I attended a BASCA masterclass (strictly speaking, it’s an interview) today at Goldsmith’s College Music Department in South East London.
I’ve captured some of my notes from the 90-minute session below, including some observations made during the visit. I share those notes and observations in list form for expediency’s sake.
Goldsmith’s College has a thriving music department
I was impressed. There were in excess of 25 songwriters/music students in attendance at the session, the majority of whom were already publishing their content via Soundcloud and YouTube.
The music department is bigger than I remember it when I spent time at Goldsmiths in the mid-nineties – the range of ensembles, niche concerts, support groups, and careers advice on offer via the noticeboards is eye-watering.
Don’t anyone let you think that music isn’t worth pursuing – Goldsmiths is proof there’s an industry-driven curiosity-fuelled appetite.
BASCA / UK Music Primer
Moderator Dan Moore (BASCA Marketing/Membership Manager) provided an introduction.
UKMusic is the umbrella organisation for a range of support/lobbying organisations of which BASCA (British Academy of Songwriters, Composers and Authors) is one. The others are AIM, BPI, FAC, MMF, MPA, MPG, MU, PRS, PPL, and UK Live Music.
I had no idea that membership of PRS (which ensures songwriters get their dues from their creative endeavours) required a one-off £100 membership fee.
BASCA campaigns (amongst other things) for transparency and royalties from digital streaming platforms, removal of YouTube’s ‘safe harbour’ (meaning rights holders get the revenue they deserve for music used in videos supposedly). BASCA also runs the Academic Supporters Programme – a link with institutions, supporting and developing the next generation of creatives.
BASCA runs the Ivor Novello Awards (set up in the 1950s to assert UK music in a US dominated marketplace) and the Gold Badge, Fellowship and British Composer awards (of which there’ll be a blog post about the 2019 awards in the coming days).
Amanda Ghost’s career history
- Songwriter, producer, TV producer and record company exec
- Secured first publishing deal at 22; dropped out of fashion college; used publishing advance to make demos for record companies
- Spent nine years writing songs for herself; hustling to get studio space;
- Secured a manager and eventually signed to Warner Brothers/Los Angeles during which she collaborated with other songwriters
- One such insistent individual pursued a collaboration which she initially turned down – it was James Blunt
- Her and blunt co-wrote ‘You’re Beautiful’ – “we wrote it in the swimming pool at my Los Angeles apartment, not in Kosovo as he prefers to tell people’
- Other collaborators got in touch following the Blunt success, one Mark Ronson
- Chair of DefJam invited her to write a song for Beyonce (when she was in Destiny’s Child) – a duet for Beyonce and Shakira; Amanda had to write it in 5 hours
- Took a year for Shakira to come on board and commit the vocals; after that, 12 million sales
- Ran her own music company (Epic?) at the age of 34
- Now sits on streaming board of BASCA (amongst other appointments); married to Deezer’s chief exec
Insights from Amanda
- “Nobody knows anything” – this is Amanda’s personal mantra for tackling any kind of imposter syndrome; don’t let perceived stardom in others dictate your levels of confidence
- If a publisher/manager says they’ve got everything sorted, ditch them; the songwriter/musician has got to do a nearly all of the work in a record company contract
- Simplicity is the key to creation – both in storytelling, lyrics, orchestration, and harmonic progression
- Amanda explained how she worked melodies for songs with two chord progressions (R&B/Hip Hop) by expanding on the original harmonic concept with transitional chords; then built a melody to accommodate the expanded idea; then returned to the original two-chord track and recorded the melodic line over the top. Neat.
- Writing for other artists is unexpectedly liberating – you don’t have to take into consideration your own perspective on issues
- Songwriting collaborations are in part about taking someone else’s idea for a lyric and applying your own ‘stamp’ – in the case of Blunt’s ‘You’re Beautiful’ it was injecting something bittersweet into the statement – “you’re beautiful, I will never be with you“
- “The song is the fusion of melody and lyric.”
- Influences: Prince (for his subversive lyrics), Michael Jackson, and Madonna
- “Pop music is like MacDonalds – it’s good but its not good for you.”
- “Blunt has an amazing falsetto.” Agreed.
- “Streaming services have fractured audiences. BBC Radio 1 isn’t important anymore – getting on Spotify’s weekly playlist is more important than being played on Radio 1.”
- “A&Rs are data-driven now. What’s interesting is that streaming hasn’t, as yet, broken a new artist yet – the last global artist who made it big (pre-streaming) was Ed Sheeran.”
- “You as an artist have never had it so good – easier to create, easier to distribute – but it’s also never been quite so hard as it is now to get cutthrough.”
- “Streaming companies can work out in 3 days based on skip rates whether or not a song will be a hit; but they can’t work out if it won’t be a hit – syncs and licensing of a song can transform it and your success rates.”
- Rap, R&B and Hip Hop skew the streaming music industry; modern music is minimal, it needs to be stripped right back
- In the future Amanda sees artists/songwriters going straight to streaming services, the middle man – record companies – getting stripped out of the deal
- Publishing/record company execs need to see initiatives from people – state your connections, blag
- Songwriters/performers must think of themselves as content creators and as business enterprises – they can’t think of themselves as working in a particular line of the music business
From a classical music perspective, I found it invigorating to hear how the art of songwriting can be articulated as a business process. In this way the art of songwriting probably does more to demystify the compositional process (in comparison to composers of ‘art music’).
At the same time I was wary about the way in which a simplified life-story can be make the process seem easier than it really is. Persistence is the key to all of this – a sense of hunger, as though there is absolutely nothing else you can do so you must writing songs.
The unequivocal message I heard (that I don’t hear as emphatically in the classical music world) is that the creative individual must think of themselves as a business first, finding ways to utilise their mindset and skillset in a variety of different areas.