SCENE AND HEARD: DORSETS MUSIC INDUSTRY

A report on the nature and status of Dorsets music industry

Commissioned and published by:

CREATIVE DORSET
Researched and written by Tom Hopkins, B.Ed. M.A. Independent Music Developer

CONTENTS Theme Introduction The National Context Background to the report Dissemination strategy Research interviews Overview and brief details of sample interviews Creative Dorsets offer of advice and assistance with business development. Dorsets free live music culture good or bad for the music industry? Summary Selected further reading Appendices: Appendix A: Research Questionnaire (Musicians) Appendix B: Research Questionnaire (Sole Traders/Businesses/Organisations) Page 3 3 4 4 7 7 8 10 13 13 14 16

The fact of the matter is that popular music is one of the industries of the country. Its all completely tied up with capitalism. Its stupid to separate it. Paul Simon. Theres a mistaken belief amongst politicians that the development of popular music is or can be funded by the music industry alone - it cannot. In terms of development funding, we are not looking for preferential treatment just a level playing field with other musical genres Fergal Sharky, CEO, UK Music: Personal communication to the report author.

1.1 Introduction This report, almost certainly the first of its kind, sets out to identify and document what constitutes the Dorset music industry, together with some of its characteristics, strengths and limitations. In doing so, it makes no claim to be absolutely authoritative or comprehensive such an undertaking was beyond the resources available for this project. However, by taking a first and crucial step in trying to understand what the countys music industry looks like and why - it may both increase awareness of its existence, whilst simultaneously advocating support and resources for its development. 1.2 The National Context UK Music, the national organisation which represents the music industry in all its forms, asks on its website why the UK is the third largest market for music in the world? - and then supplies this answer: We should start with an assessment of what the music industry actually is in 2010... To the outsider, the industry looks relatively self-contained. At its nucleus lie the eight constituents of UK Music: the creativity of artists, songwriters, composers and musicians; those who invest directly in their talent, the managers, major and independent record labels and music publishers; and those who collectively license their copyrights, PPL and PRS for Music. In addition to these, we can add all manner of vital cogs music producers, engineers, studios, promoters, distributors, A&R, designers, marketers, retailers, lawyers, accountants, video directors and so on. Most would recognise these. But also within our sphere of influence are the host of businesses who work directly with music our close cousins in the creative industries such as film and TV, games, advertising, fashion and publishing. The media too: radio, TV, magazines, newspapers (just consider the reams of broadsheet and tabloid coverage) and all manner of online portals. Music doesnt just sing to the ears, it attracts eyeballs too. And thats before touching on live music, from the mammoth success of festivals like Glastonbury or arenas like Londons O2, through to the grassroots network of pubs, clubs, bars and village halls where future superstars hone their craft. Again, there is a positive ripple effect here, with music kick-starting opportunities for a range of businesses - from rehearsal rooms and manufacturers of stage equipment, through to brands, publicans, pie-makers, tent-sellers and merchandisers. And then there is digital. Heres a question: over the past ten years, how significant has been the role of music in driving and fostering digital innovation? Music is the fuel of the Internet. Music attracts communities and social networks; it drives search engines and new distribution technologies. Much of this has been disruptive, much has been unlicensed, but we look forward to a decade where technology and creativity enjoy a more traditional and symbiotic relationship. Increasingly, our new partners will include ISPs, telcos, hardware manufacturers, and all manner of innovative digital start-ups. And as consumption changes, so does musics relationship with fans. This relationship has never been so active, so interactive, so vital, and so alive. As the above statement makes clear, there are many and diverse elements that can be said to constitute the music industry. In Dorset, not all are centrally important to its existence and further development. Hopefully, what follows in this report will illustrate those features of the national picture that are echoed in the countys commercial music world; and why it deserves recognition, support and investment as an important and integral part of Dorsets creative and cultural industries.

1.3 Background to the report In November 2010 Creative Dorset, the company formed in 2007 to develop, support and promote the creative industries in the county, commissioned a research and development project MIDI 20111 which focused on Dorsets commercial music industry. Led by Tom Hopkins, Creative Dorset Board Member and Independent Music Developer, the project had five main aims: To identify, through intensive research, those individuals, groups, organisations and businesses which comprise Dorsets music industry. From research findings and other relevant sources of information, to create the first electronic database of occupational groupings and business types which together comprise the countys music industry. To communicate to those identified individuals, groups, organisations and businesses Creative Dorsets offer of advice and developmental assistance. To respond to requests for business development advice and guidance. From requests for business advice, to identify key issues facing the music industry.

