Interview with Wilson Joel, Music Producer, Lagos, Nigeria

"...you really do not have to be a musician to be a producer but must have a very musical ear and creative mind."

            

             How did you get started in the music business?

Hmmm…Music Business? Well, it started a while ago by first of all “MUSIC” itself. I loved music, I would leave anything I was doing to just dance to it and enjoy the beauty of how it was all put together and basically become so in love with it. As I grew older, I began to get interested in the ‘Business’ side of it. From Production to Marketing to Administrative arms of music. So, I really can’t put a date to when it started as it has always been natural for me but I can categorically say it started strongly for me in 2002.

Who are some of the artists you’ve worked with?

Whenever this question pops up anywhere, my heart beats fast because I often forget some names. So, I will be careful to pick on some names without disregarding other artists. Here we go : Wanda Baloyi (South Africa), Abby Godwin (UK), Lionel Petersen (South Africa), Sammie Okposo (Nigeria), Judith Sephuma (South Africa), Donnie McClurkin (USA), Chevelle Franklyn (Jamaica), Lolo (Nigeria), Lulu Dikana (South Africa),Sinach (Nigeria), Darey (Nigeria), Praize(Nigeria), Jamali (South Africa), Phil (Germany), Noel Robinson (UK), Ibiyemi (Nigeria), and many others.

The Nigerian music scene is pumping right now, what would you say is the cause of this upward trend?

One word – ‘TALENT’. So many of them. Even the world STAGE can’t be enough for all of ‘em.

As a producer, what sort of characteristics do you look for in an artist and their music before agreeing to work with them?

a.       Loyalty  b. Talent  c. Vision &  d. Ability to hear music differently and in a versatile way!

How important is it for a producer to also be a skilled musician?

WOW! That is a Golden question! Well truth is, you really do not have to be a musician to be a producer but must have a very musical ear and very creative mind, whereby you are able to explain yourself in a simple manner. Such that the session musicians or whoever you need to make your project rock, understands you. But if you are a musician yourself, it goes a long way. Yea!

What’s the creative process you generally go through with an artist before hitting the record button?

Basically, it starts with a series of listening, to find their voice and another series to connect with them (Soul) and then pre-recording to build their image/style.

These days, how important do you think it is for an artist to try and secure a record deal?

Erm, not very important anymore as the world has become a global village. There’s internet almost everywhere and serious music fans simply go online and download whatever songs they feel they love for a fee (more like $0.99 or a bit more per song) and other avenues as well. Like shows, concerts etc. Although what artistes really need to secure is a Distribution Deal, because “he/she who is a Debtor (Artiste) is indebted to the Debtee (Record Company) for as long as the debt T&C’s are stipulated for! So, I say “Don’t be greedy, get a distribution deal instead of a record deal.”

Are independent, unsigned artists in Nigeria experiencing the same level of success as artists who are signed?

Oh! In all fairness, I will say no & yes. No, because in Nigeria if you are not well packaged, you won’t make great headway. Networking, coalitions, collaborations in the Nigerian music industry is KEY to the growth of any artiste, signed or unsigned. And yes! Truthfully, very few artistes here get signed. And there are also cases of unsigned artistes doing well for themselves. Just because they have an in-depth intuition about what the music biz is all about.

If you could dramatically change one thing about the African music industry, what would it be?

It will be to change the way Music Producers are being relegated to the back when the Artistes they helped become successful, get corky and arrogant, forgetting their start-off point. It is a widely major issue in Africa. I sum it up in one sentence “lack of loyalty” to one another.  

I noticed you’ve been bouncing between Lagos and Johannesburg quite a bit, is their perhaps something in the pipeline for Doxology Music?

Hmmm. Yea. Doxology Music is now operational in Lagos, Nigeria as well as Johannesburg, South Africa. With lots of projects in Lagos, Nigeria for this season though. It will be tagged ~DXMedia~ and we will deal with many facets including importing and exporting of talents to and from Lagos/Johannesburg and other places outside Africa!

Who are the artists you currently working with?

