They are continuing to teach their courses via Zoom during the Covid-19 pandemic and social distancing, and MU members can sign-up with a 10% discount on all courses.

The school describes how learning coaching and mentoring skills can be of benefit:

“It brings fresh creativity, energy and focus to the wide range of problems we face every day. It offers skills to help bridge the gap between potential and performance using techniques and strategies to enable the development of our ‘best possible selves’ and those of the people we work with.”

Courses on coaching and mentoring skills

Three day core skill programs, split over several half-days, are available. Those who wish can pay an additional fee to apply for the Guildhall Certificate in Coaching (accredited at Foundation Level by the EMCC):

• For advisors, mentors and teachers
• For leaders and managers
• Peer coaching in the workplace

Guildhall School also offers advanced Level training accredited by the EMCC at Practitioner Level.

Will they ever make it back on stage? Will they ever make a buck again? For some, however, the question during the early days of pandemic panic was more fundamental. For Irish folk singer Cara Dillon, it was whether she would even survive.

Diagnosed 15 years ago with Type 1 diabetes and at very high risk from the virus, she was advised to shelter, advice that couldn’t have come at a less opportune time career-wise. With her husband and long-time musical collaborator Sam Lakeman, Dillon had finally been making progress on her first new album since 2017’s Wanderer, and it was shaping up to possibly be her first of entirely original material.

From the fear of lockdown to making music again

“We’d demoed six new songs at Real World,” she says via FaceTime from her kitchen, “and were really excited. Then… bang. Lockdown.” Since then the pair have barely considered the tracks or wanted to write more. Along with locking down, they’ve locked them away, for now at least.

“It’s the stress because I kept thinking, ‘My life might actually be over soon’, so subconsciously I’ve maybe been throwing myself into my family. You know, something that is going to actually preserve me. Obviously I realise now that I'm fine, and if you're sensible we can all overcome this whole plague, but who knows?”

Slowly, the urge to create and perform has returned and Dillon and Lakeman ¬– very much a duo even though it’s her name on the album sleeves – have come out the other side with a concert film that will be streamed on YouTube from 13 August. Invited to use Cooper Hall, a beautifully woody building that’s half arts pavilion, half village hall near their home in Frome, Somerset, they thought it was time to move lockdown gigs out of musicians’ kitchens.

“Some of the performances we've seen people do from their homes have been very entertaining,” says Lakeman, “but unfortunately you can be left feeling like you've watched out of guilty family obligation. And if you click off they'll know that you’ve gone. It’s like sneaking out the back of an auditorium for a curry after three songs and being caught. Come on,” he laughs, “we’ve all been there…”

High production values: putting together the performance

To bypass any guilt the pair decided to make the performance free so there’s no viewer obligation – they’re happy if people watch one song or 20, whether they enjoy it or not. “It’s up to you,” Lakeman says.

Putting together the recording over two days in mid-July proved surprisingly easy during corona-difficult times. Two local cameramen all but bit their arms off to man the five cameras – “They were like, ‘Yes! Oh to work again!’,” Dillon recalls – and sound engineer Dom Monks, who was in between recording Laura Marling at London Union Chapel and Nick Cave’s equally solitary Idiot Prayer at Alexandra Palace, was likewise quickly on board. Cooper Hall’s in-house lighting director completed the crew.

For Dillon, even such a small team in the room changed the performance from a kitchen gig. Having done a short house show for Matthew Bannister’s Folk On Foot podcast, the duo missed the feedback of even a tiny audience. “We’d finish a song and wait for some feedback, and then be tapping the camera going, ‘Is this working’?” she laughs.

The impact of growing up immersed in music

Dillon has been getting almost entirely positive feedback for her singing since she was 10. Even for a traditional Irish singer, she couldn’t have had a more traditional Irish upbringing, surrounded by people who could all dance, play the fiddle or the tin whistle, or sing songs about local legends from the small County Londonderry town of Dungiven where she grew up.

She and her friends would sit in the back of pubs with lemonade and crisps listening in on little local fleadhs and the living wakes of departed relatives who had left home to make their way amongst the great Irish diaspora.

“We just absorbed this stuff,” she says. “About six years old I remember feeling the hairs on the back of my neck standing up as someone sang unaccompanied. I didn't know why I felt like that, but that was me hooked on this living, breathing tradition.”

