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CONFERENCE REPORT: TALLINN MUSIC WEEK- pt1

4/12/2012

 
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After three years of baby steps, Tallinn Music Week is suddenly all grown-up and sporting the latest in fashionable long trousers - they grow up quick these boutique events, don’t they?

There were notable changes to this year’s event; the dates had been moved one week later in the calendar, which meant some of us managed to get a few days break between the SXSW slog and hitting the Baltics: the conference had an improved professional aesthetic, with raised stages to seat the panels, colour-coded decoration and lighting, and a clearer time schedule throughout the weekend; and, most plain to see, was the fact that the delegate count had increased, substantially, by almost 50%. The place was FULL and buzzing like a beehive. There were plenty of first-timers present, chattering away like kids on a school trip, excited as heck to be in this most magical of cities to witness an event they had only ever heard wonderous whispers about.

The opening night, and the guests were herded towards Rock Cafe, a castle-like venue perched atop the hill that winds up and out of the city centre. Clutching delegate passes as if they were golden tickets to a chocolate factory, everyone mixed and merged with everyone else, grabbed fistfuls of free food when possible, necked complimentary wine and beer, and switched back and forth between the VIP balcony and the two rooms housing the stages. There couldn’t be a better way to kick off this (or any) festival than a set from Finland’s finest twisted-indie act, Rubik – a band that has come on leaps and bounds since their first appearance at Tallinn Music Week two years ago. As soon as the Finns left the stage, the pleased crowd swarmed over to the main room where Estonian pop princess, Iiris, was about to appear for her album-release performance. There’s been much interest around Iiris ever since she bounced on stage as a teenager at the 2nd edition of Tallinn Music Week and she proved in this, her biggest gig to date, that she is ready to fulfill her potential. This was all a pretty perfect way to get the Tallinn party started and everyone knew it.

We meandered out into the dark night, back down the hill towards the old town. There is something about Tallinn - its spires and steeples, cobbles and kellars that is completely fairytale-like. Tallinn Music Week is almost designed to ensure the visitor feels as warm, snug, spoilt, and safe as possible and it feels like each delegate is subjected to a dose of some kind of magic potion in order for them to feel immediately relaxed, open-minded, and in awe at the surroundings and set up of this, still relatively new, event.

Presenting its fourth edition, Tallinn Music Week is still very new amongst the many showcase conferences going on around the world but it has already gained an enormous amount of respect and recognition within the music industry, and is now starting to pick up awards for being one of the best new events in Europe. It’s an incredible achievement.

The secret to the success is that the event partly reflects the personality of its main organiser, Helen Sildna. Tallinn Music Week is a pure realisation of her original vision; cultured, passionate, dynamic, intriguing, inclusive, and soulful - everything she would insist on. The seamless mixture of classical, jazz, rock and pop is surely unique amongst the myriad music events already in the calendar. Despite its rapid growth, Tallinn Music Week somehow seems to remain a truly bespoke occasion. There is a feeling of specialness about being a delegate. It is easy to return from Tallinn feeling satisfied, with genuine new contacts, fresh perspective, and having discovered some truly fascinating new acts to explore further. We all hope this will continue.

Day two stirred and rose with the weak Baltic sun but there was nothing languid about the start to the event proper. A crammed main conference hall, gathered to be welcomed by Estonian President, Toomas Hendrik Ilves - a man who has made quite an impact on those who have previously visited this event and heard his inspiring, knowledgable welcome addresses. His relaxed yet accurate message, his genuine love and knowledge of modern pop & rock music puts a charlatan like David Cameron to shame (if Dave was capable of feeling shame, that is). The President stole the show and set the bar very high in terms of quality performances.  Having the presence of the nation’s head of state was a glowing confirmation of the value that Tallinn Music Week has earned for itself, but it has not always been the case that such lavish attention has been bestowed on the event. Only four years ago, the inaugural edition was met with a good deal of local sceptisicm and political indifference at best. A small band of international guests arrived, liked what they saw, and reported back that here was a place that deserved recognition, despite its position off the beaten path. The fact that the local attitude has been turned emphatically around and political interest is, clearly, extremely real, there is all the more reason to really grasp and appreciate the enormous, almost unthinkable challenge that Helen had to overcome. With a small team of loyal followers she set about making a difference with a tenacity, skill, and determination that is simply awe-inspiring and has already managed to give Tallinn Music Week not only a place in the local calendar, but has also firmly established the event as an International annual occasion.


