CMU Daily 14.03.16: Live music community welcomes 'noise impact' rule, Live Nation boss on ticket prices, new R1 music man chats

Venues pleased as government amends new planning right to ensure 'noise impact' is considered
The live music community has welcomed confirmation from the government that an extra criteria is being added to the so called 'permitted development right' which means that 'noise impact' will now be considered as a matter of course when developers utilise this system to convert commercial buildings into residential properties.

As much previously reported, an increasingly big talking point in the grassroots live sector of late has been the tendency for developers to put residential properties near existing music venues - possibly capitalising on the fact that the venue and other cultural activities have made a run-down part of a city desirable again - only for new residents to then complain about the noise of local businesses, resulting in licensing woes for the live music operators.

UK Music, the Music Venue Trust and the Musicians' Union have been lobbying on this point, pushing for an 'agent of change' principle to be added to UK law, whereby any developer building new residential properties near existing venues must anticipate and overcome any potential noise issues that may occur once the new apartments are occupied.

Today's amendment isn't full-on agent of change - indeed the government claims current planning laws and guidance provide quasi agent of change anyway (though they don't really) - but it is a step in the right direction.

The new permitted development right, which has been available to developers on a trial basis for a while now and is about to become a permanent measure, risked increasing the number of incidents where the conversion of commercial property to residential had a negative impact on local venues. The government using its secondary legislation powers to add 'noise impact' as a specific criteria for planning officers considering applications under the permitted development right should counter that concern.

Confirming that planning ministers Brandon Lewis and James Wharton had confirmed the rule change last week, UK Music boss Jo Dipple told reporters: "There are times when it seems government does not listen. When it does, and when it acts on what it hears, we should be proud of our political masters. The Music Venue Trust has done an amazing job to raise awareness and push this issue to the top of the governmental 'in tray'. If these new regulations have the desired effect, grassroots venues around the UK will have additional powers to help them survive and prosper".

The boss of the there mentioned Music Venue Trust, Mark Davyd, added: "We warmly welcome this breakthrough for the UK's grassroots music venues. This common sense move by the government provides an opportunity for local authorities to use their powers to ensure that live music continues to play a vital economic, cultural and social role in our towns and cities".

He went on: "For music venues, this has never been about stopping development or preventing the creation of much needed new housing; it's always been about ensuring that new development recognises the culture, economy and vibrancy of city centres by building great housing, and enabling existing music venues and new residents to live in harmony. This is a major victory for the UK's music venues and music fans. The fight to protect, secure and improve them goes on".

Live Nation chief says live sector should rethink pricing
We've noted before that Live Nation sits in an interesting position with regard to the secondary ticketing debate. The company houses promoters and managers, at least some of which are privately down on rampant online ticket touting, but then the live giant's Ticketmaster division has a significant secondary ticketing business and has become a key player in that market.

According to the Financial Times, Live Nation chief Michael Rapino has now said that he thinks there is no "simple answer" to the ticket resale debate, and "no right and wrong" in the different responses different promoters and managers have employed to the rise of the secondary ticketing market, ie those who try to restrict the resale of their tickets versus those who sell their own tickets on the resale platforms themselves.

But, says Rapino, the success of the secondary market possibly shows that the live sector hasn't got the pricing of its shows right, in that promoters may be putting tickets on the market at too low a price. "We have to start pricing the house to match the market", the Live Nation boss says. "[Because] we're only scratching the surface of the opportunity for the artist".

Though, of course, plenty of bigger name artists, while recognising that they could possibly hike up their ticket prices, don't want to, either because they worry about alienating dedicated fans on a tight budget, or because they think it will just hit other revenue streams, or because they fear they might price themselves out of the market and play to half empty theatres or arenas. Or a combination of all three.

The solution, reckons Rapino, is more dynamic ticket pricing. Though, while he says the live sector could learn some things from the travel industry when it comes to pricing, he's not necessarily suggesting the kind of dynamic pricing airlines use where tickets start cheap, then go up in price, but may then come down again at the last minute to sell off unsold spaces.

