It Ain’t Over Till The Fat Lady Sings: 10 Steps To Self Possession

28-Oct-2014 By admin

Alien-Envoy — Alien Envoy Live, 12Bar (Photo: Natasha Zraikat)

Music, verse, song and sound are the manifestation of an emotional experience captured and expressed by the writer, singer or musician. “Three chords and the truth ” as Willie Nelson famously said describing country music. So, as an aspiring artist how do you find a commercial platform that can connect your emotional expression with people without becoming yet another victim of the voracious music business?

Well, one of the solutions is to treat the business like a business. Consider yourself a unique investment opportunity in which your fans choose to invest. Adapt the mindset and build a structure around it. One Irish musician with a substantial history of success and sustainability who has done this is Nick Kelly, well known front man from 90’s indie band The Fat Lady Sings.

He published a list called ” 10 Steps To Self Possession” back in 1997. His enduring wisdom proves that despite technology and the ever evolving music industry model these ten steps still apply. His record company Self Possessed Records was set up as a vehicle to release his debut solo album “Between Trapezes”. These ten steps represent Nick’s philosophy.

1. DON’T WAIT TO BE DISCOVERED:
Making demos to send to record companies is a waste of time: if you’re good enough to be signed, you’re good enough to make records yourself. Understand that you are always completely responsible for your own success, and take that responsibility on.

2. COMMUNICATE DIRECTLY WITH YOUR FANS:
If somebody enjoys one of your shows, but doesn’t leave you an address or some other way of contacting them, you lose a valuable asset.

3. PLAN FOR THE LONG HAUL:
Set yourself long-term artistic goals, rather than short-term commercial ones, and you’ll be happier – and probably more commercially successful in the end, too.

4. EMOTION BEATS TECHNIQUE EVERY TIME:
Technical perfection is impossible to achieve, expensive to attempt, and ultimately pointless. It doesn’t matter how rough the recording is if you manage to squeeze magic into it. And no amount of polish can turn an uninspired recording into an inspired one.

5. BE FOCUSED:
The music industry is one of the most wasteful, short-sighted and poorly-organised businesses there is. You’re unlikely to have the financial resources of a major record label, but you can more than compensate by being smarter, sharper and more flexible. Successful careers are built upon imagination, planning and timing, not big bucks.

6. UNDERSTAND MARKETING:
Music journalists and radio producers receive hundreds of CDs and press releases every week, most of which never get played or read. So learn to differentiate yourself from the competition. Target your communications. Be clear. Be brief. Be timely. Be polite. Don’t be boastful or desperate. Above all, be intriguing.

7. NETWORK:
You’d be amazed how helpful and generous people can be. By the same token, if you can do somebody a good turn, do it. Karma works.

8. DEFINE YOUR OWN SUCCESS:
Do you really want to be an MTV icon as well as a serious artist? Find a way of selling just 5-10,000 albums a year – a laughable pittance by major label standards – and you’ll still be making the music you want to make when you’re 70, earning a very comfortable living and completely independent of the insecurities and vagaries of the music industry.

9. DON’T WASTE MONEY INDULGING YOUR EGO:
Don’t hire musicians, managers, road crew, etc. unless you’re convinced that (a) you really need them, and (b) they’re able to do the job better than you can yourself. Don’t make videos, release promotional singles or plan expensive tours just because other bands do…

10. BE PROFESSIONAL:
Just because you’re small is no reason for you not be efficient, punctual, honest, reliable and courteous in all your dealings. Leave power games and posturing to the insecure.

Nick has crowd and self funded three albums, the latest one is “Loads”, released under the name of Nick’s band “Alien Envoy.” Two hundred and fifty generous souls all pre-ordered the albums at a cost of €25 each “Loads” has been welcomed onto the radio waves with significant airplay and has received massive critical acclaim.

Here’s “Break America”, a beauty of a song about the journey of The Fat Lady Sings across the states, written ironically just before they broke up:

Nick’s 1997 album “Between Trapezes ” won Nick accolade of “Irish Solo Artist of the Year” at the Irish Music Critics Awards for 1998/1999. The critics said “this one has to be a contender for the accolade of album of the decade, let alone the year…(12/12)” – Hot Press. “Faint Heart, Starving Seed, and Crawl invest everyday emotional battlegrounds with powerful dramatic backdrops, as sharp and moving lyrics are shackled to booming melodies…this is a record which deserves to be heard…(4/5)” – Q Magazine.