Various artists. One of them is PRAIZ, second runner up on the hit show “MTN Project Fame West Africa“. Also PITA who is another fantastic singer and many others including some projects involving some of the various top artistes Nigeria has to offer. Also, some upcoming acts! Hint: found a very talented young boy. We are recording.

What do you see yourself doing in five years from now?

Learning they say never ends. I will still be learning. Hopefully, by then I’ll be helping many talents realize their dreams and also help make music in Africa a force to reckoned with!

What has been the greatest moment of your musical career?

The day Universal Music South Africa gave me the first ever producer’s contract to produce an artiste for them. I almost fainted! I walked into the office of the overall boss and as if that was not enough I was dragged to a meeting with the overall worldwide boss of Universal Music in a secret venue in Sandton, Johannesburg. I almost passed out. I was humbled and realized that in life, you can be all you want to be.

Interviewed by Ryan Coetzee

                 Images courtesy of juicyafrica.com, lyricspond.com, tiashauntee.com, foluwasade.wordpress.com

Q&A with Karl Anderson from Just Music

“..it's all good having your music on the net but you still need a label to help break through the clutter and get your music out there, market and promote you so that you can build up a loyal fan base who will attend your gigs, check out your videos, buy your albums, merchandise etc.”

Can you tell us a bit about how you got started in the music business, and what your role is now?

I started off back in the late 80's working in a record bar (as they were called back then) at the C.N.A and as a DJ at an alternative club called Le Club in Joburg.  Then in 1991 when I was in the army I was offered a job to do PR for Virgin Records and the rest as they say is history. Over the past 20 years I was A&R/Marketing Director for Gallo Record Company and then A&R/Marketing Director at EMI South Africa.  I set up Just Music in 2003 working out of a single garage at home.

Who are some of the artists you have worked with or been responsible for signing?

Over the years I've worked on a ton of international artists including the likes of Adele, Faithless, Lenny Kravitz, Janet Jackson, Violent Femmes, The Mission, Backstreet Boys, Katie Melua, Chris de Burgh, Britney Spears, Skunk Anansie, Two Door Cinema, & Placebo to name just a few.  Locally I've been lucky enough to work with some amazing South African artists including the likes of Zebra & Giraffe, KONGOS, Sugardrive, Fetish, Locnville, Goodluck, Shadowclub, Pascal & Pearce, Harris Tweed, Yoav, Karen Zoid, Flash Republic, Machineri, Tailor and The Muffinz.

What is the current musical direction of Just Music SA?

We're not genre snobs at Just Music – we sign artists and music we love, irrespective of the genre of music they produce.  Just good music :)

How ‘ready to go’ must an artist be before you look at them seriously?

Most of the artists we sign and discover are 'rough diamonds' - artists with tons of talent and a handful of demos.  Our job is to put them together with the right team of people (producers, musicians, songwriters, video directors, photographers etc) & to guide and support them in achieving their dreams and deliver the goods.

Are labels generally spending less and less time developing new artists?

Generally most labels have cut back on new signings in a big way.  At Just Music we're investing more and more money each and every year signing and developing new talent.  Right now we have two brand new artists in studio working on their debut albums and few other goodies we're working on.

If you were an artist and were offered a record deal, by what means would you go about evaluating the A&R and the label?

Ultimately I think you need to work with a team of people who share your vision for your band/music and a team of people you trust with your life.  That working relationship is the single most important thing in this business – it's all about relationships.  You need to find a label/A&R person who's as passionate about your music as you are & prepared to go out on a limb for you.

Which of your artists would you like to see gain more popularity?

We're really happy with the popularity/success of all of the artists we represent.  Internationally we'd love to see the likes of The Civil Wars, Childish Gambino and the Alabama Shakes break this year and locally we'd love to see more people discover the magic of Machineri as Sannie Fox is a star. In 2012 we hope to break The Muffinz and Tailor who are both about to release their debut albums.

Which one of your artists did everything right to get noticed, and what did they do?

We're incredibly proud of the artists we represent – they all have gone about doing things their own way without compromising their artistic integrity and worked hard to get where they are.  In particular, I have huge respect for the likes of KONGOS who have an incredible work ethic and run their band like a business.  Most artists can learn a lot from the way the guys go about their business.