Headlining her first festival

By 10 she was singing in competitions, at 14 she won the All Ireland Singing Trophy at Fleadh Cheoil na hÉirean, forming her first traditional band, Óige (‘Youth’ in Irish) with school friends a year later. Her musical path was encouraged by parents who had already raised five much older children – “I think I was a later-life surprise” – and just weeks after forming, Óige were on a ferry to Scotland to headline a festival in Pitlochry.

“My older brother-in-law was the guitarist, so we had a responsible adult of sorts with us, but we’d never been out of this one-horse town and at times I guess it was a little like Derry Girls on tour.”

Defining moment: how she came to recognise the emotional power of her voice

It was on tour in Israel with Óige when Dillion first realised there was something truly special about her voice. After the gig a man told her that he’d been unable to grieve for his recently lost partner but had suddenly, finally wept while Dillon was singing unaccompanied. She’s never taken her voice for granted again.

“I was 17, and if my voice can do that to someone then I’ve got to treat it with a bit of respect and not be thinking about what I'm going to eat for dinner while I'm singing the third verse.”

Moving to Devon and signing a major deal

Meanwhile, in Dartmoor, Devon, her future husband Sam Lakeman was growing up with his brothers Seth and Sean, who eventually released a folk album as a trio in 1994. Soon after the brothers formed folk ‘supergroup’ Equation with Barnsley, Yorkshire singers Kathryn Roberts and Kate Rusby, but when Rusby left they put in a call to Dillon. Until then, Dillon had considered music as “just something I did”, but on the cusp of going to university she made a major life swerve.

“I flew over to Devon, met them, and the following week we were in London signing a deal with Warners. That was when I finally thought, OK, so this is going to be my life for a while.”

A year later, differing ideas about musical direction meant Equation was done. Dillon and Sam, by now a couple, signed to Warners as a duo called Polar Star, but although a pet project of then-label boss Rob Dickins, recording sessions in San Francisco and London were shelved.

“I was used to playing festivals because I wanted to do it,” Dillon says, “but when you're in a band everyone’s asking you to deliver and it becomes stressful at times. Warners had signed Enya and The Corrs, and I guess Rob saw me in a similar vein. It was very, very exciting times, mainly exciting, but it definitely came with a pressure which led to us doing our own thing in the end.”

Back to basics with a DIY album

Leaving Warners and signing with Rough Trade, Lakeman and Dillon sat down with Geoff Travis to hash out how to market a traditional Irish folk duo.

“Sam doesn’t really like being at the front, so we just decided to put everything under my name,” Dillon says matter of factly. “And after all that trying to find our sound all over the world, we simply went off and recorded the first album in Sam’s parents’ house.”

Stripping everything back to its core – Dillon’s self-titled debut was all traditional Irish songs – was the making of a folk star. Her voice was front and centre, high and clear with the tiniest natural flicker and trill like a tin whistle, and it won her two BBC Radio 2 Folk Awards the following year.

“It was such a relief that people enjoyed it, because for a long time we lost our mojo,” she says about the false starts and record company prevarication. “We just wanted to play, it’s always been about the playing for me, yet we’d been kept under wraps by record companies for so long we kind of forgot that.”

Back to basics with a DIY album

Three children and six albums later – including her “proper grown up” 2016 Christmas album Upon A Winter’s Night – Dillon and Lakeman have forged a very independent career, releasing the last four on their own label, Charcoal Records.

“If someone came knocking on our door offering us a deal sure we’d open the door,” Dillon says, “but we’ve been doing this for so long ourselves they’d have to offer something completely new to us. The thing is, although Sam does all the hard work and I just sing, it’s not as difficult as people might think. Be true to what you want, and if it’s good enough everything else should fall in place.”

Giving something back: The Live At Cooper Hall performance

Falling in place is very evident on Dillon’s concert film. Accompanied only by her husband, Dillon’s ringing voice weaves spells they almost have no right to.

“We definitely had a soggy mask situation with one of the cameramen after we finished one particular song, so it wasn’t all as soulless as it might have been,” she says with some understatement.