Some promoters did actually experiment with that method a few years back, but in music there is a PR challenge with last minute bargains, it basically being an admission by an artist that they haven't managed to sell out all their seats. And, continues Rapino: "We want to make sure that the fan never gets penalised for buying early - we don't want to start dropping prices along the way".

The solution? Having many more pricing levels, Rapino reckons, maybe up to a dozen options with a price range that may stretch as far as $20-$4000. Because, he reckons, "catching the top end allows you to subsidise the bottom end".

He's probably right that the live sector, especially at the upper end of the market, should be adopting more sophisticated pricing methods. Though that's unlikely to stop those opposed to secondary ticketing being ever more vocal about it, and the assistance Live Nation provides the touts.

New Radio 1 music chief joins criticism of grime-free BRITs
The incoming music chief at Radio 1 has been busy bigging up the grime scene, joining the chorus of people in the music community who have criticised the recent BRIT Awards for failing to recognise the key artists in this key genre of British music.

Speaking to The Guardian, Chris Price said: "At Radio 1, we're really focused on making sure we reflect the diversity of our audience in our music policy. And I'd love to see the success of an artist like Stormzy, who's got a long history with 1xtra and Radio 1, and a top ten single with 'Shut Up' - the first freestyle ever to do that - to be reflected at the BRITs. I'd also really love to see the excellent work that 1Xtra does at the black and ethnic minority end of the scale be reflected".

It's all the more worthwhile championing the genre at home too, Price reckons, because grime could be the next big UK music export. He goes on: "This year could be quite a turning point for grime. Can this become our big cultural export moment, our hip hop? It feels like international eyes are on the genre. Look at Drake signing to Boy Better Know last month or signing grime artists to his own label, and Kanye West turning up at the BRITs mob-handed with the entire grime industry last year".

BPI Chair Ged Doherty actually responded to the diversity criticisms aimed at the BRITs this year in another Guardian piece earlier this month, admitting that the awards bash needed to review its voting academy and eligibility criteria, both of which arguably skewed against grime artists this year.

"There are valid reasons why the nominations took the form they did", Doherty wrote. "In particular that they tend to honour artists who have achieved the highest levels of popularity and that there are no individual awards for specific genres. But this does not mean that we do not need to change".
He went on: "Britain always prides itself on being one step ahead musically ... Britain has led the way and that's because we've always celebrated and loved what's different. This was not adequately reflected at this year's BRITs, however, and we have been slow to look to ourselves and recognise that the processes behind the Awards have somehow become disconnected from this heritage of diversity".

Changes already being considered by Doherty and the BPI include altering the make up of the BRITs Academy of 1000+ media and industry types who vote in most of the award categories, and reviewing the rule that artists must have had Top 40 success to qualify for a nomination, given that in some genres acts may now have made a considerably impact without bothering the general music charts too much.

Meanwhile, back at Radio 1, Price also chatted to The Guardian about another recent talking point, a proposal from the government's Department Of Culture, Media And Sport that his new employer should stop trying to be so populist to ensure it doesn't compete head-on with commercial rivals in the pop radio space.

"It's a terrible idea", Price said. "Breaking new music is enshrined in Radio 1's service licence, it's what we're here to do. But what's unique about us is that we play brand new music in the mix with more established names, that's what gives us our size and our strength. So if Radio 1 were to play only music that was ignored by other broadcasters, it would quickly turn into a niche station. We would lose our ability to make the hits, which means commercial radio wouldn't have any hits to play".

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BBC Music to put spotlight on the 1950s
The BBC last week announced plans for a bunch of programmes celebrating music from the 1950s. This will be the first of a series of celebrations under the banner 'BBC Music: My Generation', which will see the spotlight put in turn on each decade of the latter half of the 20th century.

The first set of programmes, which will actually focus on the mid-1950s through to the mid-1960s, will air next month and will include a Tom Jones-led documentary about the period on BBC2, and BBC4 programmes about Billy Fury and The Everly Brothers. Radio 2 will set up a whole station dedicated to music from the 1950s, albeit for just four days, while 6 Music will air programmes looking at the alternative side of music from the era hosted by the likes of Iggy Pop, Stuart Maconie and Richard Hawley.