1.4 From the project launch in mid-February 2011 until the completion of the research phase in mid-May 2011, almost 600 individuals, groups, organisations and businesses were identified, embracing some 30 creative, employment and occupational categories. The information which it yielded, and the database which resulted from those findings, provides a picture of an industry which has previously, at best, received sporadic and passing acknowledgement; and at worst a total lack of interest in its existence. 1.5 Moving beyond the task of simply delineating and describing the countys music industry lies the challenge of trying to assess its value economically, culturally and socially; for many people, whether audiences, musicians, music teachers, suppliers of music related services, etc. it is simply not perceived as an industry. Instead, ask people what they think of Dorsets music scene and most will wax lyrical about the sheer amount of live music much of it free at the point of access to be found in the county; the high standard of musicianship; the sheer variety of musical styles and genres; the large number of festivals, etc. all seem to testify to a very positive situation, and possibly one that doesnt easily fit with the notion of it also being an industry. 2.0 Dissemination strategy 2.1 The overriding priority here was spreading the word about Creative Dorsets offer of business advice and support to the commercial music sector. This in turn required agreement within Creative Dorset as to an acceptable and inclusive definition of commercial music. This quickly emerged as; all forms of music-making and music-related activities from which individuals, groups and businesses derive income at whatever level. 2.2 Inherent in the proposal was and remains the notion that to be successful, the research and development strategy had to be both active and reactive. Known colloquially as a push-pull approach, it requires the researcher to both promulgate the offer to prospective interested parties and also, either simultaneously or sequentially, respond to enquirers interested in taking up the offer. Based on an earlier experience within the context of Community Music *, the decision was made to launch the project by actively pushing basic information about it out to individuals, organisations and businesses who were potential agents for dissemination of the offer.
1

MIDI 2011 = Music In Dorset Information

* Hopkins. T. Implementation of the Community Music Strategy for Dorset: Final Report (Sept.2008)

2.3 Consequently, early contact was made with a range of media outlets whose publications and broadcasting covered the designated research and development area, as under: Dorset Echo Dorset Life Marshwood Vale Magazine Blackmore Vale Magazine Western Gazette Bridport News Purbeck Gazette Dorset Magazine Evolver Magazine Advertiser and Times Wessex FM BBC Radio Solent Salisbury Journal Forest FM Wave 105 Radio 2CR FM Midwest Radio

2.4 The above contacts received an e-mail asking them disseminate the following message: Creative Dorset, the agency responsible for supporting Dorsets creative sector is now offering its business development services to the countys music industry. Over the next three months, Tom Hopkins, independent music developer and Creative Dorset board member, aims to make contact with professional musicians, music educators, sound/recording engineers, radio stations, music festival organisers, promoters, producers, radio stations, venue owners and managers across the county*. From these e-mail, phone, postal and face-to-face communications Tom hopes to build a picture of the Dorset commercial music industry, and what those who work in it see as their and its - business development priorities. If you are working in any capacity within the Dorset music industry and would like to participate in the project, contact Tom by e-mail: midi2011@btinternet.com or by phone: 01305 766729. * N.B. This does not include Bournemouth and Poole who are served by the Bournemouthbased Dorset Music Forum. 2.5 The Dorset Echo featured the message in its Live Music Guide (25 Feb. 2011) and Dorset Life carried a note on the project in its April edition. In addition to the above media-based dissemination, on 2 March the offer message was e-mailed to local authority Economic Development Officers within the designated project area, requesting they disseminate it to potentially interested parties. At approximately the same time, following e-mail/phone contacts with Pat Pryor, DCC Culture and Community Planning Officer, it was agreed that the offer message should appear on-line at the dorsetforyou website, together with an invitation to interested parties to complete a questionnaire about their involvement in Dorsets music industry. The offer was also publicised via the DCCs Culture and Community News. 2.6 In parallel with the above activities, work began on the challenging task of locating, sourcing and databasing information on the individuals, groups, organisations and businesses that together comprise the Dorset music industry. Experience gained in the afore-mentioned Community Music project revealed the extent to which it might be helpful to begin by attempting to categorise those roles and occupations associated with the music industry. Thus emerged the list to be found in Table 1 overleaf.

