TODAY'S TOP STORY: Right then, this is yet another interesting development in the long running dispute Stateside about whether or not radio services - on air or online - have to pay royalties to record companies when they play tracks that were released before 1972. Perhaps they do, but AM/FM stations now have a sneaky get out: not if they play versions of the records... [READ MORE]
TODAY'S APPROVED: You may remember Hilary Woods as the bassist of JJ72. Or, if not, you almost certainly remember JJ72, who burned bright at the beginning of the millennium with two top ten albums. Woods left shortly after the release of the second, and then spent several years attempting to find another outlet for her creative energy. Eventually she found herself writing music... [READ MORE]
CMU TRENDS: Based on a CMU Insights presentation at this year's Great Escape conference in Brighton - 'Building a more skilled music industry' - CMU Business Editor Chris Cooke considers the skills and knowledge gap in the music industry, how to overcome it, and how individuals can make themselves more employable. To access CMU Trends become a premium subscriber for just £5 a month. [READ MORE]
CMU PODCAST: CMU's Andy Malt and Chris Cooke review the week in music and the music business, including the highlights of the CMU Insights @ The Great Escape 2016 conference in Brighton, the government's new report on the secondary ticketing market, and the ongoing saga of Bpoplive and its inability to hold onto a line-up. The CMU Podcast is sponsored by 7digital. [READ MORE]
TOP STORIES CBS Radio defeats pre-1972 royalties claim with remaster-reboots-copyright argument
LEGAL Vatican may now decide whether or not Katy Perry can buy a former convent
Wiz Khalifa sues former manager
DEALS SACEM and Universal Music Publishing confirm SoundCloud licensing deal
Blue Raincoat acquires Chrysalis Records, reuniting the label with founder Chris Wright
LABELS & PUBLISHERS Warner Music's General Counsel extends role to oversee some key emerging markets
DIGITAL & D2F SERVICES Guvera announces IPO
Musixmatch pulls lyrics from Spotify
THE GREAT ESCAPE CMU@TGE: Matt Tanner from Donuts
ONE LINERS Garth Brooks, Instagram, Pixie Geldof, more
AND FINALLY... Jake Bugg doesn't want to work with you
Click JUMP to skip direct to a section of this email or ONLINE to read and share stories on the CMU website (JUMP option may not work in all email readers). For regular updates from Team CMU follow us on Twitter, Facebook or Tumblr.
We are looking for a new Label Manager to work alongside us in supporting the Fabric Records and Houndstooth labels. The successful candidate will have proven experience of strategising, managing and implementing release campaigns from start to finish, a thorough understanding of sales, marketing and distribution and a sound grasp of the challenges of the modern music market.

For more information including a full job description and how to apply click here.
Partisan PR is seeking an online and print publicist. We require a quick witted, resourceful applicant with impeccable writing skills, a great, no-nonsense ear for new music and the adaptability and initiative to thrive working across the shifting landscape of social, online and print media.

For more information including a full job description and how to apply click here.
Sentric Music are looking for a Catalogue Administrator to join the Rights Management team based in our Liverpool office where they will help manage sub-published catalogues.

For more information including a full job description and how to apply click here.
Fast growing music PR agency Outpost Media is looking for a sharp Account Manager who loves PR and takes pride in doing a superstar job. You will require an encyclopaedic music knowledge, a passion for clubs and gigs and be obsessed with popular youth culture.

For more information including a full job description and how to apply click here.
Six07 Press is a well-established, independent music PR company, based in Camden. Are you an individual with a couple of years’ experience in music PR, who is able to take your acumen and apply it directly to our roster?

For more information including a full job description and how to apply click here.
Six07 Press is a well-established, independent music PR company, based in Camden. This is a great chance for someone who has a tremendous sense of fun and creativity and would like to work in music PR.

For more information including a full job description and how to apply click here.
Fast growing North London music company Fire Records is looking for a full time IT genius and developer to support a close knit team, covering a variety of roles.

For more information including a full job description and how to apply click here.
Your Army is seeking a dynamic Press Officer to join its busy press department and promotions team. The successful candidate will have a minimum of one year’s experience working across both print and online media alongside an adept understanding of both new and established artist campaigns.

