attract an international record
deal, however this changed only days before the band departed when they signed an
unprecedented worldwide deal with US-based Capitol Records (EMI). Focus then shifted to
securing a publishing deal and international agency representation.
Outcomes:
End of Fashion performed at three SXSW events and played two of their own in London to a
total of approximately 1,000 people, including industry guests and the public.
The SXSW performances included the Australian Music Collective’s Aussie Barbecue and
the WAM Showcase, both part funded by The Department of Culture and the Arts. These
two performances were the major draw-card for audience numbers at SXSW and played a
crucial role in the success of the tour and in the consequent publishing deal signed by the
band upon their return to Australia.
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Showcase events can be extremely busy and have the potential to expose a band to a wide
variety of relevant industry people. Meetings for End of Fashion were held with a wide range
of industry personnel including BMG, Roadrunner Records, the head of TVT Records, Epic,
an ITB Agent, Helter Skelter and the Editor for US Rolling Stone. The band also met with
Paul Lennon a UK Lawyer, Fred Davis (son of legendary Clive Davis and US lawyer who
loved the band and offered to represent them in the US), Stage 3 Publishing, Spirit Music
Group, Sarah Waddington (a UK lawyer who has represented the band previously), Thom
Russo (US Record Producer for Johnny Cash who expressed interest in producing the
album), Mark Wallis (UK Producer including the Go Betweens, Talking Heads, The Las, The
Stranglers, Travis, U2, Joan Armatrading, Iggy Pop) and Steve Lironi (UK Producer for Black
Grape, the Happy Mondays, Bon Jovi and the Fun Loving Criminals).
Press coverage was received in a range of print media including the New York Times, Austin
Chronicle, NME, The Fly, The Daily Telegraph, Lucky Mag, Drum Media, and on a large
number of industry and online media websites. A live interview was also conducted with
Channel [V].
On their return from SXSW, the band had to decline recording offers from US-based
labels Interscope, A & M and Epic. Publishing offers were made by EMI, BMG, Universal
Publishing (both UK and Australia), Sony ATV Publishing and Festival Music Publishing.
In May 2004, two months after the The Department of Culture and the Arts funded trip to
SXSW, End Of Fashion signed a worldwide publishing deal with EMI.
The significant cash advance from the publishing contract has allowed band members to
recoup substantial debts incurred in initial recording, development and touring endeavours.
The trip also allowed for extensive development of One Louder’s professional network in the
US and UK, vital to the band’s future activities and success in these territories.
Following the band’s return from SXSW, “Rough Diamonds” crossed over onto commercial
radio formats and in April 2004 was the fifth most added single to Contemporary Rock radio
formats and the 14th most added single to all radio. The single also received airplay on
Video Hits, VH1, V and MTV, entered the top 20 most ordered Australian singles and was
included in the Triple J ‘Home and Hosed – Freshly Plucked’ CD compilation.
End Of Fashion, along with Little Birdy, also played at the Triple M Garage Session at North
Cronulla Beach and on Rove Live. The band are included on the annual Homebake 2004
lineup and played a sold out show in Tokyo, Japan. The four track EP “Too Careful” was
added to high rotation on Triple J and the video was added to Rage.
End of Fashion also headed to Oxford, Mississippi, in the United States to record their debut
album with Denis Herring as producer (also produced Modest Mouse, Sparklehorse and
Elvis Costello).
In March 2005 they received a further $12,260 to undergo an Australian tour to support the
first single release from debut new album. The album was released in September 2005 and
was immediately made Triple J’s feature album receiving daily national airplay. In March
2006 the band received $10,000 to accept a second invitation to South By South West.
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CASE STUDY:
GYROSCOPE
Original grant
Contemporary Music:
Application no:
Amount:
Granted:
Purpose:
Commercial Development
95887
$8,500
11 September 2002
Tour to capitals and regional centres in WA, QLD, NSW, VIC
& SA to promote the band’s new EP.