Table 1. Music industry Job/Role/Organisation 1. Music venue (pubs, clubs, bistros) 2. Band/group/orchestra 3. Music teacher; FE /HE lecturer 4. Disco owner/ DJ/ Karaoke 5. Solo instrumentalist/singer 6. Composer/lyricist/songwriter 7. Music festival 8. Studio/venue sound/recording engineer 9. Music venue (halls, arts centres, theatres) 10. Music instrument maker/repairer 11. Music agent/promoter/booker 12. Record Store 13. Sound equipment manufacturer/supplier 14. Music instrument/sheet music store 15. Radio station 16. Music psychologist/therapist 17. Record company 18. Accompanist 19. Rehearsal space owner/manager 20. Music publications/journalists 21. P.A./Lighting hire, sales, service 22. Conductor/leader/musical director 23. Music technologist 24. Music website owner/designer 25. Music librarian/archivist 26. A&R (artist & repertoire) manager 27. Music producer/programmer 28. Music lawyer 29. Music tour manager 30. Music instrument insurer/broker Total Databased 288 125 100 46 37 34 24 18 17 16 15 12 10 7 7 5 4 4 3 3 2 1 1 1 0 0 0 0 0 0 547 E-mail address? 100 20 12 10 18 5 23 14 14 12 10 5 5 6 7 4 3 0 3 3 1 1 1 1

278

2.7 The above list was checked with several long-standing music industry figures, who agreed that whilst probably neither fully inclusive nor exhaustive, it does represent the core components of any useful definition of the world of commercial music. 2.8 The next stage was to locate sources of information about each of the above categories. Intensive use was made of web-based searches, primarily using Google, supplemented by known reliable sources e.g. Dorset Echo Live Guide, Suited and Booted magazine, LiveWire Listings, Jazz Services U.K. etc. Using a deep-drilling search technique, each category was systematically researched with the objective of producing a comprehensive overview of Dorsets music industry. This was important for several inter-related reasons - i.e. To ensure the breadth and depth of the industry was accurately represented To assist in understanding its employment base To provide both those involved in the music industry and relevant policy makers, local authority officers and elected members and M.P.s with up-to-date and easily accessible information with which to advocate and support its future development.

2.9 From the outset web-based searches of each category generally led to project-relevant information, whilst at the same time revealing marked differences in the quality and quantity of information yielded. For example, prominent commercial search sites such as www.yell.co.uk performed much less well than dedicated smaller sites such as www.nationalgigguide.com.

2.10 In addition to systematically searching for information in relation to each category, the research began seeking out contact information about previously identified individual musicians, as a way of gauging the extent of their connectedness particularly digitally for potential enquirers, venue managers, booking agents, etc. Such information proved - and remains - largely elusive; of some 20+ artists listed in one gig guide, ranging in age from early twenties to midsixties, only one-third had any web presence at all. However, these were also artists whose names appear regularly often several times each week - in gig listings, so it is questionable whether the absence of any web presence was harmful to their employment opportunities. And, by the same token, whether having a web presence would increase such prospects. 2.11 The above exercise was also repeated in relation to the category of band/group musicians, with similar results. Of some 125 bands and groups identified from a combination of web searches and print-based/digital gig listings, only 20 had visible and active e-mail addresses; on a more positive note, approximately 40% had a web presence which included e-mail contact forms, enabling enquirers to post messages to the band/group, but not to send attachments such as the project questionnaires mentioned earlier (see Appendices). 2.12 Of the people who were contacted via the afore-mentioned offer e-mails only a handful then responded; one, a professional musician/music educator with more than forty years experience in Dorset suggested that unless those contacted could see a direct and/or immediate benefit to themselves in doing so they were unlikely to respond. Also, a significant number of e-mails to potential key disseminators of the offer e.g. Dorset Echo Arts and Business Editors went unacknowledged and/or unenacted. This suggests that either as mentioned earlier - they didnt recognise the existence of the countys music industry, or felt it didnt merit attention in the relevant sections of their publication. Another possibility is that each thought it was the province of the other; a common enough (mis-) perception that commercial music is neither art nor an industry! 3.0 Research Interviews 3.1 An initial planned aim of the research phase was to conduct interviews with a representative sample of the occupational and business categories listed earlier (see Table 1). This, however, proved problematic in several respects i.e. Ensuring a fully representative sample across the county, even utilising electronic communications, would have been costly. Difficulty in synchronizing researcher and respondent availability. Preparing interview schedules to suit the very wide variety of occupations and businesses identified in the research proved time-intensive. Recording and transcribing either electronically or by hand each interview was costly in both time and complexity. However, the sample interviews that were conducted proved to be informative and illuminative. Brief details are set out in Table 2 below:

Table 2. Overview and brief details of sample interviews

Respondent(s) Dorset-born male pro. musician (30); London-based; international profile.* Mixed-sex focus group (4) early 60s live music-goers.* Focus/ topics / issues discussed Early Dorset musical influences. Music career choice factors. Londons impact on his development. Factors re. possible return to live/work in Dorset. Pros & cons of free live music. Pubs role in shaping live music. Musicians lack of professionalism. Opportunities for young Key information outcomes High-level parental support. Importance of access to H.E. London is a Musical Mecca. Income/housing/music facilities/Continuing Personal Development opportunities. Good for punters - bad for musicians earnings? Indifference to music-goers. Lack of pro. role-models.