For more information including a full job description and how to apply click here.
The !K7 Label Group is looking for an experienced Label Manager to join its Berlin team. We are looking for a highly organised and motivated individual to manage all aspects of our release campaigns whilst driving artist and label development.

For more information including a full job description and how to apply click here.
The position of International Digital Account Manager is responsible for the development and growth of key accounts in the digital music industry outside of North America. You will work closely with label representatives to ensure maximum visibility for our key projects and manage relationships with external accounts and internal teams at INgrooves.

For more information including a full job description and how to apply click here.
Minds On Fire, a dynamic music publishing company, is looking for an assistant to work across all aspects of the company. Reporting to the two directors, the role will involve managing the extensive works database, song registration, liaising with sub publishers, updating the website / social media platforms and assisting with synchronisation.

For more information including a full job description and how to apply click here.
CMU Jobs is a proven way to recruit the best music business talent for roles across the industry at all levels, from graduate to senior management. To book an ad contact Sam on 020 7099 9060 or email
A guide to upcoming events from and involving CMU, including seminars, masterclasses and conference sessions from CMU Insights and workshops from CMU:DIY, plus other events where CMU journalists are speaking or moderating.
kicks off 6 Jun 2016 CMU Insights Seminars Programme: How The Music Business Works
6 Jun 2016 CMU Insights Seminar: Making Money From Music
13 Jun 2016 CMU Insights Seminar: How Music Rights Work
15 Jun 2016 CMU Masterclass: Music Business Explained - For Brands
20 Jun 2016 CMU Insights Seminar: How Music Licensing Works
27 Jun 2016 CMU Insights Seminar: The Music Rights Sector
4 Jul 2016 CMU Insights Seminar: Merch, Live & Brands
6 Jul 2016 CMU Masterclass: Navigating The Digital Market
11 Jul 2016 CMU Insights Seminar: Building A Fanbase - Social Media Tools
18 Jul 2016 CMU Insights Seminar: Building A Fanbase - Music Media
25 Jul 2016 CMU Insights Seminar: Building A Fan-Orientated Business

CBS Radio defeats pre-1972 royalties claim with remaster-reboots-copyright argument
Right then, this is yet another interesting development in the long running dispute Stateside about whether or not radio services - on air or online - have to pay royalties to record companies when they play tracks that were released before 1972. Perhaps they do, but AM/FM stations now have a sneaky get out: not if they play versions of the records remastered after 1972. Bingo.

As much previously reported, this dispute began with the US record industry's fight with Pandora and Sirius over whether or not American online and satellite broadcasters needed to pay royalties to record companies when they played golden oldies from the 1950s and 1960s. Federal law in America says online and satellite radio services do need to pay royalties to labels, whereas AM and FM stations do not. But US-wide federal copyright law only applies to sound recordings released since 1972.

Pre-1972 recordings are protected by state copyright laws which make no distinction between online and traditional radio. Because AM/FM stations have never paid royalties when they play pre-1972 catalogue, Pandora and Sirius argued that they shouldn't have to either. But test cases in California and New York said that, despite some ambiguities, there probably was a general performing right as part of the State-level sound recording copyright, which would mean Pandora and Sirius would be liable to pay royalties to the labels.

Though, given that state laws - unlike federal law - don't specifically limit that performing right to digital and satellite services, the rulings in the Pandora/Sirius cases suggested that traditional radio stations should also have been paying label royalties all these years, even though no record company has ever previously enforced that right to payment.

Following that logic, ABS Entertainment, which owns old recordings by Al Green among others, got out its litigation pen and filed a lawsuit against CBS Radio in a case that, if ABS had won, could have proven costly for any American radio stations playing pre-1972 records.

But lawyers for CBS came up with a clever ruse in the radio firm's defence: its stations may play records that were originally released in the 1950s and 1960s, but it always plays remastered versions of those tracks. And, the argument went, a new copyright was created with the remastering process, and that happened post-1972.