to be continued

THE NMO SEMINAR: AN INTRODUCTION TO ENTREPRENEURSHIP IN THE MUSIC BUSINESS

4/2/2012

 
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The NMO presented a series of panels at this year’s Tallinn Music Week. Here is an abridged version of Paul Cheetham’s introduction to the panel on “Entrepreneurship In The Music Business“ which featured John Rogers (Brainlove Records), Brendan Walsh (Brending Consulting), Paul Baylay (25 Media), Dan Koplowitz (Friendy Fire Records), and Toomas Olljum (Made In Baltics Management).

Entrepreneurship is much more than just starting and running a company.  Apart from the obvious risks involved, it’s a process through which individuals identify opportunities in the marketplace and generate and utilise resources in order to create value in a product or concept that perhaps didn’t previously exist.  Entrepreneurs tend to be the more creative thinkers who become owners of their own destiny, either through their own choice or through necessity. The ones who I speak to tell me that they feel they have more freedom to think and to experiment than if they were employees or confined to a department in a company.  Perhaps for this reason, it is not uncommon that economic, social, cultural, and scientific change is quite likely to begin from the work of an entrepreneur.

But what does it take to be successful at this? There are, of course, many obvious attributes required: passion, energy, a positive disposition, perseverance, dedication, knowledge, flexibility, motivation, leadership......the list goes on. But it’s not enough only to have a huge love for what you do - in this case, music - as after all, the definition of an amateur is someone who does something purely for the love of doing it and that does not always lead to successful business. To be successful you should bring a balance of professionalism and amateurism to your approach to work - that is; be good at making business decisions while maintaining a genuine love for what you do.

You need to be able to mix expertise in your chosen field with a passion for what it is you are an expert in, and be able to apply careful planning AND blind faith all at the same time. In summary; a succesful Entrepeneur is someone who is somehow able to blend science with religion.

So, why do we need Entrepreneuers in the music business? Producer, Musician and Author, George Howard, writes this:“There has never been a better time to be a music entrepreneur. Fundamentally, entrepreneurs see problems and fix them. Given the state of today's music business, the opportunities for an entrepreneur to succeed are as high as they've ever been. In few other businesses can someone with little  - or no - capital or connections go from a bedroom operation to affecting culture on such a large scale in such short order“.

To know the answer to the question of why we need more entrepreneurs in the music business, we should look at the alternatives. For me, the music industry has changed beyond belief in recent years. The big companies have disintegrated.  Individuals have broken off or been cast away and have gone in their own direction, packaging and selling their expertise as a service back to the remaining large companies, as well as to other smaller, entrepreneurial operations.  The music business is less of an industry and more of a community of experts, a network of advisers, gathering together and helping one another to survive.  Not too long ago the music business was a big, glamerous industry.

Huge corporations held the keys to the few doors that offered a way in to the higher levels of the business.  As we move away from that recent history we realise what an enormous, distasteful, and quite depressing con it all was. A scam that Tony Soprano would be proud of.

Talking of which, I used to recommend a book called “Hit Men“ by Fredric Dannen, as a fine example of how the music business operated, particularly the all-powerful major label recording industry, especially the US labels. If you haven’t read the book, it’s a behind-the-scenes documentary-style description about how the major label system grew and cornered the market in ways that are most interesting to read about.  The book describes itself as “the highly controversial portrait of  he pop music industry in all its wild, ruthless glory: the insatiable greed and ambition; the enormous egos; the fierce struggles for profits and power; the vendettas, rivalries, shakedowns, and payoffs. Chronicling the evolution of America’s largest music labels from the Tin Pan Alley days to the present day, Fredric Dannen examines in depth the often venal, sometimes illegal dealings among the assorted hustlers and kingpins who rule over this multi-billion-dollar business.“

I’ve had this book for about 12 years and read and re-read it several times. I’m just finishing it again now. The time I read it previously was about 6 years ago – at a time when social media as we know it was in its infancy or didnt even exist yet.  When I read it back then it still felt like an accurate portrayal of what someone could expect if starting to deal with major labels and major companies. So, I’m actually slightly shocked to read it now and realise that in just a few years that this book suddenly feels of very little use as a reference to today’s record industry.