Says BBC Music boss Bob Shennan: "Only the BBC can present such a diverse season of multiplatform programming looking at the decade where popular music began - the 1950s. Radio, television and online will be celebrating the musical decades with a huge range of programming that will satisfy music fans of all ages and tastes".

Latest CMU:DIY x Urban Development session puts the focus on social
CMU:DIY teams up with Urban Development once again this Wednesday for another Industry Takeover Seminar aimed at new talent at London's Red Bull Studios.

These sessions put the focus on a different topic each month, and this time it's all things social media, with an expert panel set to look at the challenges and opportunities social channels pose grass-roots artists, how you're meant to decide which platforms to embrace, and what you need to do to keep fans engaged.

Says CMU Business Editor Chris Cooke in a pre-event blog post: "The fact that artists can [now] so easily talk directly to their core fanbase is amazing. But it also means more work for both artists and their teams, especially at the grassroots. Most social media need a constant supply of content to keep fans engaged, which means that artists who used to put out an album's worth of songs every couple of years, now need to be thinking of something to say and share at least once a week. Which can be exhausting".

Cooke also notes another challenge, "the fact that social media itself is evolving so much. Each social media platform evolves. Facebook went from being a free promo platform to arguably becoming an advertising platform, in that you probably now need to spend money to make a real impact on that network. And, of course, Facebook now has ambitions in video, so artists posting video content will be prioritised by the Facebook algorithm".

"But even if you can keep up with those changes, you also need to be aware of how your fans are evolving too as social networkers", he goes on. "If you are pitching at a younger fanbase, there's a chance you're shouting to an empty room on Facebook. But how can you make use of Instagram and Snapchat? Can you infiltrate Whatsapp? Where, exactly, are your fans hanging out?"

These are questions Cooke will be putting to his panel at the Urban Development session, which runs from 6.30pm-9.30pm this Wednesday, 16 Mar, with PC Music affiliate Hannah Diamond, Complex Magazine's Joseph 'JP' Patterson and MAMA's Aria Alagha among those set to share words of wisdom. Read Cooke's full pre-event blog post here, and book tickets for the event here.

Former bandmates pay tribute to Keith Emerson
Keith Emerson's former Emerson, Lake & Palmer bandmates - Carl Palmer and Greg Lake -have paid tribute to the musician, following his death last week. The keyboard player died at some point during the night of 10 and 11 Mar at his home in Santa Monica, Los Angeles. It was later reported that he had taken his own life. He was 71.

"I would like to express my deep sadness upon hearing this tragic news", said Lake. "As you know Keith and I spent many of the best years of our lives together and to witness his life coming to an end in the way that it has is painful, both to myself and to all who knew him".

He continued: "As sad and tragic as Keith's death is, I would not want this to be the lasting memory people take away with them. What I will always remember about Keith Emerson was his remarkable talent as a musician and composer and his gift and passion to entertain. Music was his life and despite some of the difficulties he encountered I am sure that the music he created will live on forever".

Palmer added: "Keith was a gentle soul whose love for music and passion for his performance as a keyboard player will remain unmatched for many years to come. He was a pioneer and an innovator whose musical genius touched all of us in the worlds of rock, classical and jazz. I will always remember his warm smile, good sense of humour, compelling showmanship, and dedication to his musical craft. I am very lucky to have known him and to have made the music we did, together".

Speaking to the Daily Mail, Emerson's girlfriend Mari Kawaguchi said that the musician had been planning to retire from live performance after a series of upcoming shows in Japan. Nerve damage in his right arm had affected his ability to play for a number of years.

The makers of a documentary based on Emerson's autobiography, 'Pictures Of An Exhibitionist', which is currently raising funds on Indiegogo, said that they were "in a state of shock", but that "truly this project will be a celebration of his life, and a tribute to a fantastic musician and a great man".