Male (60) pro. musician/ music educator.* Female marketing exec. of large pro. orchestra.*

musicians? What led to/keeps him in Dorset? Pros & cons of free live music. Lack of formal music CPD. Catalytic role of large orchestra Educational role of large orchestra Economic value of the orchestra Pros & cons of free live music. Creating a paid-for music culture. Musical parochialism in Dorset

Male (50s) licensee of town music pub.

Paid playing opportunities. Work is generally low-paid. Little incentive for CPD. Acts as a hub for artistic, educational and cultural development Provides significant employment and generates significant income. Good for music-goers - bad for pubs. A role for schools, FE/HE?

*N.B. Full interviews were recorded as digital audio files. 3.1 Although the above points drawn from the sample interviews only hint at the complexity of ideas, perceptions, thoughts and experiences which have shaped and continue to influence respondents views, they offer a rarely-sought or offered glimpse of key aspects of Dorsets music industry. 3.2 To summarise this element of the project and this section of the report, the research conducted, together with the sample interviews, have generated a comprehensive picture of the constituent parts of Dorsets commercial music industry. However, quantifying the various occupational groupings and businesses, tells us little about the economic value of each, or their collective contribution to the local economy. Such a task is beyond this projects scope and resources. Even where such information might appear to be accessible e.g. via Companies House it may be of questionable value. Paidfor downloaded company reports for the two largest music instrument suppliers in the county revealed that one had posted no accounts for the previous year, whilst the other simply indicated a trading deficit. 3.3 Any future policy and strategy for business development in relation to Dorsets music industry must start from as accurate as possible estimate of its economic value. Without such information it will be difficult to gauge the impact of any measures taken to both improve the overall value, but also how different sectors have responded to specific development initiatives. 3.4 Recommendation: that the relevant body concerned with economic development in the county is tasked with identifying and documenting the economic value of Dorsets music industry. 4. Creative Dorsets offer of advice and assistance with business development. 4.1 This section of the report focuses on the implementation of the second stage of the project, concerned with offering business development advice and assistance to the occupational groupings and businesses identified through the research phase. Specifically, it considers the extent to which this element of the project was successful in engaging the interests of a range of people involved in the countys music industry. 4.2 As stated earlier in this report, a key aim of the project was to offer advice and assistance with business development to any individual or group from within the Dorset music industry as identified during both the research phase, and via its dissemination through local media and other sources. The offer was primarily to be communicated electronically; by direct e-mailing to contacts derived from the research; through media outlets and the dorsetforyou website; and via direct mailings by local authority economic development and arts officers. 4.3 Overall, the level of responses to the offer via media outlets and Dorsetforyou website were disappointing. One issue here was the difficulty in knowing which media outlets had actually

disseminated the offer, and with what level of prominence. As mentioned earlier in this report, an attempt to enlist the help of the Arts and Businesses editors of the Dorset Echo in disseminating the offer came to nothing. A similar request to the journalist responsible for the Echos Live Music Guide proved more fruitful; however, it generated no enquiries or take-up of the offer. The most likely reason for this is that few active performing musicians read the Live Guide, which is primarily aimed at potential audiences. On a positive note, it was the publicity given to the project in the Live Guide that led to the audience focus group interview outlined earlier in Table 2. 4.4 Several enquiries and take-ups of the offer resulted from its dissemination by the economic development and arts officers. A factor in this could be that the respondents knew the officers, and that this in some way gave a greater authenticity to the offer. 4.5 As stated earlier in this report, the original intention was to communicate the offer to all those individuals, groups and businesses identified during the research phase. This process began with emailings to these contacts as follows: Music Industry Category Band/group/orchestra Music teacher; FE /HE lecturer Disco owner/ DJ/ Karaoke Solo instrumentalist/singer No. of contacts 125 100 46 37 No. with e-mail addresses 20 12 10 18