It describes in full, lurid colour a time of big, big sales, huge deals, untouchable global superstars, and massive egos - especially of those running the companies, such as Walter Yetnikoff, David Geffen, Morris Levy, for example.

This is also a story of corruption, deceit, extortion, abuse of power, and, for want of a better term, artistic slavery.  More pertinently, it shows just how few people have been in control of so much of the business for so long.  I read this book now and I don’t recognise this closed version of the business any more and I’m really rather pleased about that.

For those of us who are suddenly the older guys in the business we remember this era very clearly. This is the business we grew up in and tried to work in. It’s all we knew.

We’ve lived through a revolution and it felt enormous and terrifying but in the end left us energised and excited.  But some didnt make it. They couldn’t adapt as the hurricane of change swept through and destroyed everything we knew in what felt like the blink of an eye.  It has been a heavy time for everyone and it’s not quite over.  But I feel the ground leveling off. There seems to be a calmness and a sense of hope that the worst is over and we are well under way with rebuilding and modernising the world we live and work in.  The people in this room here today are some of the ones that managed to survive. Just about. For now it feels good to be here and to be able to pass on our knowledge and our experiences, to others who might need this advice.  In return we are being kept alive in this new era thanks to the motivation we get from the new generation, the younger, more energetic people who arrive with new ideas, innovative methods of working, amazing new inventions, and, of course, new music.  Personally, I find all this vital to my own view of where I am in the business these days.  I’ve discovered that the more I try to give to others the more I seem to receive in return. It’s recipricol, it’s altruistic, it’s creative,  and, above all, it’s enjoyable.  This is, I think, the essence of the new music business.

While everyone sat around talking about what the next music business model would look like, these new people came in who didn’t need, or intend, to wait – and, anyway, they didn’t even know what the old music business model had been.  They just got on with creating their presence in the industry. There was never really a well-thought-out music business model in the first place, it just grew randomly and wildly for several decades, so there is no point in trying to harness or comparmentalise the vast amount of newness in the industry, it seems.

Finally, to all of you here who are just starting out and want to be a manager, a musician, an entrepreneur, a someone, but feel that you are struggling to make your mark, I recommend that you listen to all the very smart people we have on the panels today.

I suggest you ask questions about anything you feel you need to know – however embarrassing or stupid you might feel. Just ask. I promise you, it could make all the difference.

To prove this point: Our special guest today is Mr Ed Bicknell, one of the most successful artist managers of all time. The very first seminar I attended many years ago, Mr Bicknell was the guest speaker there too. He was an amazing speaker, I was absorbed and mesmerised by his stories of success and achievement. To this day I don’t know how I got the courage, in a room full of strangers, to put my hand up to ask him what I thought, even then, was a very naive question. I asked him “How did you know what to do?“. He laughed and I felt  awful, like I’d asked the most stupid question ever. But he wasn’t laughing at me. It was because his answer to my question was “How did I know what to do? I didn’t have a fucking clue what I was doing!“.  To hear this from a man who, even at the time he claims he didn’t know what he was doing, was actually managing an artist that was heading to #1 on both sides of the Atlantic was exactly the reaction I needed to hear. The idea that there was some secret exam I must pass or a certain Gateway to Knowledge I should discover was instantly erased.  It showed that even the most successful people need to start somewhere, and it’s usually at the beginning, with no idea of how to do what it is you want to do. “Just go out and do it and see what happens“ he concluded and I heard angels singing in my head. The next day I “began“ working in the music business.  I’d like you all to remember that.