Subsequent grants
Contemporary Music:
Application no:
Amount:
Granted:
Purpose:
Quick Response
97676
$10,000
31 January 2005
Attendance at South by Southwest Music Festival and
Contemporary Music:
Application no:
Amount:
Granted:
Purpose:
Quick Response
98613
$10,000
27 January 2006
Attendance at South by Southwest Music Festival and
Gyroscope
Gyroscope Photographer: Matt Anthony
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Background:
Forming in Perth as Gyroscope Sunday in 1997, Gyroscope immediately commenced an
heavy gigging schedule, becoming known for their tight and energetic live shows. The band
reached the state finals of the Campus Bands Competition in 1998 and 1999 and in April
2000 they released their debut independent EP Scalectrix.
In late 2001, Gyroscope toured with national and international acts including One Dollar
Short, Sommerset, 28 Days, Antiskeptic and Motor Ace as well as performing at the Perth
Big Day Out in early 2002. Their 2001 WAMi performances impressed representatives from
EMI and Festival Mushroom Records (FMR) and in March 2002, EMI boss Tony Harlow
invited the band to perform at two Sydney showcases with the newly signed Eskimo Joe and
The Sleepy Jackson.
In May 2002, Gyroscope released the five track EP “Take Time” through Redline/Shock
Records and commenced a national tour supporting Jebediah throughout July and August.
Band Manager Matt Anthony received The Department of Culture and the Arts funding to
attend the Music Managers Forum Short Course in October 2002 in Sydney and whilst there
continued talks with EMI and FMR. Talks with FMR were particularly successful and they
released an EP, the six track “Midnight Express”, in May 2003 prior to a national tour in
support of 28 Days.
Activity:
Gyroscope received funding to tour Australia, doing 25 dates nationally from May to July
2003. The tour included capital and regional centres in all states, including 15 dates in
support of 28 Days and 10 headlining gigs.
Outcomes:
Following the tour, Gyroscope signed a worldwide recording deal with FMR. Importantly, the
deal allowed a development period to build the national profile of the band prior to a debut
album release. The deal included recording, videos, marketing, promotion, touring and
legal support for a series of singles and EPs.
“Our tour with 28 Days was vital to the deal in that it demonstrated to FMR that we
could hold our own against a nationally successful touring act, and that the band and
management were solid and could exhibit professional behaviour. It also gave record
company execs, including those in publishing, multiple opportunities to see the band in the
best possible light.” Matt Anthony, Gyroscope Manager.
Upon release, “Midnight Express” was added to high rotation on Triple J and ABC’s Fly TV.
The “Midnight Express” and “Fire Away” videos were added to Rage and received regular
airplay over the next five months; “Midnight Express” was also added to MTV.
The band continued to work on building national profile, with a constant schedule of touring
over the next year, taking breaks only to record new releases. In August 2003, Gyroscope
went on a national tour in support of Antiskeptic doing 17 shows to approximately 3,000
people. In September they released the four track EP “Doctor Doctor/Driving For The
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Storm” on FMR and both tracks were added to high rotation on Triple J. In the same
month, “Midnight Express” entered the top 25 most played singles on alternative radio
formats.
In October 2003, the band played four shows nationally to support Less Than Jake from
the United States to approximately 4,000 people and then continued on to support The
Living End on their national tour until December. This tour included 32 shows in metro
and regional centres from WA to far north Queensland and audience numbers totalled
approximately 16,000 people. Gyroscope also performed at the Rock-it festival to 12,000
people. The single, “Doctor Doctor” entered the top 25 most played singles on alternative
radio formats and remained there throughout October and November.
In January 2004, they continued touring with Thursday (from the United States) and played
Punkfest in Melbourne and the Perth Big Day Out. In February, the single “Doctor Doctor”
was voted as number 92 in Triple J’s Hottest 100, an annual listener poll of the top 100
releases internationally.
A national tour with American band Blink 182 followed with three shows to approximately
24,000 people and their single “Safe Forever” was the second most added and number
one most played track on alternative format radio stations Australia-wide. The video was
also played on Rage, Video Hits and MTV. The band continued touring with shows at
the Margaret River Masters and a national tour in support of the Get Up Kids (US) to
approximately 10,000 people.
By June 2004, Gyroscope released their debut album “Sound Shattering Sound” on FMR
which debuted at number 38 on the ARIA albums chart and was amongst the top 20 most
ordered Australian Albums until October. In support of this, the band began their first
national headlining tour including 17 shows in five states, selling out all capital city shows.
