music industry
Andrew Perry
Five minutes before stage time at the Lexington, the latest retro-soul diva from the mighty Universal conglomerate hovered outside the ladies’ toilet downstairs, holding a crutch and looking decidedly nervous. Ren Harvieu was one of the nominees in the BBC’s Sound of 2012, and has been groomed for the past two years in the same Kid Gloves stable, which churned out Duffy and Amy Winehouse. Thus the nation will doubtless soon become readily conversant with her exotic French-Canadian surname, and know that the first one is short for Lauren. Unlike many such major-label racing certainties, Read more ...
joe.muggs
Well, who could have predicted that? For once the Grammys proved that the US recording industry establishment is up for the challenge of reflecting the sense of a world in social and cultural flux by throwing surprise after surprise, bombshell after bombshell, at its shocked audience. It was a night of victory for the underdogs and the radicals, a sense of musical revolution in the air, with all bets off. OK, no, of course it wasn't. But we can dream, right? Because we're going to need those dreams if the endless succession of safe bets and pats on the back for big sales is anything to go by Read more ...
Ismene Brown
Don’t put your daughter on the stage, Mrs Worthington, put her down a mine. Latest figures from the Office for National Statistics for weekly earnings to 2011 paint a stark earnings picture for those working in the arts and entertainment industry. The weekly average earnings for last year in this most life-enhancing of sectors is just £320 - while the average weekly in the “Mining and Quarrying” industry is a whopping £1,082, including substantial monthly bonuses. That translates to an average £16,600 gross salary in the arts field and £56,000+ in the petroleum, coal and quarrying industries Read more ...
joe.muggs
I almost feel duty bound to make a declaration of interest here. I have done several pieces of paid writing for the Red Bull Music Academy, including a piece of course material for this year's Academy, and a few days ago I went to Madrid to see the Academy for the first time on their tab. But here's the thing: music writers rarely, if ever, feel the need to say that they have written sleeve notes or other material for a major record label when writing about an artist on that label, let alone that the label is paying their expenses for a story (which they generally do, as magazine and Read more ...
graeme.thomson
Spinal Tap’s hapless manager had a great phrase for it. “Their appeal,” he said, “is becoming more selective.” There are other words which cover more or less the same waterfront: “stripped back”, “scaled down”, “raw”, “intimate”. All tend to be euphemisms for the plain fact that an act is no longer shifting the kind of units they used to. In the accelerated career arc (swift rise, even swifter descent) which has become typical in the current industry climate, how to shrink with dignity and ingenuity is a question more and more musicians have to face.KT Tunstall is the latest artist engaged in Read more ...
hilary.whitney
Maxim (b. 1967) who is known for, amongst other things, his mesmerising, somewhat unnerving stage presence (he has a penchant for cats-eye contact lenses and is not adverse to wearing a skirt) is a founder member of the electronic dance group The Prodigy, which emerged on the underground rave scene in early 1990s. The band’s first album, Experience, was released in 1992 and since then they have sold over 25 million records worldwide.Maxim started out as the band’s MC before performing vocals on "Poison", a track from their second album followed by several others on The Fat of the Land. For Read more ...
hilary.whitney
Next in theartsdesk’s series of recommended summer reads is musician Gary Kemp, guitarist with Spandau Ballet, five working-class boys from north London who emerged from a surfeit of floppy fringes and pantaloons to become one of the most successful pop acts of the swaggering, vainglorious Eighties. Kemp wrote 23 singles for the band including massive hits such as "Gold", "True" and "Only When You Leave", which still crop up repeatedly on TV and film tracks.However, this was not Kemp’s first foray into the spotlight. Aged 11 he appeared alongside Roy Dotrice in the film Hide and Seek (1971) Read more ...
Adam Sweeting
This hugely entertaining first instalment of a three-part investigation into what makes pop songs tick took as its theme "The Ballad", perhaps the most bomb-proof of pop's traditional forms. Mind you, the programme's definition of a ballad was pretty loose. For instance, I would say Sting's "Every Breath You Take" is merely medium-paced rather than a ballad. I'd just file Culture Club's "Do You Really Want to Hurt Me" under "Pop Song".No arguments about "Candle in the Wind" or "Everybody Hurts" though, while Jennifer Rush's "The Power of Love" is the epitome of the so-called "Power Ballad", a Read more ...
Adam Sweeting
Once upon a time, "easy listening" was a term of abuse and contempt, intended to evoke everything uncool, unhip and musically middle-aged. It meant pipe, cardigan, golf and Bing Crosby, and it was the last thing you'd hear before you were felled by your thickened arteries and under-exercised heart.Things have changed, as Bob Dylan sang, some years before he reached 70. As The Joy of Easy Listening pointed out, now that the passing decades have narrowed the great divide that used to exist between the cutting edge of rock'n'roll and the puréed strings of James Last or Bert Kaempfert, it may Read more ...
Adam Sweeting
In case anybody had the bizarre notion that the Classical Brits was getting a trifle too classical, the 2011 version of the event was rebranded as the Classic Brit Awards. That would seem to open the door to almost anything - classic rock perhaps, or classic schmaltz (well, waltzmeister Andre Rieu did win Album of the Year). The night climaxed with Dame Shirley Bassey singing "Goldfinger", capping a tribute to the late John Barry, and sounding nowhere near as "classic" as she used to.Stage musicals comfortably make the cut, with Alfie Boe and the cast of Les Misérables taking the stage Read more ...
Adam Sweeting
In the later 19th century, violinist and composer Joseph Joachim was hailed as the most brilliant fiddler of his day, but today his name lives on via the great works that he helped to bring into the classical repertoire. Brahms dedicated his Violin Concerto to Joachim, while Bruch's First Violin Concerto was substantially revised by Joachim and became closely identified with him. Both the Schumann and Dvořák concertos were written for him, though Joachim never performed the latter."Every fiddle player who picks up the Brahms concerto sees Joachim's name inscribed on it as the dedicatee Read more ...
Adam Sweeting
BBC Four's Britannia series keeps it simple - it tells the story in a straight line, illustrates it with as much archive material as the budget will allow, and interviews as many key protagonists as it can find. If the subject is strong enough, you'll get a good film out of it.And so it was with the reggae edition (part of the Reggae Britannia season), which took a brisk 90-minute march from reggae's arrival in Britain from Jamaica in the Sixties to the point where it disappeared into Soul II Soul's dub/soul/R&B mixture. They'd rounded up pretty well everybody who ever had a stake in Brit Read more ...