Part of the reason for the performance’s emotional power may lie in the couple’s core motivation. Dillon believes that under current social conditions it’s easy to get caught in the fact that musicians have lost not just their livelihood but their reason for existing. However it’s also important, she says, to remember that the gig-going public have lost a major part of their lives, too.

“It's just nice to be able to give something back at a time like this. The stream is free so everybody can just enjoy it with a glass of wine as we hopefully remember that this is what we do: watch music be performed and, for those of us lucky enough, actually perform it again.”

Cara’s ‘Live At Cooper Hall’ performance will be streamed on Thursday 13 August at 8pm. You can watch this free event on Cara Dillon’s website.

Due to the current COVID-19 pandemic, this year’s AGM will be held online as a closed meeting. As such, voting members will not be able to vote in person on the day and are encouraged to vote by proxy in advance. This proxy will need to be registered before 12:00 pm on Friday 14 August 2020.

The last two decades have seen the global music industry landscape shift dramatically. There has been a vast growth in digital services, increased competition for collection societies, and PRS for Music has created joint venture companies such as ICE and PPL PRS. In 2012, PRS for Music processed 126 billion performances of music, in 2019 that had grown to nearly 19 trillion.

The proposed governance changes were put forward following an extensive review by independent experts based on best practice in company governance. If approved, the changes will deliver more engagement, efficiency and transparency for PRS for Music members, alongside ensuring that the collection society runs in an even more cost-effective way, with fair rules, practices and processes that cover the needs of those it represents.

An animated video explaining the proposed governance changes and why they are important can be watched on the PRS governance review webpage.

The entire AGM will be streamed via the PRS for Music website and will include speeches from CEO, Andrea C. Martin and Chair, Nigel Elderton, a financial report from CFO, Steve Powell and an interactive Q&A session with members of the PRS for Music Executive Leadership Team.

Hopes for the future

PRS for Music CEO, Andrea C. Martin, said: “Unfortunately we cannot invite our members in person to attend this year’s AGM. However we have found in Lockdown many of the meetings we now hold ‘virtually’ are better attended and also allow for greater participation.”

“I really hope as many members and guests as possible will be able to join us on Tuesday 18 August at this pivotal moment in PRS for Music’s history. Our proposed governance changes allow us to become a more competitive and commercially orientated organisation. If passed, the changes will make PRS more efficient and cost effective and, most importantly, better able to serve its broad membership in what is a rapidly changing business environment.”

They explained that visa holders could use public benefits during the pandemic, such as public healthcare:

“A federal judge ruled yesterday that the use of public healthcare and certain other public benefits during the pandemic does not implicate the new ‘public charge’ rules and that foreign nationals in legal status should not be treated as putting their immigration status at risk by using these benefits during the remainder of the COVID-19 national emergency.”

Read the full advice document on what artists need to know about the suspension of the new public charge rules and maintenance of visa status.

Find out more about Tamizdat and read further news and advice on their website.

It uses evidence-based and peer-reviewed fun and engaging exercises inspired by the latest developments in neuroscience that have been proven to reduce stress and anxiety, boost the immune system and improve creativity.

The mental health and well-being benefits of group music-making are well-known

Mike Simpson, Co-Founder & Musical Director, Inspire-works describes the need that led to the creation of the #BodyPercussion #RecoveryCurriculum:

“The forthcoming term may be a challenging time for both children and staff who may be anxious about returning to school after the COVID-19 lockdown. The mental health and well-being benefits of group music-making are well-known but with government restrictions stating group singing and sharing of instruments will be limited when schools return in September, schools may struggle to find appropriate resources to help improve the sense of well-being within their community.

“Therefore, we wanted to be able to share our experience of leading body percussion workshops which help to create a fun, positive and uplifting environment and can be safely socially distanced. We also wanted to share our training in using the arts for mental health.

“We are very grateful to the Arts Council England Emergency Response Fund grant which has enabled us to design and film these fun resources during the lockdown that can be used by any teacher, regardless of their musical ability, and with any size of group either in the classroom or via video tuition.”

Download the #BodyPercussion #RecoveryCurriculum from the Inspire-works website.