Do you think the internet has offered an alternative route for artists to market and sell their own music effectively, and thus not need a record deal?

The internet has been an amazing leveling ground as everyone has the opportunity to get their music out there.  However, it's all good having your music on the net but you still need a label to help break through the clutter and get your music out there, market and promote you so that you can build up a loyal fan base who will attend your gigs, check out your videos, buy your albums, merchandise etc.

How important is touring nowadays compared to 10 years ago?

Touring has always been the lifeblood of any artists career – as important today as it ever was.

What aspect of the music industry would you change dramatically?

The monopoly that the major labels have where they literally force-feed the media, retailers & public into supporting whatever they perceive to be a priority, and pretty much control the 'pipeline' and 'shop window'.  Thankfully things are changing and more and more independent artists and labels are achieving success.  The fact that the world's biggest artist (Adele) was signed, developed and broken by an independent label speaks for itself.

What has been the greatest moment of your music career?

There have been too many amazing moments over the past 20 years to choose one particular one. Being able to work with such amazing talent each and every day of my life is a highlight in itself.

Interviewed by Ryan Coetzee – 30 March 2012

Q&A with Tim Hill, Owner at Tuned In Publicity

“Invest in your brand just as much as you invest in your music.”

Can you tell us how you got started in the music business?

I used to work for a PR agency that specialised in lifestyle and fashion. We did work around a fashion conference called Fashion Exchange and I came up with the idea of running Music Exchange, a similar idea but to empower people with the knowledge on the business of music. It so happened that my business partner, Martin Myers – who was with Sony Music at the time – had a similar idea and we joined forces and put on two successful conferences. One of the out takes from the conference was a dire need for a PR agency that was a) affordable and b) was run by a team with a passion for music. Martin and I started Tuned InPublicity in May 2010 and the journey has been incredible so far.

What acts are you currently working with?

We work with some well known acts including Watershed, Evolver One (prior to their lead singer leaving), The Graeme Watkins Project, Justin Bergh, Jason Hartman and Jacques Terre'Blanche. We have also taken on up and coming artists including Cameron Bruce, Si-Anne and Beverley Jayne. Projects we have worked on include handling media for some international acts including Akon and Michael Bolton, but also local veterans such as Robin Auld and Sipho "Hotstix" Mabuse.

How does a PR company like yours work to assist bands and artists?

In the first instance, we assist in building a brand, so it means gleaning key messages that need to be portrayed and establishing who the act is and what they stand for. Once there is a "story" such as a tour, a new single or new album, we create conversations within media circles to get them as much exposure in the press as possible. Where there is no "story", we create angles to maintain the conversation. Building and maintaining positive reputation capital and sustaining relevant talking points is what we do.

How do you find new talent?

Fortunately for us, we have gained most of our business through word of mouth. We live by the business philosophy that actions speak louder than words and really focus and work hard to deliver on promises. It would seem that word has got around that we do practice what we preach and that has really done wonders in keeping our own reputation up there. In terms of artists we sign on, especially the newbies, we only take on people who we believe have potential to make it in the industry.

How ‘ready to go’ must an artist be before you decide to take on their PR requirements?

There has to be obvious potential and talent. There has to be career activity that is worthy of conversation in media and music industry circles. We are in the business of publicity, not artist development, so new artists have to have a solid and well thought through product ready before we can work with them. It is obviously easier to get results with the well known artists, but I enjoy the challenge of taking on up and coming artists, provided that they are adequately prepared and ready to make an effort to put in what it takes to gain success in the industry.

What role does radio play in contributing to the success of an artist's career?

It is essential and has a knock-on effect on all facets of an artist's career. Radio play creates demand for live gigs, interest within the press who are more inclined to profile artists if there is public interest. Radio is a really tough beast and as an English artist in South Africa, you are up against the world. I encourage all artists (new and established) to write for radio. Listen to what's charting overseas, what is currently play-listed on the main stations and identify trends. I am not saying copy what is there, but be innovative in production that fits what the market is listening to and create that edge that will give a song the "wow" factor. It is worth investing in a good producer such as Brian O' Shea, Mark Beling, Theo Krous – there are many great ones, but also many crap ones – do your homework! Be realistic – just because you think your song is great, doesn't mean that radio will play list it. Any hint of arrogance towards radio is instant suicide – you need them on your side, so play the game and give them what their listeners want.