Record companies usually like the idea that a bit of remastering can essentially reboot the copyright in a recording, because then when the copyright in a track is approaching its 50, 70 or 95 year (depending on country) expiry date, you can delete the original, push out a remastered version, and start the copyright term all over again.

Though in this case, ABS hit out at the remastering get out, arguing that in most cases the sound engineers doing the remastering just tweaked the balance and loudness, which were mere mechanical changes that were insufficient to create a new copyright. And anyway, if you allowed a new copyright to apply in such cases, that means sound recordings will basically never go out of copyright.

But this week, Californian judge Percy Anderson accepted the CBS argument, ruling that, in the examples of remastered recordings presented in the case, there were sufficient differences between the original and new versions of the track to constitute a new copyright in the latter version. And that copyright would indeed have come into being after 1972, so to be covered by federal law, which only provides a digital performing right for sound recordings.

The judge relied in part on expert testimony presented by CBS. Acoustic engineer and research scientist Dr Durand Begault investigated the changes made to various tracks during the remastering process.

The Hollywood Reporter notes that he found, in the remastering of Ace Cannon's 1961 track 'Tuff', for example, there was "additional reverberation", and that the reworked version "was played in a different musical key and at a faster tempo". Concluding that those were not mere mechanical changes - and noting that experienced sound engineers were hired for the remastering process because substantial changes were usually intended - the judge ruled that that remastering constituted "multiple kinds of creative authorship".

Welcoming the summary judgement in his client's favour, CBS's legal rep, Robert Schwartz of LA-based Irell & Manella, told reporters: "We are pleased that the court has ruled that the broadcast of pre-1972 sound recordings that have been remastered after 1972 is governed by federal copyright law rather than state law, especially when original expression has been added during the remastering process".

Anderson's ruling doesn't necessarily mean all and any remastering creates a new copyright, though - assuming it stands - the judgment probably sets enough of a precedent to protect AM/FM stations in the US from claims for royalty payments on pre-1972 tracks, because such claims would require the time-consuming scrutiny of each remaster to ascertain whether any creative authorship took place. And that sounds like a lot of work, given the relatively modest royalties that would likely be won, and the ongoing efforts to try and get the record industry a general performing right at a federal level anyway.

Meanwhile, the ruling arguably helps the record industry with its remaster-to-reboot-the-copyright practice, while also possibly providing the good old record producer and studio engineer with a stronger case for sharing in the statutory 'equitable remuneration' monies paid to performers whenever the performing rights in their sound recordings are exploited (or, in the US, on SoundExchange income), in that it suggests that they are very much involved in the 'performance'.

Vatican may now decide whether or not Katy Perry can buy a former convent
If you thought that whole legal battle Katy Perry was having with some nuns was over, think again. With no resolution on the matter of who actually has the right to sell a former convent to the musician, everything's now been put on hold to see if the Vatican has anything to say about it.

As previously reported, Perry bought a hilltop property overlooking Hollywood from the Los Angeles Archdiocese of the Roman Catholic Church last year. However, the Sisters Of The Immaculate Heart Of Mary, who previously occupied the house, reckoned they'd already sold it to local restaurateur Dana Hollister. Moreover, the nuns said that selling the property to the popstar would be a violation of their vows to God, and sought earthly judgement on the matter.

In April, things started looking up for Perry, after an LA County Superior Court Judge "extinguished" the nun's deed to sell the former convent to Hollister for $15.5 million, paving the way for Perry's $14.5 million cash offer to go through.

But the nuns' legal team has now submitted two letters as evidence, which show that the Vatican plans to step in to decide who has the right to sell the property. In the first, sent to Los Angeles Archbishop Jose Gomez and dated 22 Mar, Catholic church official Jose Rodriguez Carballo writes that the church's HQ has "responded to [the nuns] informing them that we were seeking further information from the Archdiocese of Los Angeles in order to conduct a comprehensive, objective study of the case", according to Courthouse News.

In a second latter the following week, another official reiterated this, saying that they were waiting for information from both sides in order to make a decision. "There is no question that the matter is [now] pending in front of the Vatican", lawyer John Scholnick argued. Judge Stephanie Bowick seemingly agreed that it appeared that was indeed the case, staying her ruling on the matter.