Whilst the safety of members and the public is of course paramount, the MU has called the Government out on its failure to help musicians to survive this period of income loss and has asked the Secretary of State for Culture, Oliver Dowden, to properly engage with the music industry to solve the following problems:

• The £1.57bn cultural fund is going almost exclusively towards helping venues and theatres to survive whilst forgetting the workforce
• The SEISS and furlough schemes are due to end imminently, but most musicians are not yet able to return to work
• 38% of MU members never qualified for either of the schemes in the first place

We need the Government to act

While the Government has been reluctant to engage with the industry, the Shadow Secretary of State for Culture, Jo Stevens, has been having regular meetings with the MU and has raised a number of urgent questions in the House of Commons. On one such occasion more than 30 MPs spoke in parliament asking for the gaps in SEISS to be plugged.

Now we just need the Government to act, and the MU will continue to press for this on a daily basis. We sincerely thank all members who are helping by pressing their own MPs.

We’re also pressing the Government for clarity on the position of musicians given our upcoming departure from the EU. We are asking Ministers to make changes to the draft Free Trade Agreement to ensure that touring is not adversely affected, but there are concerns that time is running out.

Read more on how you can take action for musicians now.

While over one thousand employed musicians have been furloughed, an equivalent number of freelance members – along with many thousands of additional musicians – have relied solely on the Self Employment Income Support Scheme. Industry research shows that 30% of freelance musicians, shockingly, have not benefited from this scheme.

Furthermore, whilst the Culture Recovery Fund will be used to maintain arts organisations on life support until they can reopen fully in Spring 2021, there is no certainty at present as to which orchestras will benefit from the Fund. It will certainly not help, in the short-term, the many freelance musicians who depend on earnings from concerts and recordings.

This parlous state for a vital part of our cultural landscape is exacerbated by the concern that the last payment under the SEISS will be in August, yet a return to concerts with full audiences is not expected until 2021.

£6m monthly losses are leaving orchestras struggling for survival.

And freelance orchestral players are being left behind by Government support. #NoCreativeLeftBehind #ExcludedUK #KeepMusicLive https://t.co/jAhksLx7js

— Musicians' Union (@WeAreTheMU) August 6, 2020

The ship is sinking and we need a lifeboat

Horace Trubridge, MU General Secretary, said:

“The MU and the ABO are both deeply concerned about the future of the UK’s orchestras and the highly-talented musicians who rely on that work and who are at the heart of this key sector. For our orchestral members the ship is sinking and there isn’t a lifeboat in sight.

“This government either doesn’t understand the damage that is being done to the orchestral sector, or it doesn’t care. We have repeatedly called upon the government to offer a lifeline to freelance orchestral musicians, but they simply choose not to listen.”

Orchestral musicians are being missed by support from the Government

Director of the ABO, Mark Pemberton added:

“Our members reported earned income of £70m in 2019 and therefore over six million pounds a month is being lost in cancelled performances for a sector that was already struggling from the years of austerity.

“The many thousands of freelance musicians who have helped to make UK orchestras world-renowned are on their knees hoping that the government will finally recognise their plight, and step in with much needed funds to tide them over until the concert halls can reopen.

“Our own research suggests that up to a third of freelance orchestral musicians have been unable to access the government’s Self-Employed Income Support Scheme and with no work on the horizon, they are contemplating a very, very bleak future.”

Lobbying for sector specific support

We’re continuing to lobby the Government for appropriate, sector specific support. Read more about it in our latest lobbying update.

Here at UCan Play, we wanted to think about how we could support musicians at this difficult time. We wanted to collaborate with our partners – the MU and NYMAZ – to coordinate our response. We spotted a funding opportunity via Innovate UK and made an application for funding this project – INTERFACE:RESPONSE. Thankfully, we were successful!

The key aim of INTERFACE:RESPONSE is to quickly create a set of training resources, mentoring opportunities and wider support for individual musicians and their ensembles to help them to build their digital skills, relocate their core activities online and build new income streams.

How the scheme will work

There are two main strands to INTERFACE:RESPONSE. Firstly, we are currently designing a training programme for four key activities – rehearsing, performing, teaching, creating and curating. Each activity strand will include case studies, interactive training resources, technical and creative activities and other elements as appropriate.

Secondly, we are designing a mentoring programme for all musicians wanting to develop their practice in these core areas. During August, we will recruit and train mentors drawn from across the UK. Mentors will help musicians by offering online support to individuals and small groups as they begin to establish their new practices online. We will also provide an online forum so musicians can help support each other, using the principle themes of the training and mentoring programmes as key starting points.