I’ve passed this little story on to everyone I’ve ever met who I’ve tried to help to get started in the business. I’m sure Ed won’t remember the conversation but I definitely do and it certainly made all the difference to me.

I hope that the panel we are about to present will be able to answer enough questions for you, show the diversity that exists when it comes to the kind of entrepreneur that operates in the music business, and leaves you all with the spark of inspiration that might be the thing you need to go and get started on your own career as an Entrpreneur in the music business.  Thank you.

This speech was delivered as part of the Estonian Music Managers Master Class Programme in Tallinn, Estonia on 31st March 2012.


THE NMO PRESENTS SEMINAR PROGRAMME @ TALLINN MUSIC WEEK

3/13/2012

 
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The NMO will proudly present a series of panels at the Tallinn Music Week conference on 31st March.
The seminar is arranged in association with the Estonian Music Managers Masterclass Programme which was set up in 2011 to help develop local talent in the areas of artist and business management. Panelists this year will include the legendary and extremely entertaining Ed Bicknell (Dire Straits), Tessy Schulz (Tessy Schulz International Management & Consultancy), Tina Krueger (Karsten Jahnke), Hannes Tschürtz (INK Music), Jonas Sjöström (Playground Music Scandinavia), Brendan Walsh (Brending Management), Paul Baylay (25 Media), John Rogers (Brainlove/Projekta), Dan Koplowitz (Friendly Fire Recordings), Virpi Immonen (Backstage Alliance), and, manager of local acts Ewert & The Two Dragons and Iiris, Toomas Olljum (Made in Baltics Management).
For a full overview of this year's event take a look HERE.

TALLINN MUSIC WEEK ANNOUNCES FULL PROGRAMME

2/28/2012

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On March 29-31, 183 bands and artists from 13 countries will take over Tallinn for three days and nights to perform at Tallinn Music Week - the biggest talent festival in the Baltics. The grandest Tallinn Music Week so far will bring together the exciting and promising acts from Estonia and neighbouring countries to step up on 27 stages across central Tallinn. In addition to the established festival venues, TMW will surprise you with unexpected experimental environments – the “city stages”, where music lovers can enjoy special improvisational performances free of charge.

Within the city stage programme music lovers will have exclusive access to performances at the international headquarters of Skype, the suite of Nordic Hotel Forum, and the library corner of an Estonian LHV bank. Concerts will also take place at a wide range of spaces that include the tastemakers’ favourite record store Biit, the cosy café Must Puudel, the Gallery of Design and Architecture, and the children’s museum Miia-Milla-Manda. The Apollo bookstore, located at Solaris Centre, and the atrium space of Viru Keskus department store, will host an Estonian Music and Design Café equipped with headphones and furniture designed in Estonia to let everyone comfortably enjoy some cherry-picked homegrown tracks.

Daytime city stage shows will be free of charge. Festival passes allow access to all festival venues, and will be on sale starting from today.

The opening night of the festival on March 29th, held in the Rock Cafe, will host the debut album presentation of quirky singer-songwriter 
Iiris, with special guests Rubik, an acclaimed indie band from Finland.

There are 33 international performers from 13 countries playing this year’s festival programme. From Finland come 
Husky Rescue, Jaakko&Jay, The New Tigers, and Zebra and Snake, Lithuanian singer-songwriter Alina Orlova, Latvian art-pop sensation Instrumenti, Motorama from the Russian underground, Polish rock bandFonovel, the British sound wizard Napoleon IIIrd, Austrian indie-folkers Diver, Doug Tielly from Canada and a well known Latvian countertenor Sergejs Jēgers are just a few to mention.

Among the 150 Estonian artists on the lineup you’ll find our latest Pop Idol 
Liis Lemsalu, the talented singer-songwriter Vaiko Eplik, masters of deep house Rulers of the Deep, rock band Bedwetters, a folk-singer-songwriter Mari Kalkun and the beloved folk group Paabel. All this and more - doom duo Talbot have graced many European stages, and the talented young electronica wizard Sander Mölder will make an appearance. From a rich selection of Estonian composers, Mirjam Tallyand Tatjana Kozlova’s work will feature. Two highlights among many from the classical music programme, housed at the Estonia Concert Hall, will be mezzo-soprano Helen Lokuta and pianist and composer Rein Rannap.