The case, amazingly, continues.


Wiz Khalifa sues former manager
Wiz Khalifa is suing former manager Benjy Grinberg and his label Rostrum Records, in part to be released from his record deal. He accuses Grinberg of failing to act in his best interests when locking him into a 360° record deal with his own label, and is also citing California's 'seven year rule' on personal services contracts as another reason to be set free.

Grinberg began representing the then sixteen year old rapper in 2004. Khalifa then fired him in 2014. In his lawsuit, he says that Grinberg and his company undertook "faithless fiduciaries in direct contravention of their obligations to him" and under the deal "reached for more than a decade into virtually every aspect" of his professional activity.

Khalifa's attorney Alex Weingarten told Variety: "An artist's most trusted advisor is his or her personal manager. Generally, nothing good comes out when the manager decides to go into business against his artist. Unfortunately, that is the case here".

In a statement, Grinberg said that he was "very disappointed and surprised" by the lawsuit. "To witness an artist turn on you after supporting them for a number of years is very disheartening", he continued. "This is an egregious lawsuit filled with inaccuracies, yet unfortunately people sometimes resort to these practices as a way of conducting business".

The case has echoes of Martin Garrix's legal battle with his former manager, in which he claimed that he had been duped into signing a deal with said manager's own label as a teenager. That case was settled out of court, though Garrix suggested that there could be further legal action on the matter.

Meanwhile, when exactly California's seven year rule, that limits personal services contracts to that time period, applies to music contracts, has been much debated over the years.

As well as being released from his record deal, Khalifa is seeking over $1 million in damages.

SACEM and Universal Music Publishing confirm SoundCloud licensing deal
Now everyone wants to do deals with SoundCloud. Remember the days when it was all "fucking SoundCloud, with their flim and their flam and their 'we're just a platform for creators' nonsense"? They were happy days.

So, French collecting society SACEM has followed the lead of the UK's PRS and done a licensing deal with small bad SoundCloud (it's YouTube that's "big bad" remember). And this isn't just about French songs - oh no - because this deal was done by DEAL, a venture that also represents the Anglo-American repertoire of Universal Music Publishing (including the performing rights in those songs that are ultimately controlled by PRS - complicated innit?)

The new European agreement, which covers 33 territories, means that songs repped by SACEM and Universal can now happily stream on SoundCloud's platform - both the now-ad-funded-in-some-territories freemium service and the fledgling premium set-up - without it getting any stern looks and angry cusses from the SACEM/Universal songwriter community. Well, no legal papers anyway. The stern looks and angry cusses may continue once royalty statements land.

Says SACEM CEO Jean-Noël Tronc: "This first agreement with SoundCloud, which we have signed before SoundCloud's launch of a new French consumer subscription service, demonstrates SACEM's commitment to be highly reactive and to provide the proper remuneration of the creators in the digital environment. We are proud to further develop DEAL, our strategic partnership with Universal Music Publishing International. This agreement now allows authors, composers and publishers a better exposure of their works in all type of music".

For Universal Music Publishing, top chief Jody Gerson added: "Universal Music Publishing International is delighted to have worked with our partner SACEM to conclude this deal, which makes our music widely accessible to European consumers and allows for our songwriters to be properly compensated through SoundCloud's platform. It is another example of our commitment to facilitate licensing while protecting the rights of our songwriters and delivering the greatest value".

Which is all well and good, but why's no one THRILLED about this thrilling new development? "We're THRILLED to have reached yet another agreement" says SoundCloud big cheese Alexander Ljung. Phew, that was close.

"This will allow us to further our mission to strengthen and grow our unique community of more than twelve million creators - established and emerging - heard each month on SoundCloud" he went on. "Our agreement with SACEM and UMPI, which we can add to a growing number of significant arrangements we have completed, allows us to continue to create a place where all creativity can live, while simultaneously ensuring rightsholders' work is rewarded and respected".