How do you view the current music business climate?

The music industry in South Africa is very challenging at the moment, yet very exciting too. The quality of local music has increased substantially over the last few years therefore competition amongst artists is that much higher as there is so much good stuff out there. It is often said by people that they can't tell the difference between local and international songs on radio. This is both good and bad. On one hand, it shows that our quality of music is exceptional, on the other hand, it shows that the perception of local music being bad is still rife. The biggest challenge is winning our local audience over – we are slowly getting there.

Retail is down and downloads have yet to replace CDs. Locally, we are slowly accepting downloads as a way to consume music. Albums are slowly being replaced by singles overseas and we are following in the international footsteps. Artists make money through live shows and sync deals and not through album sales.

There is a new wave of music industry personnel making noise and they are working hard to deliver and show innovation for the benefit of the music industry as a whole. The days of the local music business being about schmoozing and glitz and glamour are far gone and the "old school" executives seem to be dropping like flies as artists aren't buying into the hot air and politics. The change in attitude in mind set of the "new age music exec" is really going to benefit our local artists. We are all driven!

Do you think the internet has offered an alternative route for artists to market and sell their own music effectively, and thus not need a record deal?

The Internet (in whatever capacity it is used) should be seen as a supporting tool as opposed to a replacement. The industry is largely based on building and maintaining relationships and networking. Email will never replace picking up the phone or having face to face contact. Regarding record deals, they have their place and depending on the arrangement can prove very fruitful for both parties. However they are not as vital as they used to be. There are many "DIY" avenues for digital distribution, there are also services where physical distribution can take place independently of a record company.

What advice would you give unsigned acts on how to start building a career at an independent level?

Don't take short cuts and rather pay for quality than accept favours from mates. Listen to what the market is listening to and meet those trends. Network and build relationships within the industry. Invest in your brand just as much as you invest in your music. Have balls of steel as it is tough out there, but persist and most of all listen to what is being said. Leave the egos, arrogance and attitudes at home and simply be nice.

What value do you imagine SignMySound adding to the local music industry?

Shopping for labels and publishers is very time consuming for a manager. An A&R consultancy such as SignMySound will prove priceless when it comes to outsourcing this role to someone that a) can screen the music and give honest insights before shopping the music to labels, and b) in having the right connections to approach the right people at the right time. This is a service I will most certainly recommend to the up and coming talent within my portfolio. Innovation is the buzzword for 2012 – SignMySound and a few others are really getting stuck in and this is great to see.

What has been the greatest moment of your music career?

I sat back the other night and thought that having the portfolio of artists that we currently have is testimony and validation to the hours of hard work and effort we have put in to establish ourselves as a new business in the music industry. I am truly proud of what we have achieved and honoured to be working with some of the best artists in South Africa and I am really driven to grow Tuned In Publicity and deliver great results for the artists we represent.

Interviewed by Ryan Coetzee – 6 March 2012

Q&A with Ryan Hill, Director of Universal Music Publishing

“The importance of a great song is largely underestimated and songwriters often remain in the shadows”

Ryan Hill is the Managing Director of Universal Music Publishing, South Africa. He oversees the daily business of the company, from copyright and royalties to finance and A&R. He also plays a big part in forging industry-wide deals – including digital agreements and African business. An important aspect of his job is to form relationships with clients who are musical movers and shakers – or at least have the potential to be!

Can you tell us a bit about how you got started in the music business?

I am a pianist and composer and after completing my MMus in Composition at UCT a position became available in the Music Publishing world. At the time it seemed a somewhat strange and inscrutable world, but fascinating nonetheless.

What is your definition of music publishing?

It’s definitely misunderstood! I’ve heard Music Publishers described as ‘svengalis’ of the industry, but I hope to be a part of changing that perception.