The touring continued for the band, supporting Dashboard Confessional from the United
States and Blink 182 on their second tour of Australia to approximately 100,000 people.
The band also played a sellout headline show at the Corner Hotel in Melbourne and the sell
out Homebake Festival in Sydney.
Significantly, Gyroscope crossed over into commercial radio with “Confidence In
Confidentiality” played on 96FM, Triple M and Nova networks. Their constant touring with
high profile national and international acts also led to some ongoing opportunities including
airing as background music on Burke’s Backyard and Sports Tonight. In addition, the
band signed sponsorship deals with Macbeth and Atticus clothing companies, featured
on the Macbeth promo DVD played in skate and surf stores across the United States and
the Atticus compilation CD. The band also were involved with Telstra BigPond Music and
released a free EP to BigPond customers who bought the album online through BigPond.
“Safe Forever” was also included on Triple J’s “Home & Hosed – Freshly Plucked”
compilation CD in October.
Finally, Gyroscope signed a worldwide publishing deal with Roger Grierson, Chairman
of Festival Mushroom Group, with a significant cash advance. They received a further
$10,000 from The Department of Culture and the Arts to attend the South by South West
Music Festival and Conference in 2005 and again in 2006.
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CASE STUDY:
LITTLE BIRDY
Original grant:
Contemporary Music:
Application no:
Amount:
Date:
Purpose:
Production
96454
Little Birdy Photographer: Darren Mo
$14,000
10 July 2003 (album released in October 2004)
To contribute to cost of recording Little Birdy’s debut
full length album.
Subsequent grants:
Contemporary Music:
Application no:
Amount:
Date:
Purpose:
Quick Response
96687
$5,000
10 September 2003
Undertake an East Coast Tour in support of Alex Lloyd and
performances at the Livid Festival in all cities, plus headline
gigs Oct - Nov 2003.
Contemporary Music:
Application no:
Amount:
Date:
Purpose:
Quick Response
97135
$5,000
12 May 2004
Little Birdy to perform support for Dissociatives’ first National
Tour June - July 04.
Little Birdy
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Background:
Little Birdy formed in Perth in early 2002 and later that year began working with renowned
promoter and manager Phil Stevens (Jazz Dive, Mojos, The Waifs, John Butler Trio). In
October of that year they released their self-titled debut EP, which spent ten weeks at
number one on the AIR charts. Two tracks from the EP were voted into the Triple J’s Hottest
100 end of year listener poll and led to the band being named by Rolling Stone magazine as
one of their ‘top 10 artists to watch’.
By July 2003 the band had signed to independent label Eleven, who also work with
Silverchair and they received $14,000 from The Department of Culture and the Arts to
produce a debut full-length album to be released in October 2004. In August 2003, Little
Birdy played their first Eastern States gigs and the single “Relapse” was offered as a free
mp3 on the Triple J website where more than 10,000 people downloaded it. “Relapse”
received wide airplay on alternative radio formats and on Rage, Video Hits, MTV and
Channel [V]. In September, “Relapse” was featured on Nova FM’s ‘WA Made’ radio program
- beginning their cross-over into commercial radio - and the band headed to the UK and the
US to play showcase gigs in London, Los Angeles and New York.
With the Quick Response grant in September 2003, Little Birdy were able to capitalise on
the success of “Relapse” and tour the eastern states in support of Alex Lloyd. The band
were also able to play the Livid Festival in Sydney, Melbourne and Brisbane as well as their
own headline gigs. Celebrated Australian musician, Paul Kelly saw the shows and invited
the band to perform with him on his national tour.
Activity
Little Birdy received $5,000 towards an eastern states tour including: four Alex Lloyd
shows, nine headline shows, the Livid Festival in Sydney, Melbourne and Brisbane and
three shows with Paul Kelly from October to November 2003.
The band received support to tour with The Dissociatives nationally in June and July 2004.
In October 2004, Little Birdy released their debut “BigBigLove”, a 12 track album recorded
at Big Jesus Burger Studios in Sydney, produced by Paul McKercher (also produced Eskimo
Joe, You Am I, The Cruel Sea and Augie March) and released (CD & vinyl) on the Eleven
label and distributed through EMI.