Blue Raincoat acquires Chrysalis Records, reuniting the label with founder Chris Wright
Chris Wright is back involved with Chrysalis Records, the record company he co-founded in 1968 and later sold to EMI in 1991. This development follows the acquisition of the original Chrysalis UK catalogue and the label brand by Blue Raincoat Music, the newish independent music firm set up by the former boss of the Chrysalis publishing business, Jeremy Lascelles, with the backing of Wright.

EMI originally acquired half of the Chrysalis record company in 1990, taking complete ownership the following year and then running the label as an imprint of the major well into the 2000s. Though the label brand had been pretty much phased out before the 'dark times' at EMI, which ultimately led to the British music major being split into two and sold to Universal (recordings) and Sony/ATV (songs).

Wright, meanwhile, continued to run the other Chrysalis businesses, most notably the Chrysalis music publishing company, which at one point dabbled in recordings itself via a label imprint called Echo. There were also TV and radio interests, the latter being sold off to the then fledgling Global Radio, now the biggest commercial radio outfit in the UK. The Chrysalis music publishing business was then acquired by BMG in 2010, with the German music rights firm adding the Chrysalis brand to its name in some territories for a few years after that.

As much previously reported, when Universal bought the EMI record company it was forced to sell off various assets in Europe to get regulator approval for the deal. The lion's share of those assets, including much of the Chrysalis UK catalogue, went to Warner Music, which in turn pledged to sell or license chunks of the recordings it was acquiring to indies, in a bid to stop reps for the independent sector demanding competition regulators interfere with its involvement in the EMI sell-off.

That commitment is only just coming into effect - with Beggars recently taking over the Parlophone-era Radiohead catalogue - and this deal is also part of that process. Blue Raincoat will get a significant portion of the Chrysalis UK catalogue as part of the arrangement, including recordings by The Specials, Sinead O'Connor, The Waterboys, Ultravox and more. It also plans to sign new artists and release new records under the label brand.

The new Chrysalis record company - with Wright as Non-executive Chairman - will sit alongside the Blue Raincoat management and publishing businesses, BMG still technically having the rights to publish songs under the Chrysalis banner.

Confirming the deal, Lascelles said yesterday: "This is a wonderful moment. Chrysalis Records is for the first time in many years, back in the hands of an independent. And I'm doubly delighted that we have got Chris on board as well. For him to be reunited with a company that he started nearly 50 years ago is pretty special. Chrysalis is an iconic brand with an incredible catalogue containing some of the great songs of its era - the likes of 'Ghost Town', 'Nothing Compares To U', 'The Whole Of The Moon' and 'Vienna', still sound as relevant today as they ever did".

Wright added: "For me this is an historic and emotional day as Chrysalis is back in the hands of myself and my partners at Blue Raincoat. We'll run it as an independent, revitalising the catalogue for the digital age. We believe it can become a new home for many established artists to sit alongside the incredible acts we already have".

And Lascelles's co-founder at Blue Raincoat, Robin Millar, concluded by stating the mission of the all new Chrysalis Records, saying: "There are reasons why great artists sometimes get through and sometimes don't. A great artist needs time, constant support and a strong team. That time and teamwork has been conspicuously absent in recent years. It's no coincidence we don't have enough artists that change the thinking of a generation today. We're letting the air back into that room and re-igniting the genius that resides in the Chrysalis vaults which is a big part of that process".

Warner Music's General Counsel extends role to oversee some key emerging markets
Warner Music this morning announced that Chris Ancliff - the mini-major's General Counsel outside the US - will take on the additional role of EVP for Eastern Europe, Middle East and Africa, overseeing the firm's growing operations in these emerging markets.

In the new post he will report into Warner's CEO of International, Stu Bergen, who says every one of these words: "As we continue to build our global presence, we are designing our local strategies for each territory's unique culture and market. With over two decades of wide-ranging international experience under his belt, Chris is the perfect choice to turbocharge our rapidly evolving presence in these dynamic growth territories. Giving these regions dedicated leadership is another important step in ensuring that our artists realise their full global potential".