“Running Dog ” was released in 2005, it was nominated as “Irish Album Of The Year” at the inaugural Choice Music Prize. “This is a strong, surprising and intelligently written record, one of the best this year. ” – Americana UK. “A poet’s soulful challenge to the fates…tidily precise and perfect” – Evening Herald.

Between musical projects Nick has taken his creativity into other areas. He is well known for his work in the advertising industry. He won a Clio award for that Guinness Tom Crean add, which almost became a national treasure. His third short film “Shoe” was long listed for an Academy Award in 2011.

He has just received funding to shoot first feature “The Drummer And The Goalkeeper” from the Irish Film Board. Nick has demonstrated the cross over in music, film and art. He has sustained himself from the initial platform of The Fat Lady Sings, through to advertising, writing and directing and again back to his band “Alien Envoy.” His mindset and crowd funding model has served him well. His talent has ultimately endured. At the end of the day, there’s no arguing with talent. It’s just a question of how you manage it. If it doesn’t work out first time round learn from it and move on. Do it better the next time, cos one thing’s for sure. It ain’t over till the fat lady sings.

Check out Self Possessed Records to find out more about Nick. Alien Envoy are playing in Dublin’s Smock Alley Theatre on Nov.6th. Definitely worth sixteen little euros to experience this sage of songwriting. Tickets from www.entertainment.ie or www.smockalley.com

Post by Ciara Sheahan. I’m a self confessed indie rock n’roller. Live music addict, writer, blogger, festival veteran. Native to Dublin, my degree in Journalism is from The University of Sheffield. With a proven track record in business and a creative side that refuses to recede I’m firmly focused on my future in the music/creative industry.

Top Music Producer meets Dublin’s hottest new Band

08-Jul-2014 By admin

top-music-producer-Rupert-Hine-meets-Hot-Sprockets — Rupert Hine meets The Hot Sprockets

The Hot Sprockets closed out the final night of the much acclaimed youbloom@Dublin Festival at The Mercantile on Dame Street. They came straight from stage to couch where legendary producer Rupert Hine delved into the essence of their sprocketing and gave them the pearls of his wisdom.

Those people who missed the youbloom@Dublin conference in the College of Surgeons may not know Rupert but he is rock n’ roll royalty. His Christmas card list includes people like Jimmy Page, Stevie Nicks, Suzanne Vega, The Waterboys, Bob Geldof , Tina Turner, RUSH, Howard Jones, Underworld and The Thompson Twins. He basically formed his own genre in championing the integration of digital technology into music production and art.

He has composed, produced and released some of the best known music in the world. His experience as a musician goes back to the early sixties when he formed half of a duo called “Rupert and David”. He played clubs and pubs and occasionally shared the stage with a little known chap called Paul Simon. The duo released one single in 1965. It was a cover of “The Sound of Silence” and featured Jimmy Page and Herbie Flowers.

That’s where the story starts. Since then Rupert has established himself as a composer, producer, songwriter, environmentalist. He is a founder member of the Music Producers Guild, the International MIDI Association and a member of the National Academy of Recording Arts and Sciences in the U.S. In 2011 he received an APRS Fellowship Award from Sir George Martin.

The Hot Sprockets are probably the hottest thing smouldering out of Dublin this summer. They’ve been gigging around for a few years now, cutting their teeth at many Irish festivals. They’ve played every stage, street corner and cubicle in central Dublin. They trade on a combination of folked up, funked out, rock and roll flavoured good time tunes.

They are very funny, a comedic quality that’s evident in all their videos. The most notable it has to be said, the video for “Shake Me Off”. Who else could get away with a motorbike flying off a ramp through a massive burning phallus? Their live shows have more energy than a crate of Red Bull, showreels of cartoon lady lumps and an impressive array of percussion. They’ve bagged a deal with AIB providing the music on the new advert, full of “Whoooo’s” and a hook that will follow you round all day.

They formed their own label Cherrypopper Records and released two albums. The latest one “Brother Nature” was launched in early June. They sold out The Button Factory, leaving a trail of tear stained faces from devastated fans who missed the gig. Yeah, these guys are spreading the love and keeping it real. Pure advocates of joy are what they are.