4.6 However, the conclusion of this first e-mailing of the offer coincided with a funding downturn at Creative Dorset, which resulted in the boards decision to temporarily suspend operations whilst it reviewed the organisation's staff structure. This in turn led to the decision to temporarily discontinue the promotion of the offer on the grounds that the organisation did not currently have the resources to respond to requests for development assistance. 4.7 It is tempting to speculate whether take-up of the offer would have been greater had the offer promotional activity continued across the full range of individuals, groups and businesses previously identified. However, based on the take-up which did occur, and which resulted primarily from the efforts of the economic development and arts officers, it is difficult to conclude that take-up would have significantly increased at least, not within the February-July time-frame of the project. Here, there are strong parallels with the Community Music Strategy Development mentioned earlier (see p. 4). In that context, a similar dissemination process was used to promote an offer much the same as Creative Dorsets. However, it was made in the context of a much longer time-frame, within a project that ran for almost two years, during which time the repeated promulgation of the offer via a monthly community music newsletter, coupled with occasional media releases, almost certainly boosted takeup, with more than 60 items of advice provided. 4.8 Despite the low take-up by those individuals, groups and businesses included in the first wave of promotion of the offer, it would be at best unhelpful, and at worst counterproductive to suggest that the mechanism itself was at fault. Achieving take-up by recipients of an offer of this kind requires more than just extensive and targeted dissemination; it also requires that recipients are able to: a) Perceive themselves as part of the music industry b) Be able to identify in some way with the aims of the project c) Perceive the potential benefits for themselves of engaging with the project d) Be prepared to invest time in identifying their developmental needs e) Communicate their needs, in written form, to the sponsoring organisation. 4.9 Experience of both the Community Music project and the present one suggests that of the above requirements, a) and c) are crucial in translating recipients of the offer into respondents. Given the general lack of recognition, both within and outwith the industry that it actually exists, it should surprise no one to discover that so few of the many people engaged in it make a connection between their individual/group involvement and its wider commercial manifestation. Similarly, because so much of the industry is concerned with creative activity practicing, rehearsing, performing, teaching, recording, promoting, etc. many people involved in these activities fail to see that they are also

engaged in a business. Indeed, some music professionals, whatever their specific role, actively reject the notion that they are engaged in a business. Therefore, an offer of business development assistance even if free - may fall on deaf ears, with the consequence that the potential recipient receives no benefit. 4.10 It is regrettable that due to the recent developments at Creative Dorset, it has not been possible to pursue the dissemination of the offer; and to then respond to subsequent requests for advice. In whatever volume these may have materialised, together they would likely have provided clues to broader, more general issues facing the music industry. These, in turn would have helped to shape priorities for an agenda of investment in development for the industry as a whole. 4.11 Recommendation: Within any future plans to re-launch Creative Dorset, and specifically in relation to the creation of a Local Enterprise Partnership, appropriate attention be given to completing the offer dissemination process; and responding to subsequent requests for advice and assistance. 5. 0 Dorsets free live music culture good or bad for the music industry? 5.1 Thus far, this report has concentrated on describing and analysing processes and outcomes in relation to the five main aims of the project (see p.4). However, the project has also indirectly provided a rich vein of information about how various aspects of Dorsets music industry actually manifest themselves in everyday cultural and working life. There is insufficient space here to detail all of the insights provided by the research conducted, contact with enquirers, interviews, personal contacts, etc. However, one example may serve to demonstrate that when research and development work is undertaken in relation to cultural and socio-economic activity, unanticipated findings can prove to be as or more interesting than those deliberately sought after. 5.2 One of the most notable features of Dorsets music industry is the extent to which live performances are overwhelmingly free at the point of access. Web searches conducted early in this research project identified no less than 400 venues offering live music on a regular basis across Dorset, of which the vast majority were public houses; and in which an admission charge for live music was rarely, if ever, made. Together, this amounts to a minimum of 20,000 live performances per annum well in excess of the total of all other musical offerings, and providing paid work to the value of 2-3 million for musicians. 5.3 Whilst generally benefiting both regular and occasional music-goers alike, it should not be assumed that all of the latter are wholeheartedly grateful for such free entertainment, or resistant to paying to experience live music. Amongst the small group of music-goers interviewed as part of this project (see Table 2) one person who had moved to the UK from the USA within the last few years expressed surprise at the very notion of free access to live music. That respondents expectation, based on a North American experience, was of either paying a cover charge for admission to a live music performance, or a marked-up price for drinks in the venue and sometimes both. At the very least, in the unlikely absence of either of these measures, the respondent would have expected to contribute to a cash collection for the musician(s) at the end of their performance. In this authors experience, whilst there are a handful of music venues in Dorset who use one or more of the measures mentioned above, such practices are very rare. So, how is this very large element of the live music industry financed? 5.4 As recently as the middle of this decade, financial support for live music was provided by some breweries to the managers of their public houses. Amounts varied, but up to 500 per week for a town centre public house was not unusual. It was largely left to the discretion of the manager as to how the money was spent i.e. across the week to encourage customers on nights when trade would generally be slow; or targeted on weekend nights - times more likely to attract greater numbers of customers, especially if a popular band was playing. The hope with both options was that income from bar sales, whether across the week or at weekends, would be strong enough to justify the subsidy; and which, in turn, allowed pubs to plan ahead, booking and promoting musical events, thus establishing their pubs reputations as live music venues.