Ancliff's other boss, Paul Robinson, to whom he reports in the General Counsel role, added: "Since joining WMG seven years ago, Chris has been an important player in helping us to make thoughtful acquisitions, expand our international footprint and embrace new business models. His deep understanding of our business, company and licensees in the these regions means this new role is a natural extension of his General Counsel duties and will make him hugely valuable as we take our international operations to new heights".

But what, you may be asking - are you asking? - go on, ask it - what does Ancliff himself have to say about his expanding remit? Well, "this is an exciting time to be at WMG, which is leading the industry in developing forward-thinking opportunities across the globe. From investing in local repertoire to bringing the world a new generation of boundary-crossing superstars, our teams are the best in the business. I'd like to thank Stu and Paul for this fantastic new opportunity".

Don't mention it. Oh hang on, I'm neither Stu nor Paul.

Guvera announces IPO
You know, sometimes I wonder if it might not be better for everyone if the no-hoper streaming platforms just called it a day and let everyone focus on the ones that might just last the distance. Though maybe they think that about music business news services. Anyway, in totally unrelated news, Guvera is planning an IPO on the Australian Securities Exchange next month. And why not, I say.

Australia-based Guvera, old-timers might remember, began life as an ad-funded download platform, before re-inventing itself as a streaming service. It now operates in various territories, with a particular focus on emerging markets where the big Western streaming brands haven't necessarily gained so much traction.

Here in the UK, of course, it's probably best known for buying Tesco's Blinkbox Music as part of plans for a British launch, only to shut that service down six months later, resulting in a messy legal battle with former Blinkbox staff whose lawyers state "at the point of the acquisition employees received a written assurance from Tesco and Guvera UK that they would receive redundancy payments if cut backs were required. This agreement was not honoured".

But don't worry potential Guvera share-buyers, "Guvera's Directors believe that it will be able to successfully defend itself against these proceedings on the basis that it has acted lawfully at all times, and that in any event the UK Employment Tribunal does not have jurisdiction to hear the case against Guvera on the basis that it was not the employer of those employees".

And what about monies owing to the currently-in-administration Omnifone, which provided content services for Guvera in some territories? "The joint administrator has requested payment for outstanding amounts owed by Guvera to Omnifone, however Guvera strongly disputes those amounts. In addition, Guvera is seriously contemplating a claim against Omnifone for failure to carry out its contractual obligations in the periods prior to and after it was placed into administration".

Beyond its commentary about ongoing legal wrangling, Guvera's IPO prospectus tries its best to put a positive spin on the business, though at the same time sets out in quite some detail just how challenging it is to launch a streaming music platform, with high content procurement costs, some significant very well funded competitors in the market, and the fact that the current streaming business model requires massive global scale to ever have any chance of going into profit.

Guvera is interesting in the streaming music space in that it has remained attached to its original advertising-centric business model throughout, while the likes of Spotify repositioned their ad-funded free set-ups as mere upsell platforms for their core premium subscription businesses. And in its prospectus, the digital firm admits that "Guvera generates most of its revenue from the sale of advertising to consumer brands and marketing agencies. A small proportion of Guvera's revenue is generated through subscription fees paid by subscribing users".

Guvera's management have previously suggested - as most other streaming firms have made premium subscriptions their priority - that the digital music sector just hasn't tried hard enough to make mass-market ad-funded services work, implying that the problem isn't a lack of interest amongst brands, but lacklustre advertising propositions from the music side.

Though, while it is true that internet advertising is booming at large, social media and search engines dominate in that space, with pretty much everyone in content provision - even the kings of clickbait with their many millions of users - struggling to make ad-funded models work. And the one standalone music service with sizable advertising income - Pandora - is still looking for other revenue streams to take the business into profit.

Which might make potential investors worry about the Guvera model, while the figures presented in the IPO papers - AU$81.1 million in losses in 2015, when it generated just AU$1.2m in sales revenue - confirm that, even if that model does has potential, this is a risky investment.

Though we should let Guvera chairman Phil Quartararo conclude with a more upbeat assessment. "Guvera's revenue model replicates that of a major social media platform. The provision of music is a mass-market service, and I believe Guvera is the best positioned music company to take advantage of this mobile advertising explosion". Good times.