In short, a publisher looks after musical and literary works: songs, that is. The importance of a great song is largely underestimated and songwriters often remain in the shadows. Music Publishing is an industry devoted to upholding the rights and uplifting the profile of songwriters in a complex and sometimes hostile environment. A publisher ensures, of course, that songwriters are paid their royalties.

What aspects of ‘new media’ do you see as the future of music publishing?

Location Based Services on mobile devices – just thinking off the top of my head. Imagine you walk past a club and your phone plays a song from the artist that’s going to be gigging there that night? Or you swipe your loyalty card at the department store and a new song is transferred to the memory chip as reward for shopping points earned? Hang on – I’d better patent those!

Do writers compose both lyrics and music? Or do you get lyricists and music composers working separately?

Collaborative effort is far more common than complete songs authored by an individual. The majority of international hits have a number of authors. In the major song centres – LA, New York, Nashville, London, Paris – writing teams are common, groups of people who make a business out of writing songs.

Locally, featuring other artists is commonplace in Urban releases, but we aim to create a stronger culture of collaboration here and across Africa. I refer more to collaboration for musical reasons than collaboration for pure credibility. We are wasting time maintaining an “island” mentality and not being open to collaboration.

What makes a songwriter’s catalogue appealing to a publisher?

Quality! Raw talent PLUS careful construction of songs with a keen consideration for who will be listening. There must be ingenuity within the limits of the listener’s desires – in other words, be different and creative, but not too self-indulgent. Of course if a catalogue contains proven hits, it’s appealing!

Do you think that writers should start their own publishing company and then find sub-publishers, or should they pursue a publishing deal with an established company right away?

It’s often easier and safer to be paid directly as a writer without involving your own publishing company cc. Starting your own publishing company can be a blessing and a curse. If you wish to manage other writers then you will need to sign them to your cc. This increases the amount of admin, but makes it easier to retain a share of publishing income for the service you are providing. In an admin agreement, you ask a major publisher to look after your publishing company. If you want to keep some of your songs out of a major publishing agreement because you write a lot of songs for a lot of people, it can also make sense to sign some songs to your cc and others elsewhere, but this can make the deal less attractive for a publisher.

Universal Music Publishing will discuss what suits you best so that the relationship functions properly. My advice would be to talk to an established  publisher first before taking any steps.

What has been the greatest moment of your music career so far?

The day my parents bought a beaten-up old piano at an auction when I was 4-years-old. It’s between that and when I conducted an orchestra and mass choir performing one of my own compositions at the Cape Town City Hall. It was packed and it was an exhilarating moment!

Interviewed by Ryan Coetzee – 17 Jan 2012

Q&A with Andrew Mitchley, head of A&R, Marketing and Digital Development at David Gresham Records

“The acts that will break out and sustain long-term careers are those who invest in a brilliant stage performance, alternate marketing concepts and smart endorsements, combined with quality repertoire.”

Can you tell us how you got started in the music business?

I studied media while DJing at clubs. I followed that with an internship at Metro FM and David Gresham Records and have worked my way from there.

Who are some of the artists you have worked with or been responsible for signing?

Local highlights have been Jesse Clegg, Nutty Nys, Miza, One Day Remains, Bantu Soul, Khalil, Moses Metro Man, Glaskas, Dans Dans Lisa. Internationally, Placebo, Arctic Monkeys, Joss Stone, Nickelback, Slipknot, Blue, Aaliyah, Boyz II Men, Snoop Dogg, Bush, Staind, Korn and The Temper Trap.

What acts are you currently working on?

Heuning (Afrikaans Country act), Johan C Venter (Afrikaans Adult Contemporary) and Lee-Roy Wright. We’re launching a couple of exciting new brands this year, as well as introducing Music Skins to SA. Also, we’re really excited about the new Temper Trap album and the single “Gabriel” from Joe Goddard. 

What’s the difference between an independent and major record label?

Indies are essentially the feeder system to the major companies globally. The majors will always pick up the emerging acts once they have been set up by the indies. It’s very difficult to pick up profitable stand alone indie labels in today’s climate, the majors have just about bought out all the creative companies and turned them into sub-labels. I think that fundamentally the business practice is the same, it’s just the scope of the infrastructure that separates the two.