5.5 However, such subsidies (investments?) have largely disappeared. Partly this is the result of a recessionary economic climate in which pub-going generally has declined, coupled with the impact of the 2007 smoking ban, which has led to the closure of more than 5,000 public houses across England. Many pubs, which prior to the ban held regular live music sessions, have withdrawn from that sphere of activity; increasingly, some pubs are turning to the more profitable provision of quiz nights. 2 5.6 The net effect of these recent developments has been to drive down fees for live music performances generally, and in particular those taking place in public houses i.e. the vast majority. It is not unusual in the current economic climate to find bands in Dorset being offered as little as 100 for a Saturday evening performance. Given that from this sum they are likely to have travel and PA costs to meet; will usually be expected to be at the venue for set-up an hour before their performance; be expected to play for two hours or more; will rarely be able to leave within an hour of finishing; and will have to purchase their own drinks at full bar prices, the prospect of earning just 25 for up to six hours of effort (not including rehearsals) hardly suggests an industry in good health. 5.6 Yet, despite the poor financial rewards, 125 bands plus some 40 solo/duo musicians regularly perform in public houses across Dorset. Whether or not they recognise it, they are in many ways the unheralded mainstay of live music. For some, their earnings from music will be a welcome addition to low wages, state benefits or a combination of both. But, if money is not the only or main benefit to these musicians, what else explains their willingness to devote hours to practicing; finding and paying for scarce rehearsal spaces; driving to venues; setting up and taking down sound equipment; recording and distributing demonstration discs; creating web pages on YouTube and/or Facebook? The answer, put at its simplest, is because they enjoy playing music; and are prepared to invest their own resources time, money, physical and emotional energy, etc. in order to pursue their interest at whatever level semi or fully professional. 5.7 Having explored why so many musicians are involved in the pub-based free live music scene its perhaps also worth considering two other important constituent groups without whose involvement this aspect of the music industry could not exist namely publicans and customers. 5.8 Publicans can be broadly divided into two groups; managers appointed by breweries or pub management companies; and tenants who effectively rent their pub, either from a brewery, or via a franchise from a pub chain. As stated earlier, Dorset has many hundreds of pubs, with the majority featuring live music as part of their offer either occasionally or regularly. Their individual reasons for doing so are diverse, often reflecting a degree of whim, fondness, or personal interest e.g. being ex-musicians themselves. However, at a broader level, the motivations of publicans in staging free live music appear to be related to one or more of the following factors: Fear of losing customers to other pubs; this is particularly strong in an area where free live music is already an established feature of the local leisure culture e.g. Bridport, Dorchester and Weymouth. Publicans newly arrived in the area are usually quick to spot the existence of the local pub music scene, and believe they must quickly become part of it or they will miss out on trade. Most will then set out to discover who the most popular local bands are and book them in the hope often misplaced that this will guarantee sufficient customers to cover the bands fee; rarely does it do so. Reward for customer loyalty; some publicans, many of whom do not offer live music on a regular basis, will stage occasional events as a way of thanking customers for their loyalty over time. Interest in music; either from personal experience as a professional, semi-professional, or

By comparison with live music quiz nights require no set-aside of space, little organisation or promotion; yield strong bar sales, especially when staged on nights that previously saw little custom; and have no specific licensing laws to regulate them.