Outcomes:
The Alex Lloyd shows had a total audience of approximately 5,000 people and the Paul
Kelly shows totalled 4,000 while the three Livid Festival performances saw Little Birdy
playing to a total of 60,000 people.
Due to the international significance of the Livid Festival, media attention for this tour was
wide, including; Rolling Stone, Courier Mail, Sunday Mail, Sydney Morning Herald, Inpress,
Brag (cover) and over 15 local print and international web based publications. Rip It Up,
3d radio, Nova FM and various other Melbourne and Perth press, radio and television media
also picked them up, including a live performance screened on Channel [V].
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After seeing one of the shows, Paul Kelly invited the band to join him for three shows in
Melbourne and Sydney. He was so impressed by those performances he asked Katy Steele
to guest at his Sydney Opera House show on January 27th 2004, which was recorded
for Music Max pay TV and DVD release. The DVD was later given away inside Sunday
newspapers in each state.
Little Birdy were also invited to play at the Australian Music Development Initiative “New
Music To Radio” Showcase in Sydney in October. After seeing their performance, the
Director of the Nova network included “Relapse” on all Nova playlists around the country.
Subsequent to this October/November eastern states tour, the band were invited to perform
at the Homebake Festival in Sydney in December and to join the Dissociatives’ first national
tour in 2004. The band played 16 shows to a total audience of approximately 35,000
people and received wide media coverage in daily newspapers, street press and other
publications including Rolling Stone, Instyle, The Age and the Sydney Morning Herald.
The Dissociatives tour established the Little Birdy’s profile and this was clearly reflected in
the number of radio adds in all touring centres and increased CD sales. By October 2003,
the “Little Birdy” EP had entered the ARIA singles chart at number 27 and debuted at
number two on the AIR singles chart. It climbed to number one after just one week and
then spent 10 weeks at number one, remaining in the top 5 until March 2004, when their
next EP “This is a Love Song” was released.
“Relapse” was in the top 20 most played singles on alternative radio and “Baby Blue” was
the number one most added single to alternative format radio. The video for “Baby Blue”
was also added to Rage, Video Hits, MTV and Channel [V].
In January 2004 Little Birdy headlined the ‘Local Produce’ stage at the Perth Big Day Out
and were named “one of ten bands to watch in 2004” by Rolling Stone. They also received
nominations for “Best Female Performer” and “Best Newcomer” in the inaugural Jack
Awards.
In February 2004, the band’s first headlining national tour sold out in all capital cities,
20 shows to total audience of 20,000 people plus a substantial audience at the St Kilda
Festival.
By March 2004 Little Birdy had signed a deal with Eleven for a second EP and three
albums. “This Is A Love Song” was released and entered the ARIA singles chart at number
22 and the AIR chart at number three. Katy Steele also received the inaugural Jessica
Michalik Contemporary Music Endowment (donated by The Big Day Out) of $10,000 at the
2004 APRA Music Development Awards.
Little Birdy were invited to play at the Triple M Outdoor Garage Session with End of Fashion
at North Cronulla Beach in Sydney and received an ARIA nomination for “Breakthrough
Artist Single” for their single “Relapse”. Subsequently they were announced as support for
the long awaited REM Australian Tour and the national Big Day Out tour both in 2005.
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CASE STUDIES
“BigBigLove” entered the ARIA albums chart at number five and the AIR albums chart at
number three. It was the Triple J feature album, receiving extended national airplay. In its
first month, the album was the number one most ordered album and was certified Gold,
which translates to 35,000 copies sold. The band commenced a national tour on the back
of the album with 18 shows to more than 10,000 people.
Most shows sold out, including iconic venues Sydney Metro (capacity 1,200), the Corner
Hotel in Melbourne (capacity 850) and an unprecedented sell out show at Metropolis in
Fremantle with 900 people at the launch. This clearly demonstrates for the first time the
unprecedented level of interest and support for local music in Western Australia.
Singles from the album also have enormous success with “This Is A Love Song” jumping to
number three on AIR singles chart and “Beautiful to Me” the 11th most ordered Australian
single being played on Rage, Video Hits and Channel [V]. The Little Birdy website had
2,600 hits in the first week of the album’s release, averaging more than 400 hits per day
and the band are featured on an ABC Stateline story “The Fremantle Sound” about WA
ARIA nominees as they are nominated for the 2004 Breakthrough Artist – Single for Relapse
and Katy Steele is a presenter.