What is it about an artist that makes you sit up and take notice?

Creative flair combined with commercial sensibility.

Do you pay attention to who the artists manager is, and the attorney and the team when considering signing a new act?

No, not at all, these guys normally get involved once the label has built the artist up to a commercial success, once an act is successful it gets a little more complicated.

How do you view the current music business climate?

The public require more than just a song on the radio and a quirky hipster video. The acts that will break out and sustain long-term careers are those who invest in a brilliant stage performance, alternate marketing concepts and smart endorsements, combined with quality repertoire. The way people discover, interact, evaluate and invest in artists is always evolving. If you don’t keep up with these trends, you are dead in the water!

What value do you imagine SignMySound adding to the industry?

Getting executives to speak their minds and not be politically correct about the business, it will add value to those that aspire to be in it. This business isn’t for the faint-hearted.

If you were an artist and were offered a record deal, how would you go about evaluating the A&R and the label?

I’d evaluate the studio they put me in, the person producing the record and whether there’s a definite release on the cards. There is no formula to a hit record. One song can change everything, it doesn’t matter who the A&R is, or what label it’s on, it’s still up to the artist to create a hit song.

What has been the greatest moment of your music career?

Being able to make a living out of a passion, happens every day. Awards are awards.

Interviewed by Ryan Coetzee – 21 Jan 2012

Q&A with Lance McCormack ~ Sony Music Africa

“…artist management and record labels still perform a crucial role in developing an artist’s career.”

Can you tell us a bit about how you get started in the music business and what your role is now?

I started a small indie label in Cape Town about 20 years back, while working as a copywriter at an ad agency. We called it Street Level, and signed a couple of local rock acts, including The Usual, fronted by the hugely talented James Stewart. Street Level still runs today under the auspices of (co-founder) Richard Black and singer/songwriter/producer Chris Tait, although it’s no longer a label in the traditional sense, but more of a recording studio. I’m now Head of A&R at Sony Music Africa, where I’m essentially an internal resource to assist the two label groups RCA/Jive and Columbia/Epic with different aspects of their local music rosters.

Who are some of the artists you have worked with or been responsible for signing?

TKZee, the Soweto String Quartet, Vusi Mahlasela, James Stewart/The Usual, Freshlyground, Goldfish, BLK Sonshine, Zwai, Loyiso and the Bala Brothers, Dozi, Tumi & The Volume, Joe Niemand, Lonehill Estate, the late greats Moses Taiwa Molelekwa, James Phillips & The Lurchers, Dr. Mageu … quite a long and diverse list – you could say I’ve almost covered the entire range of musical genres in SA, to varying degrees of success.

The awesome Vusi Mahlasela and I have been working together for 18 and a half years now, so that is something I’m really proud of. Apart from all the other shows he did, last year he had four US tours, opening for the likes of Amos Lee and Ray Lamontagne and jammed with the Dave Matthews Band at a sold-out Madison Square Garden. Now that’s rocking in my book.

How did you come across Goldfish?

I was walking past this pet shop in Linden… no seriously, I had been aware of them thanks to their debut album Caught In The Loop, which I thought was musically fresh and had interesting depth to it – in terms of the musicality and the groove. I knew the guys were mixing up the live instruments and beats and had a real loyal fan base developing in the Cape, also amongst the surfing community and other tastemakers around the country. Then a mutual buddy of ours, Dave Chislett, was working with the guys and suggested we chat (thanks Chiz!) as the band had just finished recording Perceptions Of Pacha’ . We signed them in 2008, and have been working together ever since.

What acts are you currently working with?

A range of acts, some of the bigger names like Goldfish, Vusi, The Freshlies, Tumi & The Volume, and some newer faces, including really cool Cape Town pop duo The Kiffness who’re working closely with Goldfish. One half of The Kiffness is their drummer Mike Scott, who hand-animated four amazing Goldfish music videos, and between them these videos have had something like 3 million YouTube views! Mike and his equally gifted multi-instrumentalist brother Dave are TheKiffness – watch out for them. Sakhile Moleshe, who sings with Goldfish, is a huge, huge talent, and hopefully together with The Fishies we can do some great things with him. Zaki Ibrahim is an artist who I think is truly world-class so watch out for her too! 