Get your Guvera IPO prospectus here.


Musixmatch pulls lyrics from Spotify
If you've clicked the 'lyrics' button on Spotify at any point in the last week, you will have found... nothing. The provider of those lyrics, Musixmatch, pulled its content last Friday, seemingly as a result of a dispute over new terms in the two company's agreement.

"We regret the end of this partnership, but we must keep to our product and our users above all else", wrote Musixmatch CEO Max Ciociola in a blog post on the sudden removal of lyrics from Spotify. "We will not allow anybody to ignore our business model".

The partnership between the two companies began in 2015, and continued alongside Spotify's separate deal with Genius on an annotated lyrics feature, which was launched in January.

CMU@TGE: Matt Tanner from Donuts
Look out for insights, advice and viewpoints dished out at this year's CMU Insights @ The Great Escape conference here in the CMU Daily throughout June. This week, a series of interviews conducted by CMU Business Editor Chris Cooke as part of this year's CMU:DIY programme, where the spotlight was on the grass roots live scene. And today Matt Tanner from local club night Donuts.

The theme of CMU:DIY x The Great Escape this year was very much about new acts taking the initiative and putting on their own gigs, so to start building their fanbase beyond friends and family, and to get the whole direct-to-fan thing rolling. Some new artists though - and especially those making dance and urban music - go one step further and set up their own regular club nights, building an audience that way.

But how do you go about launching a brand new club night? Matt Tanner promotes Brighton hip hop night Donuts, a venture that began with him simply wanting to be able to play records that didn't fit in at the student nights where he was being paid to DJ. "DJing was a great part-time job to have as a student", Tanner concedes. "It was certainly better than working in a shop, but it was very much a job, in that I wasn't playing the sort of music I was personally into".

That music he was 'into' was hip hop, and specifically more experimental hip hop that didn't seem to get played at all in the local club scene. "So I decided to launch my own night. I wasn't planning any thing big - I certainly didn't expect to make any money out of it - I just wanted to be able to DJ the tracks I was most excited about".

He approached Brighton's Green Door Store with his pitch for a new night, knowing that the team there had a particularly open-minded approach to programming. "I just got their email address off Facebook and sent them a message", he says. "They invited me in, we had a chat, and they suggested I do a couple of nights to test it out. By this time the students were in exams and heading off for summer, so those initial nights were pretty quiet, though the venue still saw the potential".

So much so, that when September came round and the students returned, the venue proposed making the night weekly. It was a free night, so the deal was that the venue would pay Tanner a fee and provide a marketing budget, making its money back on the bar. "What's great about the Green Door Store is that they're not so profit drive. Many of the other clubs I've worked with, it's all about the money, which is fair enough, but that doesn't really work with this kind of night".

Though it paid off for both parties. Four years on, Donuts is still a weekly night at the Green Door Store, and while it enjoys a sizable student following, the venue doesn't have to do the kind of drinks deals that are the staple of most student club nights. "Because people come for the music, not the drinks deals, the venue makes a decent bar take, which makes it a more attractive early-week club".

Getting in that student audience in the first place did require a slight rework of the original music policy. "I did have make some compromises. We didn't go mainstream exactly, but we made it more of a traditional hip hop night, playing funk and soul, and 90s-era hip hop, but in amongst that we slot in the more experimental stuff. Which means people will hear something different, and perhaps they'll Shazam it and start following that artist or label".

Despite the successes, as a free night Donuts still operates on a tight budget, meaning marketing spend needs to be kept down. Facebook has helped in that regard. "At the start, the marketing was me putting up posters and flyering around the uni, but as Facebook - and Facebook advertising - evolved, that became a more effective way to publicise the club".

The regular night doesn't need so much promotion anymore, but for special and spin-off events, especially those that are ticketed, Facebook remains a key tool. "I probably spend between £60 and £100 on Facebook advertising for a ticketed event", Tanner reckons. "Which is less than printing and distributing flyers would have cost. And now that we are starting to do nights in other cities" - there is now a regular Donuts night in Nottingham - "social media makes it much easier to promote a night from afar".