Little Birdy were announced in the first round of bands to play The Big Day Out 2005 and
received $10,000 to attend South by South West Music Festival and Conference in 2005.
Little Birdy have spent the past few months at Fleet Studios working on new material and
demo music for their second album and have travelled to Los Angeles to work with producer
John King. John King who, as part of the legendary production team the Dust Brothers, has
produced some amazing music and albums including ‘Odelay’ by Beck, ‘Paul’s Boutique’
by the Beastie Boys and the Fight Club Soundtrack.
60
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UPDATE
ON
THE
Indig
Indigenous
contemporary
music
✩ STRATEGY
61
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UPDATE ON THE INDIGENOUS CONTEMPORARY MUSIC STRATEG
Update on the Indigenous Contemporary Music Strategy
In 2002, following consultation with Indigenous members of the Contemporary Music
Taskforce, a special allocation of $500,000 from the Contemporary Music Program was
set aside to provide targeted support for Indigenous Contemporary Music. This occurred
in recognition of the fact that while Indigenous musicians faced the same challenges as
the rest of the industry, particularly regional musicians; there were additional hurdles to
overcome. A lower level of access to infrastructure and skills development across the board
particularly impacted on Indigenous musicians’ capacity to pursue successful careers. At
the same time, a growing proportion of applicants to the Department of Culture and the Arts’
Indigenous Arts Panel were musicians and there was a growing demand for support for the
Indigenous music sector.
In 2003, the Department of Culture and the Arts (DCA) convened an Indigenous Music
Reference Group to identify the priority areas for expenditure of the funding. The
Department also sought the assistance of the Reference Group with the development of the
Indigenous Contemporary Music Strategy (ICMS).
The ICMS was completed in 2003. Its aim was to support initiatives that facilitated long-term
change in the area of Indigenous Contemporary Music through strategic partnerships and
program initiatives not available through existing DCA funding. The sector was encouraged
to continue to access existing DCA programs in addition to the ICMS. The ICMS priority
areas for funding were confirmed by the Reference Group as follows:
•
•
•
•
•
•
Music in schools;
Opportunities for women;
Mentorship programs;
Skills development;
Programs in remote areas; and
Developing infrastructure.
In 2003 DCA commenced implementation of the ICMS with the allocation of funding to pilot
projects that addressed one or more of the ICMS priority areas. In February 2006, DCA
completed further consultation with the sector. Consultation included the identification of
priority areas, presentations of ICMS pilot programs to date, and an overview of a proposed
Indigenous Music Business Unit Model Music Stick.
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Program funding allocations of the ICMS from 2003 to October 2006
are as follows:
$75,000
$25,000 per annum 2003-05 for the West Australian Music Industry
Association (WAM) Indigenous Program (salary for part-time officer)
$4,692
Funding for WAM’s inaugural Indigenous Roundtable 2005
$10,000
Funding for WAM’s Indigenous Roundtable 2006
$40,000
Funding to Goolarri Media Enterprises for Stage one of remote music
business and development workshops in remote Kimberley communities
2005
$39,480
Funding for Mantamaru community six week pilot skills development
workshops involving Jamieson school, band and community 2005
$11,772
Funding to the Perth International Arts Festival for the employment of an
Indigenous trainee contemporary music producer 2005
$1,800
A train-the-trainer model in partnership with Abmusic in November 2003,
delivered by Bob Smith and Richard Walley
$10,000
A series of song-writing writing workshops in the Kimberley with
Neil Murray and Peter Brandy in July 2003
$5,100
A workshop on recording with Morganics, now receiving airplay in the
Pilbara, with young people from Jigalong and Newman
$10,000
A Professional Development Project currently with Bloodwood Tree
Association staff and committee members to develop a strategic plan of
the Ninji Ninji Festival
$18,640
Funding to consultants Sustainable Development Facilitation to complete
Business plan for the Indigenous Contemporary Music Business Unit in
consultation with the sector. ($10,000 of funding was provided by the
Office of Aboriginal Economic Development and not DCA funding)
$20,000
Funding to WAM for an Indigenous Contemporary Music Database to be
utilised by the Indigenous Contemporary Music Business Unit Model
$150,000
Funding of $50,000 to WAM, Abmusic and Goolarri for the delivery of the
Indigenous Contemporary Music Business Unit Model, 2006 – 2008
$30,000
Broome Aboriginal Musicians Association to implement a three-day
intensive ‘train-the-trainer’ skills development workshop with Kimberley
musicians
$47,920
Ngaanyatjarra Media Association to develop a music strategy for the 16
communities of the Ngaanyatjarra Lands involving a 16-week project to
review, map and plan for the development of music in the Lands
$12, 517
Oombulgurri School to deliver a one-week music skills program to school
groups and community members.