So, if you want to know what Rupert Hine, The Hot Sprockets and The Rolling Stones have in common watch this short but insightful interview.
For more info check out their website where all their artistic pleasures are available online. Check out the upcoming Knockan Stockan, Latitude and The Green Man festivals to catch them live.

How to be a great lead singer

02-Jul-2014 By admin

how-to-be-a-good-lead-singer-hot-sprockets-youbloomDublin — The Hot Sprockets delivering at youbloom Dublin

Mike Murphy explains that fronting a band is no easy task and examines the issue of how to be a great lead singer.

Anyone that thinks being a great lead singer is easy does not understand the skill. Sure, anyone can stand up in front of a band and pose as a lead singer and vocalize in some manner, but that is not what makes them great. Mastering the skill takes developing charisma, timing, having a solid understanding of the material being presented, delivery of the material, and a voice that fits the genre. We have all seen lead singers we have loved and hated.
It’s a rough business.

How many of us have looked at and listened to a band and evaluated the singer to a higher standard? I think we all have; it is instinctive. Why? I think many people, especially non-musician types, do not recognize being a lead vocalist as a real instrument; like drums, guitars or keyboards. Being the lead vocalist is perhaps the hardest instrument to master! A band can have all great musicians, but if the singer sucks, the overall opinion of the band suffers.

Sure there have been lot’s of bands who have made it in the music industry without the luxury of a serious or strong lead vocalist. Some last only a short time and have lineup changes. Other bands, adapt the music around the singers voice and make it work. I won’t cite specific examples because my opinion may differ from someone else’s as to what is good and what is bad. However, I can think of great punk bands and rock bands that made the music work around the abilities of the singer.

When I evaluate a lead singer’s talents, I first decide how his or her look fits with the band. Let me give you an example. If you are watching a heavy metal band and the singer is dressed like he is in a surf music band, in Hawaiian shirt, shorts and flip flops, I might wonder what is going on. I would be distracted by that personal presentation because it does not fit the genre. I don’t care how good the singer is, he or she is a fish out of water. A singer has to look the part depending on the music being played.

I want to know if the lead vocalist can really sing and/or is singing on key. Granted, different genre’s have different ways of “singing” the lyrics. I get that, but the important part is how he or she will manage that vocal ability throughout the show. Is he or she going to lose power with their voice or lose it entirely. Singing death metal and pop music are two completely different styles and presenting the vocals is very different. Some would argue that yelling vocals and screaming are not singing. It is expression and singing is just that; expression. Some singing is just more melodic than other styles.

I grade hard on what the lead vocalist is doing with themselves while performing or while the band is playing and they are anticipating the next line. Is the posture good and appropriate for the tune being performed? Certainly you would not want to see a vocalist presenting an aggressive posture while doing a soft ballad! Turning your back on the crowd is a big no-no in my book. Back away and go get your sip of water, tambourine or whatever you need to do. How much does the singer interact and look at the crowd; not just the people up front, but the sides, the middle and the back of the venue? Using the entire venue is critical.

Being a lead singer is definitely not easy. It is very much a skill. Mastering that skill takes a lot of hard work and dedication. Many will fail a bunch of times before he or she finds the right fit and can consistently perform the craft. In many ways becoming a professional lead singer is a survival of the fittest activity. The music industry, especially for a lead vocalist is a rough business. The strong will survive unless he or she has self sabotaging behaviors. That’s a topic for another blog. Happy singing!

Post by Mike G Murphy. Mike G. has been writing songs for 35 years. He studied voice at United States International University in San Diego California and has a Bachelor of Science in Business Management from the University of Phoenix.

Top 5 Tips to Impress A&R Scouts at a Live Show

03-Jun-2014 By admin

Impress A&R Scouts at a Live-Show.jpg June 3, 2014 1000 × 606 Edit Image Delete Permanently
Thanks to Laurence Malpass from Music Gateway for this article.
Jon Skinner (Music Gateway’s CEO) will be speaking at the Conference in June.

Despite the digital age creeping into every area of our lives, A&R scouts still have a large presence at live gigs, and the art of appealing to them is a subtle but important one. It can mean the difference between a few shows one summer, or that summer you signed your dream deal. So we’ve pulled our heads together and come up with a few things you can do to make sure you’re turning heads.