amateur musician; or music-goer. Also, sometimes motivated by a desire to contribute to the availability of live music locally, including pay-back for opportunities they themselves have had previously as musicians. Whatever a publicans motivation for staging live music, s/he will also have to purchase a license from the local authority, together with the relevant permit from the Performing Rights Society. Together, these may amount to several thousand pounds. 5.9 Customers can be broadly divided into three categories as under: a) Committed music fans; for this group, music is an integral part of their pub-going. They often follow particular local bands, and will therefore be prepared to drink in whichever pub their favourite music-makers are performing. Often, over time they will establish relationships with their favourite band(s), and chat with the musicians during the evening, either during the latters break or at the end of their performance. b) Music grazers: for this group music is important, but they generally have no particular favourites amongst local bands, nor do they generally favour particular pubs. During a typical Friday or Saturday evening they will visit several pubs offering live music; depending on the attraction of whoever is playing, they may stay as little as a few minutes or as long as an hour or more. If its the former, they most often will move on to another one or more music venues during their evening out. c) Pub-goers who also enjoy music; for this element, having a favourite pub or pubs is as or more important as being able to experience free live music. They frequent only one or two pubs, enjoy live music when its on offer, but are equally happy to simply meet up and socialise with friends. 5.10 One characteristic shared by all three of the above customer/audience categories is that they must have the financial wherewithal to sustain their engagement with the free live music scene; alcoholic drinks are no longer a relatively cheap purchase. Unsurprisingly, then, numerically the largest customer groups for pub-based live music are those who have the greatest disposable incomes generally young (20-30 years) who have yet to become committed to settled relationships, mortgages, children, etc. and older (50-65) whose children are now adults, and who no longer have mortgages. Of these two groupings, it is the former that publicans are most keen to attract via free live music because potentially they may become and stay - a regular customer for longer than their older counterparts. 5.11 It is beyond the scope of this report or the project overall to be able to assess whether the widespread existence over many years of free live music is a positive or negative feature of Dorsets music industry. Indeed, a number of musicians who have performed in Dorset over the last 50 years can recall a time when all live music had paid admission; yet cannot point to when or why free access became the norm. It is a relatively simple task to marshal evidence about the potential contradictions of its existence. For example, how does such a cultural phenomena fit with an economic notion of industry? Similarly, if the music is free, thus ensuring musicians pay is generally of a low level, does this mean that the music on offer is of a poor quality? One issue which merits further enquiry is the extent to which in any area where free pub-based music is the predominant outlet for live music, its very existence acts as a brake on both economic and cultural development. These, and many other questions, could legitimately be raised about the pub-based free live music element of the music industry locally and nationally. The fact that they rarely are may be seen as reluctance to critically examine such a much-loved and well-established part of the overall UK music industry; more likely is an unspoken belief that: if it isnt broken, dont fix it. 6.0 Summary 6.1 This report began with the aim of shedding light on the nature, terrain and contours of Dorsets

music industry; and how Creative Dorset might assist in its development. It is hoped that the report contains sufficient evidence regarding Dorsets music industry to command support for investment in its further development. 7.0 Selected further reading DCMS, The creative industries mapping document 2001 - Chapter 9 Music (2001) Finnegan, R. The Hidden Musicians; Music-making in an English Town. (2007) Frontier Economics (for DCMS), A framework for evaluating cultural policy investment (2006) Holden, J. Cultural value and the crisis of legitimacy (2006) Holden, J. Capturing cultural value Demos (2004) Krueger, A.B., The economics of real superstars: the market for rock concerts in a material world (2004) Krueger, A.B. and Connolly, M., Rockonomics: the economics of popular music (2005) Laing and York, The value of music in London (2000), Cultural Trends issue 38 Matarasso, F. Use or ornament? The social impact of participation in the arts (1997) MORI for DCMS, A survey of live music staged in England & Wales in 2003/4 (2004) National Music Council, Counting the notes the economic contribution of the UK music business (2002) Reeves, M Measuring the economic and social impact of the arts: a review (2002) Shaw, P. and Allen, K. British Arts Festival Association, Festivals mean business (2001) The Association of Festival Organisers, A report into the impact of folk festivals on cultural tourism (2003) The Performing Right Society, The power of music the strength of musics influence on our lives (2000) Throsby, D. Economics and culture (2002) Winner, E. and Hetland, L The arts in education: evaluating the evidence for a causal link (2000)

APPENDIX A: CREATIVE DORSET MUSIC INDUSTRY PROJECT QUESTIONNAIRE (MUSICIANS)

This questionnaire has two main purposes: To provide information for inclusion in the Music In Dorset Information database To provide music industry promoters, musicians and music-related organisations with access to advice, guidance and support in identifying and/or meeting their developmental needs By completing and submitting this questionnaire you agree to have the information you supply held electronically, and to it being shared within the Music In Dorset Information network. Please either type or write your information clearly in black ink; when completed, please e-mail this questionnaire to: midi2011@btinternet.com or post it to: Music In Dorset Information C/o 16 Greenhill Weymouth DT4 7SG Name of individual/group/band/choir/orchestra: Date establishedName of contact person Role/position Address Post Code. Phone.e-mail Web Brief description of solo artist/group/ band/choir/orchestra:.. Main music type(s) performed .. Usual location of rehearsals/practices/jam sessions etc Where do you mostly perform? please tick all those locations that you have played in: Pub.Wine bar..Bistro/restaurant..Church/village hall. Arts centre..Community CentreSocial Club..Theatre. Festival..Carnival..Private houseOther (please add). The following questions are asked as part of our commitment to equalities and will help us to see that we are reaching a wide range of people with different backgrounds and experiences. The information is treated confidentially. We may use it for statistical & monitoring purposes but will not use it for any other reason. Your answers will help us to understand if there are any differences in involvement for different groups and communities of people. Please answer as many questions as you feel comfortable with. No. of band/group members: under 18..18-25..25-35..35-45..45-55..55-65..65+ Approx. % male.. % female Approximately what % of members belong to Minority Ethnic Groups?. Approximately what % of members have disabilities?............ What are your average earnings per performance?..........(This will help us in assessing the overall value of the music industry). Thank you for completing the first part of this questionnaire; if you would like advice and assistance

in developing yourself or your group/ band/choir/orchestra please complete page 2.