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Snapshot of some of the projects funded through the Indigenous
Contemporary Music Strategy
West Australian Music Industry Association’s Indigenous Program
The Indigenous Program at WAM includes developing Indigenous music and making
WAM programs more accessible to Indigenous musicians. The focus of the program is
on providing services to Indigenous musicians across all of WAM’s program. In addition,
WAM have recently completed an Indigenous database which will be used in the delivery of
the Indigenous Contemporary Music Business Unit. To assist in the delivery of successful
outcomes, WAM has also developed a protocols and procedures guideline for use with
working with Indigenous people.
Jamieson Skills Development Project
Planning for the Jamieson skills development project began in 2004. At the time, the
Jamieson community had no access to facilities or experience of funded arts projects and
the pilot project highlighted the difficulties delivering programs to remote areas. The skills
development project involved a 6-week music program delivered in 2 phases by musicians
Lorrae Coffin and David Hyams.
The project involved a number of workshop programs including a women’s group who were
very committed to gospel and sang/recorded songs in language and a group of 15-17 year
old girls worked with the ‘Garage Band’ program, recording, mixing and producing 9 songs
on CD.
Ngaanyatjarra Lands Music Strategy
In July 2006, Ngaanyatjarra Media Association (NMA), Wingellina, in association with
Mantumaru (Jamieson) received funding of $47,920 to develop a music strategy for the 16
communities of the Ngaanyatjarra Lands involving a 16-week project to review, map and
plan for the development of music in the Lands.
The proposal has strong support from the Ngaanyatjarra Council and is linked directly to
a Shared Responsibility Agreement. The proposal builds on a number of DCA funded
programs including a 2005 Ethnic Media Program Grant of $41,000 for the installation of
television broadcast equipment to eight Indigenous communities and a six-week music skills
development project in Mantumaru funded through the ICMS in 2005.
Goolarri Media Enterprises: Kimberley Contemporary Music Workshops
PHASE ONE
Goolarri Media Enterprises delivered Phase One of the Indigenous Music Workshop Tour.
Aimed to develop and enhance skills in music and business knowledge of Indigenous
performing artists in the Kimberley. Communities included Beagle Bay, Djarindjin,
Lombadina, One Arm Point, Derby, Fitzroy Crossing, Halls Creek, Kununurra, Bidyadanga
and Broome.
Workshops included, music skills (practical, theoretical & industry related, including
marketing, promotion and distribution), performance preparation, stage preparation and
presentation, equipment maintenance and access to personnel and professional resources
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Outcomes achieved included an ongoing interest
for music developed in communities where a music
program is not already established; refinement of
performance skills of emerging artists, exposure of
musicians and their work through performances during
the Family Concert Tour, and knowledge/access to
agencies in regards to funding.
The Pigram Brothers Photographer: Helene Jedwab
Some of the important lessons learnt through this process include the need for ongoing
support and training, individuals in communities also require further support to benefit the
community as a whole, each community needs programs to meet its specific needs and
more resources are required for this program to progress as Goolarri’s program could only
introduce, inspire and allow participants gain basic skills.
PHASE TWO
In July 2006, Broome Aboriginal Musicians Association through its administration arm,
Goolarri Aboriginal Media Association received funding of $30,000 to implement Phase Two
of the Skills Development Program. Phase two involved a three-day intensive ‘train-thetrainer’ skills development workshop with Kimberley musicians.
