Beyond The Music: ‘There is no HR department in the music industry’ | Ents & Arts News

“The music industry is broken,” says Oli Wilson, founder of Beyond The Music. But he hopes the event can play a part in helping to fix it.

From rapper Aitch to Culture Secretary Lisa Nandy, independent entrepreneurs to label executives, hundreds of music artists, experts and politicians came together in Manchester this week to discuss the biggest issues affecting the industry – from AI and the economics of streaming, to struggling grassroots artists and venues, and misogyny behind the scenes.

Now in its second year, Beyond The Music is a conference by day, city festival by night – set up as a co-operative as a place to address the “unprecedented and urgent challenges” facing the industry, but also to showcase up-and-coming talent and support the smaller venues in a city famous for its musical heritage.

Wilson, the founder, says the industry is struggling “across the board” – from the economic model that means “all the money’s staying at the top” in both recorded and live music, to the “imminent existential threat” of artificial intelligence (AI).

All of this feeds into a “mental health crisis”, he told Sky News. “It’s unregulated. There’s no HR department in the music industry. If you’re on tour with a band or if you’re working in a venue and you have mental health issues or perhaps you have issues with other work colleagues around you, who do you go to?”

Wilson, son of Tony Wilson, the man behind Manchester’s famous Factory Records and the Hacienda nightclub, says the landscape for new artists is tougher than ever.

“There’s 140,000 new pieces of music being released every single day… coupled with the fact that it’s harder and harder for record labels to take the risks and invest in new artists and careers like they used to. It’s really difficult for grassroot musicians at the moment – and grassroots venues.

“The government are taking action to get a levy on arenas to put back into the grassroots. My belief is that it shouldn’t just be in the live context, it needs to be cross-sector – so record labels and publishing companies also should be putting into the grassroots pipeline.”

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In the wake of the previous women and equalities committee’s misogyny in music report, released at the beginning of the year, campaigners also discussed the issues women have faced historically – and still face today.

Jen Smith, the chief executive of the newly formed Creative Industries Independent Standards Authority (CIISA), says the organisation will go some way to bridging the HR gap as described by Wilson.

“There’s a persistent problem with behaviours, there’s a gap in provision for dealing with those behaviours and preventing those behaviours, and CIISA seeks to address that,” she says.

The authority is not an HR body, she adds, but will be the place to call on for confidential anonymous advice and to report any concerning behaviour. “And in serious, the most complex cases, CIISA would investigate. Because we’re a 70% freelance community across the creative industries, you often have these gaps in jurisdiction, if you like, about who is the responsible body.”

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Zelda Perkins, who has campaigned against the use of non-disclosure agreements to prevent people speaking out about abuse in the creative industries, also spoke at the event.

“It’s cultural and it’s systemic,” she says. “But I do think that if legislation is there to protect people and I think if the legal sector also takes responsibility for its role in protecting powerful people to basically do whatever they want, that would make an enormous difference quite quickly.”

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Annabella Coldrick, chief executive of the Music Managers Forum, says it can be a lonely industry for artists and managers, as they are essentially “individual businesses”.

When it comes to making money from streaming and touring, she points out that streaming has “brought the recorded music business back into growth” from piracy taking hold, and that there is money to be made – “but it is very much at the top end”, making it harder for smaller artists and those working with them.

“I’m not saying everything is awful – it’s not, but it’s a hard game,” she says. “It’s a long game and it often doesn’t make money for a really [long time]. So people do it because they love it – and sometimes they get to the stage where they’ve been doing it for long enough that they’ve finally convinced enough people that there is an audience there.”

Despite the serious issues, there is plenty to celebrate, says Wilson.

“It’s my belief – and this is the great thing about doing it in Manchester – that we can create localised markets that will support artistic careers. I think it is possible to create economies in an area like Greater Manchester, or across the North, which would sustain artists’ careers.”

There’s more music than there ever has been in Manchester and across the UK, he says. “We’ve had over 3,000 submissions to play festival this year. The quality of music is really high and it’s across every genre of music, which is brilliant.”

He hopes getting “key players” together will help bring about new ideas and new ways of working. “We’re here to make change.”