YOUR DEVELOPMENTAL NEEDS (OPTIONAL) This section of the questionnaire is designed to offer you and/or your group/band/choir/orchestra an opportunity to identify your developmental needs and seek advice, guidance and support in meeting them. Whilst we are not able to provide direct financial support, we can help you to locate and access advice/training/learning opportunities from a wide range of sources. We can also help you to link up with others who have similar developmental needs, with the possibility of getting together and/or sharing resources.

1. Briefly describe your priority developmental objectives 2. What are you currently doing to achieve these objectives?.. .. .. 3. What do you see as the main obstacle/challenge to meeting these objectives?.. .. .. .. 4. Have you had any contact with individuals/groups/organisations with similar objectives? Yes/No. If so, what has been the outcome of the contact? 5. What kind of advice, guidance and support do you now feel would most help you to achieve your objectives and why? Thank you for taking the time to complete this questionnaire. The information you have provided on page 1 will be entered into the Creative Dorset Music Industry database. If you have also completed page 2 we will contact you in the near future to discuss your developmental needs and the kinds of help and support available for meeting them. Tom Hopkins, Independent Music Developer

APPENDIX B: CREATIVE DORSET MUSIC INDUSTRY PROJECT QUESTIONNAIRE (SOLE TRADERS/BUSINESSES/ORGANISATIONS)

This questionnaire has two main purposes: To provide information for inclusion in the Music In Dorset Information database To provide music industry businesses and organisations with access to advice, guidance and support in identifying and/or meeting their developmental needs By completing and submitting this questionnaire you agree to have the information you supply held electronically within the Music In Dorset Information database. Please either type or write your information clearly in black ink; when completed, please e-mail this questionnaire to: midi2011@btinternet.com or post it to: Music In Dorset Information C/o 16 Greenhill Weymouth DT4 7SG Name of business/organisation: Date established. Name of main contact person ..Role/position.. Business/organisation address..Post Code.. Phone.E-mail Web Brief description of your business/organisation:..... Main customers/clients:... Main geographical area(s) served. The questions below are asked as part of our commitment to equalities and will help us to see that we are reaching as wide a range of people with different backgrounds and experiences as possible. The information gathered will be treated confidentially; we may use it for statistical & monitoring purposes but no other reason. Your answers will help us to understand if there are any differences in involvement for different businesses and organisations. Please answer as many questions as you feel comfortable with. No. of employees: under 18..18-25..25-35..35-45..45-55..55-65..65+ No of full-time employees..No of part-time employees Approx. % male employees.. % female employees Approximately what % of employees belong to Minority Ethnic Groups?. Approximately what % of employees have disabilities?............ What is the average annual turnover of your business/organisation?..........(This will help us in assessing the overall economic value of the Dorset music industry). Do you/does your business or organisation currently have a business development plan?....................... Thank you for completing the first part of this questionnaire; please submit it by 8 April 2011 by post or e-mail (see above). If you would like advice and assistance in developing yourself or your business/organisation please complete page 2.

YOUR ORGANISATION/BUSINESS DEVELOPMENTAL NEEDS (OPTIONAL) This section of the questionnaire is designed to offer you and/or your business/organisation an opportunity to identify your developmental needs and seek advice, guidance and support in meeting them. Whilst we are not able to provide direct financial support, we can help you to locate and access advice/training/learning opportunities from a wide range of sources. We can also help you to link up with others who have similar developmental needs, with the possibility of getting together and/or sharing resources.

6. Briefly describe your own and/or your business/organisation priority developmental objectives:
7. What have you done or are currently doing to achieve these objectives?.. .. .. 8. What do you see as the main obstacle/challenge to meeting these objectives?.. .. .. .. 9. What kind of advice, guidance and support do you now feel would most help you to achieve your objectives and why? .. 10. Have you had any contact with other individuals/businesses/organisations with similar objectives? Yes/No. If so, what has been the outcome of the contact? Thank you for taking the time to complete this questionnaire. The information you have provided on page 1 will be entered into the Creative Dorset Music Industry database. If you have also completed page 2 we will contact you in the near future to discuss your developmental needs and the kinds of help and support available for meeting them. Tom Hopkins, Independent Music Developer