A musician from each of these communities participated in an intensive three-day ‘trainthe-trainer’ workshop in Broome, September 2006. The workshop was delivered by highly
skilled music professionals including local Aboriginal people and invited specialists.
Implementation of the Indigenous Contemporary Music Business Model
The Indigenous Music Business Unit Model was the result of a jointly funded (Department
of Culture and the Arts and the Office of Aboriginal Economic Development) business
planning process where consultants Sustainable Development Facilitation developed the WA
Music Stick Business Plan 2006-2009.
Sector consultation confirmed the following priority areas for implementation:
1. Skills development programs in regional and remote areas;
2. Business and infrastructure support for Indigenous musicians through the
Indigenous Business Unit or similar model; and
3. Mentorship and/or scholarship opportunities for emerging musicians.
In March 2006, following sector endorsement of the Indigenous Contemporary Music
Business Unit Model (ICMBU), the Department invited the three main industry
stakeholders, Goolarri Media Enterprises, Abmusic, and the Western Australian Music
Industry Association to discuss implementation of ICMBU. The Model had proposed that
the unit develop closer working relationships between WAM, Goolarri and Abmusic through
the establishment of a Music Marketing co-ordinator to be housed within DCA. The Coordinator’s role was to enable musicians to access services specific to each organisation and
access funding and market development opportunities at a state and national level.
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The meeting confirmed that the organisations were supportive of the aims of the ICMBU but
considered that the objectives could be more effectively delivered through the following:
1. Improved collaboration between each organisation which the organisations
acknowledged had not previously existed
2. A coordinated approach to delivery of specific strategies of the ICMBU with an
allocation of specific funding to each organisation charged with the delivery of
specific strategies.
As a result of the meeting, the organisations agreed to develop a tripartite business plan
addressing the delivery of ICMBU objectives over a two year period, 2006-08 with a detailed
recommendation of required funding for each organisation to ensure delivery of agreed
strategies. DCA has committed $150,000 over two years towards the delivery of the ICMBU
objectives.
In June 2006 a tripartite business plan for the delivery of the ICMBU was submitted to
the Department. The proposal represents significant progress within the Indigenous
music sector and has necessitated an unprecedented partnership approach by all three
stakeholders. The business plan is underpinned by a Memorandum of Understanding
between the three organisations and its delivery is supported by an Indigenous Reference
group. The plan outlines joint strategies and agreed targets assigned to each organisation to
achieve the following objectives:
• Enhance performance skills and knowledge of Indigenous musicians to prepare
them for the state, national and international markets.
• Provide opportunities for musicians in a professional capacity at a state national
and international level.
• Develop and provide marketing and promotional opportunities for Indigenous
musicians.
• Offer support in the areas of administration, resource access, sales and
distribution.
• Increase the profile of Indigenous musicians and products without sacrificing
cultural ethos.
Each organisation will employ different methods to deliver
the strategy based on their particular niche in the market
and their core business. They will each receive $50,000
over a two-year period to deliver the strategy.
The alliance represents a new collaborative working model
for Indigenous music and has recently attracted a further
$90,000 over two-years from the Australia Council for the
Arts through the ‘Music Bound’ program managed by
ATSIAB. ATSIA funding will support the delivery of the
ICMBU objectives within the context of a national focus on
delivery of Indigenous Contemporary Music.
Yowarliny Photographer: Jon Green
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SNAP SHOT OF ACTIVITY
SNAP
SH T
PANICS, LITTLE BIRDY, BIRDS OF TOKYO
ESKIMO JOE, ONE HORSE TOWN, THE
CRITICS, LITTLE BIRDY, DOWNSYDE,
AVENUES, THE PANICS, CARUS, THE
GYROSCOPE, END OF FASHION, THE
HALOGEN, JEBEDIAH, ESKIMO JOE,
JOHN BUTLER TRIO, RED JEZEBEL,
OF ACTIVITY
TOP20
SINGLES
& ALBUMS
sales
news
tours
awards
radio
additions
releases
ARIA & AIR
03-04
TO BE COMPLETED JANUARY 2007
ISBN 0-9803166-0-X.
67

Contemporary Music NEW1.indd - Department Of Culture And The Arts

Transcription

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