For support with issues relating to suicide, you can contact the Samaritans. Mind also publishes information on suicidal feelings and supporting someone who is experiencing them.

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50 Cent gives up control of Instagram account
50 Cent handed over control of his Instagram account to his management team last week, after his own use of the social media profile got him in trouble with the courts.

As previously reported, the rapper was called in to court last week to answer questions about photographs he had posted showing him posing with piles of money. This was of interest to judges as 50 Cent declared himself bankrupt last year. The bankruptcy coincided with a court ruling that he must pay damages of $7 million to Lastonia Leviston, after he posted online a video of her having sex without permission. The sex tape stunt was part of 50 Cent's ongoing feud with rival rapper Rick Ross, who has a child with Leviston

The management team's first job with the Instagram account was to delete a series of posts in which 50 Cent ranted about how he felt he'd been badly treated by the court. "I was accused of committing fraud with nothing but [an Instagram] photo", he said in one. "I [couldn't] care less what these people think of me, but it's not right. Now someone from [the] Secret Service is asking if [the] prop money was [counterfeit]. How the fuck would I know that, shithead?"

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Prince memorabilia to be auctioned by ex-wife and former manager
A collection of items formerly owned by Prince is to be auctioned in Los Angeles this week. Sold by Nate D Sanders Auctions, the memorabilia for sale has been pooled from the archives of the musician's ex-wife Mayte Garcia and former manager Owen Husney.

Among the items on offer are an acoustic guitar used to write and record Prince's early demos, a 1978 cassette demo tape, Gayte's engagement ring and handwritten proposal note from Prince, customised crockery from their 1996 wedding, plus various items of clothing and jewellery.

The guitar (with which Prince was photographed for 1997 promo photos) comes with a letter of authenticity from Husney. Expected to raise in excess of $60,000, 5% of the sale of the instrument will be donated to grief support charity Our House LA's Camp Erin For Grieving Children.

The auction will take place this Thursday at 5pm PST.

Hives' Pele Almqvist applies for AC/DC frontman job
AC/DC frontman Brian Johnson pulling out of live dates on doctor's orders could be seen as an opportunity for the whole band to retire in a dignified and entirely understandable manner. Or, alternatively, it could be an opportunity for The Hives' Pelle Almqvist to live out some kind of childhood fantasy. Tough choice.

As previously reported, the band postponed their remaining US tour dates last week after Johnson was told that he risked "total hearing loss" if he did not stop performing with immediate effect.

To be fair to Almsvist, the band did then say in a statement that they would reschedule a show in Atlanta later this year "likely with a guest vocalist", so his unsolicited application for the frontman job isn't entirely without purpose.

"Very sad to hear Brian Johnson can't do a bunch of AC/DC shows due to health problems", wrote Almqvist on the Hives' Facebook page. "That man is a legend. I would like to offer my sincerest well wishes and get wells. And if any help is needed, I put my foot forward and say: HERE I AM! I have many many years of experience rocking the world's biggest stages and according to others I am the greatest frontman in rock".

On his AC/DC-specific skills he adds that he has "already been singing those songs since I was six years old".

Stone Roses probably doing another album, don't all punch the air at once
The Stones Roses are on the verge of announcing their third album, according to reports. New reports. Not like those old reports about the band's third album that turned out to be wrong.

"Ian Brown and the lads have been busy getting their next album ready", a source who didn't feel the need to add weight to their claim by offering their name told The Mirror. "It will be album number three", they added entirely unnecessarily.

Other information provided though not required is that the album has been "a long time coming", that the band have been "in the studio", and that "everyone" is "very excited" about "it".

Anyway, despite my cynicism, I suspect this news is probably true. So we can all look forward to endless ranting from people with unbecoming haircuts on the band's brand new recordings for the rest of the year.

"They've shown these modern bands like Coldplay a thing or two", they'll say, struggling even to convince themselves that the new music is anything other than an embarrassment. And then they'll bang on about how The Stone Roses were the best band of the 90s, even though their two previous albums were patchy at best.

There has been no official comment on the rumours. And long may it stay that way.