How do you view the current music business climate?

Well it’s like any business – right now it’s super tough given the economic climate, but it’s still pumping in many respects… there are so many different parts that make up the music business – recorded music, live music in all it’s forms, branded entertainment, digital, merchandising, TV talent shows, music videos, commercials, soundtracks, sound design… and they’re at various stages of growth and development, so it’s quite hard to say how its doing overall, but I’d say it’s growing.

The recorded side of the business is undeniably in decline and in this market we don’t yet have enough growth in the digital side to bolster overall market sales, but that equation will even out within a few years. Our industry could probably do with a lot more support from the real heavyweights, like the big cellular operators (in terms of making music more readily available) and of course support from the likes of the Departments of Trade & Industry, Arts & Culture, Finance, Education – so the barriers to entry are lowered even further and the incentives to get into the formal music business are increased. It’s a business in transition so that makes it interesting and challenging, but it’s still a very exciting place to be, especially when one looks at the bigger African music business, which is thriving in many places, but still ripe for massive growth and investment.

What is your view on the suspicion some artists and management have of record companies?

Well everybody is entitled to their opinions. A lot of the suspicions are well founded, but the labels also get a lot of stick and are the subject of plenty of uninformed conjecture. It’s very easy for artists to blame the label or their management when things aren’t going great, but the bottom line is that artist management and record labels still perform a crucial role in developing an artist’s career. In this market there is also a historical and cultural legacy that can’t be ignored, so that has a huge impact and will do for a long time. There’s also a crying need for effective and strategic artist management in this market, and Sony Music Africa is addressing this by opening its management arm called Day One Entertainment. Good artist career management based on clear objectives around a marketing plan for a song or album is much needed, and having these aspects work together is crucial. A good recent example of how this can work is the exciting young singer Toya Delazy, who is signed to Sony Music and Day One and had a hit with her debut single Pump It On, got a brand sponsorship from Reebok, a synch deal for a TV show, and is now poised for great things.

Do you think the internet has offered an alternative route for artists to market and sell their own music effectively, and thus not need a record deal?

The interweb has obviously opened things up tremendously, but in this market (and most for that matter) we’re still a very long way away from the record labels disappearing. Of course the web has changed everything and the barriers to entry have been lowered, but there’s now more music out there than ever before, and sometimes it can get bewildering for the consumers. In fact the bigger labels will never become redundant; it’s just that what they do has and will continue to evolve fundamentally. One can successfully integrate all the online stuff and use the amazing new tools to drive the more traditional aspects of the business. Key things like effective radio promotion, media marketing, structured and regular financial accounting, legal advice, effective physical and digital distribution, financial resources to put into recording, networking with other labels are some of the things that any of the good labels can offer, and this won’t be replaced any time soon by the online revolution.

What aspect of the music industry would you change dramatically?

The real challenge in our market is piracy in all its various forms – so anything that helps effectively fight that is good!

What value do you imagine SignMySound adding to the industry?

Potentially a very handy resource for both the artists and the labels… one of the best ways to discover new music is obviously online – it’s happening all day every day, and that goes for people at record labels too. Also, one can’t get to every gig out there. There is a vast amount of musical talent out there, but not all of it is going to go the distance, so a good service that is also able to filter out and then present the good stuff will work.

What has been the greatest moment of your music career?

There have been plenty, but probably getting that first Gold album: Soweto String Quartet back in 1994 with their debut album Zebra Crossing… that will always be special as I’d always dreamed of having a Gold disc on the wall. The album went on to Platinum, and saw the guys travel all over the globe, which was also nice!

I’d have to say, looking back briefly, that what I’m most proud of is that I’ve been very lucky to have worked with some truly gifted, world-class South African musicians, many of whom have had critical and commercial success, but also made a real impact on the socio-political landscape of post-Apartheid South Africa. Think of Freshlyground for a while, just in terms of their audience… this probably sounds idealistic, but for me it has always been more than just a business!

Interviewed by Ryan Coetzee – 17 Jan 2012