The CMU:DIY day was all about tips, and Tanner came to the table with five bits of advice for budding club promoters. First, research the local and wider clubbing scene first and look for genuine gaps in the market. Second, think about a name and branding before approaching venues. Third, you need about six weeks to publicise your launch night. Four, don't get drunk on the night, not until you've built up a team who can run the show if you decide to be a clubber at your own club. And five, get to know everyone at the venue, including bouncers and bar staff.

"Coming up with the name was the one of the hardest things", Tanner reckons. Donuts is named after the J Dilla album of course, one of Tanner's favourites, though that wasn't the original plan. "It was going to be called Gobstopper [after the XV track], but my friend who I had illustrating the publicity was really struggling drawing a gobstopper, so he took my list of alternative names and said 'I could draw a great donut'. And so we had the name! Of course we didn't know we'd be here four years later with the same brand".

More at

  Approved: Hilary Woods
You may remember Hilary Woods as the bassist of JJ72. Or, if not, you almost certainly remember JJ72, who burned bright at the beginning of the millennium with two top ten albums. Woods left shortly after the release of the second, and then spent several years attempting to find another outlet for her creative energy. Eventually she found herself writing music, quietly, late at night to fill periods of insomnia, resulting in her debut solo EP 'Night'.

Her solo music is calming, atmospheric and easy to find yourself hopelessly lost in. Her second EP, 'Heartbox', is released on 10 Jun, with opening track 'Bathing' available to hear now. It stretches the late night, liminal feel of her earlier work even further, dropping the pace to a slow float. It feels more like a window into another world than a song.

You can catch Hilary Woods live at Whelans in Dublin on Friday night, or watch the video for 'Bathing' here.

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Garth Brooks, Instagram, Pixie Geldof, more

Other notable announcements and developments today...

• Garth Brooks has signed a new deal with William Morris Endeavor for worldwide representation in music, film, television, books, endorsements and anything else that might come to mind. Maybe he'll play those shows in Ireland now.

• Instagram has announced a load of new tools for business users, including new profiles and analytics, mainly to help the social network grow its own ads business.

• Pixie Geldof has announced her debut album, 'I'm Yours', which will be released on 16 Sep. "'I'm Yours' represents every single human I've ever loved in my life", she says of the record. Here's a song from it, 'So Strong'.

• Maria Usbeck has released videos for 'Moai Y Yo' and 'Uno De Tus Ojos'.

• Meshuggah have announced a tour of the UK and Ireland next January, which will conclude with a show at The Forum in London on 20 Jan. Tickets on sale tomorrow.

• Bpoplive will not stop in its mission to get young people voting in the EU referendum. In the (unofficially) pro-Brexit event's third attempt to book a line-up of acts who won't immediately pull out, they've scored former Eurovision winners Bucks Fizz. Who for legal reasons have to be called Formerly Of Bucks Fizz. Whatever the name, it's sure to get the kids on board. And rumour has it Team Bpop have also booked an Elvis impersonator.

Jake Bugg doesn't want to work with you
If you want to collaborate with Jake Bugg, you'll have to go and ask him yourself. He's not going to come to you, so don't sit there waiting. But you should definitely go and ask, he sounds like such a nice guy and a great person to work with.

Speaking to Bang Showbiz, Bugg said: "Most of the people I'd like to collaborate with probably aren't alive anymore. We'll just have to wait and see [if I work with any other living artists]. I'm not the kind of person to go asking people. If people want to ask me and they have a pretty decent idea then I'll maybe be up for it".

That's right, he's not going to come up with any ideas either, so don't be thinking he will. Come along with your own idea, though, and he'll sort it out for you. Maybe. Probably not. Unless it turns out that you're one of the people who was 'probably' dead but is actually alive.

Anyway, Bugg's new album 'On My One', which he's made a big show of making without any help, is out on 17 Jun. Although I'm sure he'd say that he could have told you that himself.

ANDY MALT | Editor
Andy heads up the team, overseeing the CMU bulletins and website, coordinating features and interviews, reporting on artist and business stories, and contributing to the CMU Approved column.
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