Performance

This is more than just technical ability and having good music, but the ability to express these things by actually enjoying yourself on stage and playing the crowd. Hyping them up and drawing them in close when it’s appropriate, getting them to follow your energy, and giving them a dynamic and exciting show!
Beyond the music, being on stage is about having presence. Your body language speaks volumes, and if it’s in sync with your music and vibe the performance is that much stronger.

Styling

This is a big part of your image and branding and is a tool for sticking out from the crowd. You can get away with jeans and a hoodie sure, but that’s not memorable. Ultimately it’s the music that’s important, but if your style is in sync with your music and performance it just leaves that much more of a mental impression on someone who goes to gigs for a living.

Bring A Crowd

Obviously a large part of what an A&R scout is looking for is your ability to pack out a venue. If you’re a small band, try and go for smaller venues, it looks much better to have a small room jam-packed with twenty to thirty people, than a large venue with the same amount spread out. Know how many people you can get to your shows, and go for the venues that relate to that number. You will grow as you keep playing, and as you do, the more likely it is that you’ll play a gig where you’ve got a scout hanging about, and when it happens you’ll want to make sure the room is full of die-hard fans that are there to see you play.

After Show Engagement

The show isn’t over until you’ve left the venue, at least not in the eyes of an A&R Scout. They’ll be watching how you conduct yourselves and manage every aspect of your music, from before you get on stage to how you meet and greet the fans afterwards. If you’re selling stuff that’s great, scouts love a band that takes charge of their affairs, it shows that they’re serious about their music and are thinking of the future. I’ll always remember what my music business tutor told me about merch though, “Don’t ask them to buy your stuff at the end of a set, just say ‘We’ll be over by the bar if anyone wants to chat’, and when they come over, don’t ask them to buy it, if you’re holding it casually in your hand they’re much more likely to ask you about it and buy it as if it’s their own idea. You’re musicians, not salesmen.”
This is a tactic that is tried and tested. People don’t go to gigs to buy merch. But they do go to see their favourite bands, and if you invite them to have a chat, and they’re wondering what to talk to you about, and see your CD in your hands, they’re much more likely to offer to buy it, than if you’re shoving it down their throats.
If an A&R scout sees you selling loads of CD’s, bingo.

Memorable Part of the Set

I had a friend who was in a hard rock band, and he always ended his sets by jumping into the crowd, more often than not he got them hyped up enough to be able to surf them. But even on the nights when the crowd weren’t up to the challenge, finishing a song lyric lying in the middle of the floor with the wireless mic (very important part of this technique) was a hugely memorable moment of the night, and will stick in an A&R scouts head long after the gig, and he’s forgotten about all the music and clothes and flourishing touches. I’m not saying you need to literally break a leg every time you ‘jump’ on stage. But having something imaginative, or extreme or clever, or whatever little thing it is that suits your style to capture the attention and hook your scout it’s going to work in your favour. (As long as you don’t actually break your leg, I want to stress that, as that can go pretty wrong, and you probably won’t be hearing from the scout if you can’t stand up afterwards.)

Live gigs are a very important part of any musicians career and the shows should always leave fans desperate for more. Make sure every gig is better than the last, constantly up your game and who knows… you may even find yourself turning the head of your ideal A&R scout.

Free live gigs in the Dame District, Dublin

26-May-2014 By admin

Radio Nova recommends…

A music festival, and it’s much more than just a free live gigs.

“youbloom at Dublin back for it’s annual festival including a music conference and free live gigs in the Dame District. Starring emerging artists from around the world. The music conference is set for June 14th and 15th in the Royal College of Surgeons and it’s a unique learning experience packed with vital information and tips you need to do well in the music business.”

Keynote speaker Alan McGee (former manager of Oasis and Primal Scream) will be joined by author and music critic Neil McCormick for a Q&A session. Production and A&R masterclasses will be provided by industry veterans Nigel Grainge, Rupert Hine and Alex Von Soos.

Press play to hear more…

If you’re serious about a career in the music business and find yourself in Dublin this June the conference is a no-brainer, and at €20 for an all access pass you can’t go wrong. Tickets are are selling fast, book yours now.

Otherwise enjoy the free live gigs, a full programme will be announced shortly but in the meantime check out the youbloom@Dublin host bands.