As always, the festival programme features a full array of music styles and genres, put together by a team of key Estonian festivals and music promoters. We're proud to have curators from Estonia’s biggest outdoor festival Rabarock, the respected jazz festival Jazzkaar (who proudly celebrate their 23th birthday this year) and Viljandi Folk who are largely responsible for cultivating such a vibrant and varied folk and world music scene in Estonia. The contemporary classical music night is presented by the Estonian Composers’ Union and Estonian Music Days festival. The newest edition to the programme, the classical music showcase, is the fruit of a collaboration between the Estonian Music Development Centre, the Association of Estonian Professional Musicians and the Pille Lill Music Fund. The significant local indie-zine Rada7.ee will present a Friday night party at a legendary old cinema, formerly called Helios and now known as a cool indie-kids party spot Hoov (the courtyard).

There are also some exciting collaborations with international festivals and events this year. Positivus, the biggest festival in the Baltics, will present their own showcase at cinema “Sõprus”. UK indie label Brainlove Records teams up with international management & music consultancy Projekta and respected local indie-event promoter Odessa Pop to host a Friday night programme of emerging UK and Estonian talent, with Projekta and TMW having also founded an ongoing artist exchange programme that presents Estonian bands in London. And finally, legendary Finnish indie label Stupido co-hosts a must-see night with the World Clinic Estonian record store.

The TMW festival pass will give you access to all key venues of Tallinn – for three nights in a row, ticket holders will overrun the town’s best live venues and clubs, cool basement bars in 15th century houses, renovated Soviet-time cinemas, opulent theatres and cosy cafés and, for the first time, the grand Kultuurikatel (trans: “culture power plant”). This imposing old factory building will soon to become a vibrant creative centre of Tallinn, brimming with up and coming talent to watch.

As a new initiative, Tallinn Music Week has also teamed up with an internationally recognised start-up event Garage48. A special event Garage48 Tallinn Music will occur a week before the festival, with the aim of generating innovative music products and sound-related smartphone or web solutions.

“We want to take a step forward towards our local music fans and potential audiences by bringing music even closer to them," comments Tallinn Music Week organiser
 Helen Sildna. "Recent Estonian success stories like Ewert and the Two Dragons have proven both the need and the desire for good new music. It is indeed our job as a music industry to make Estonian music available to people in new and innovative ways. This is the idea behind both of the new additions to the festival this year – our city stage programme, and also Garage48 Tallinn Music – we want good music to reach people better.”

Tallinn Music Week 2012, the fourth edition of the ever-growing festival, will take place on March 29-31. As always, the aim of the music industry conference and new talent showcase festival is to present the most exciting and current Estonian and regional  music, to introduce our strongest artists to international music press and industry, and to help local music entrepreneurs expand their activities to foreign markets. The TMW conference will take place on 30th and 31st of March 2012 in Nordic Hotel Forum conference centre, in co-operation with Estonian Music Development Centre.

Tallinn Music Week is thankful to the supporters and partners:
Nordic Hotel Forum, Skype, LHV Bank, Tuborg Music, Kultuurikatel, Estonian Air, Tallink, Hansabuss, Viru Keskus, Anne & Stiil, Postimees, ERR, Garage48, Velvet, Aku Collective, Eventech, RGB, Tolm Stuudio, Estonian Music Development Centre, EAS, the Ministry of Culture, Tallinn Culture and Heritage Department, Cultural Endowment, Tallinn City Enterprise Department, and The British Council.

More info:
www.tallinnmusicweek.ee
www.facebook.com/tallinnmusicweek
info@tallinnmusicweek.ee

Tallinn Music Week 2012:
27 stages
183 artists from 13 countries
33 foreign artists
52 artists perform at city stages


source text: HERE

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