Training and mentoring programs will be free to attend, and mentors will be paid for their time.

If you are interested in becoming a mentor on the INTERFACE:RESPONSE programme, please contact us at mentors@interfaceresponse.com 

Further information about INTERFACE:RESPONSE on their website.

UK-wide surveys have been undertaken by CULT Cymru have identified a lack of specific data around the situation creative workers face in Wales. Their aim is to influence industry, government and others to achieve a better, fairer more equitable creative sector.

The survey is open to all individuals working in the creative industries in Wales, regardless of employment status. This includes broadcasting, film, theatre, arts and live events.

Through the survey they will ask questions about your current employment situation, what support you are receiving if any, what challenges you are facing and how we can support you in working in the sector in a safe environment.

Taking the survey

The survey will take around ten minutes to complete and closes on at midnight on Sunday 9 August.

There are two language versions of the survey you can choose between:

• Take the survey in the English language
• Take the survey in the Welsh language

If you have access requirements and require the survey in an alternative format please email: sian@bectu.org.uk

Make Music Day traditionally involves performers, venues, event organisers, volunteers and supporters, with performances in a full spectrum of musical styles, and in a variety of public spaces including libraries, hospitals, schools, town squares, train stations, parks, shopping centres, pubs, cafes and traditional gig venues. 

This year there were over 200 online events from musicians and event organisers all across the UK, with some videos attracting around 50,000 views.  

The official Make Music Day broadcast included 13 hours of performances, workshops and talks, drawing over 17,000 views. The whole programme can be viewed again on Facebook and YouTube.    

Highlights include:

• Musicity Neue Grafik (feat Brother Portrait): As part of the London Festival of Architecture and Make Music Day, Musicity takes audiences on a musical and architectural journey across South London.
• A 6-hour DJ set by Kwaku BBM, spanning over 120 years of British black music: The Great BBM Set is inspired by the top five playlists of British black music, which were submitted by BBM/BMC subscribers. One of the most eclectic was culled from Prof Paul Gilroy‘s 50-track, 7-decade spanning Wire Windrush playlist. 

You can watch and listen to recordings of the day on Make Music Day’s website. And, if you watched any events, please take two minutes to fill in Make Music Day’s audience survey and you'll be in with a chance of winning a £50 Amazon voucher. 

August means that employers will now have to pay a contribution to keep employees on, and in September they will be required to pay 10% of their furloughed employees’ salaries, rising to 20% in October.

To encourage job retention, the Government will pay businesses a £1,000 bonus for every furloughed employee they keep on until the end of January 2021. These workers must be paid an average of at least £520 a month between November and January.

Sector specific support needed

40% of musicians do not qualify for either the Furlough scheme, or SEISS. Our industry has unique needs, which other countries are recognising through Government support.

We’re calling on the Government to:

• Extend Government support schemes for our sector until normal work can be resumed
• Plug all gaps in the scheme
• Review the streaming funding model

Take action for musicians

Please continue to use your voice to ask the Chancellor Rishi Sunak to protect all self-employed workers, and ensure no musician is left behind.

You can use our template letter if you're not sure what to say. Remember to include how you are affected too. Personal stories make all the difference.

Write to Rishi now.

Government action following the launch of the campaign

Since the launch of the campaign, the Government has announced a £1.57bn support package for the arts. Although we welcome the package, however we still need to ensure that eligibility for grants and loans is as broad as possible to ensure maximum take-up from across the industry from those in desperate need of help.

Also those that don’t have a track record of public funding must also not be put at a disadvantage and we are seeking urgent talks with Government to discuss further.

As part of his summer statement Chancellor Rishi Sunak announced a VAT cut from 20% to 5% for businesses in tourism and hospitality, which includes concerts and shows. The Department of Digital, Culture, Media and Sport also announced that there would be easing of restrictions to allow open-air performances to resume from Saturday in a very limited way.

However, this is only the first stage on the long road to get live music back on its feet. It is more critical than ever that Govt ensures the scope of its support is broad enough and continues for long enough to help the tens of thousands in our industry who are still unable to return to work.

Take action for musicians

Part two of @UK_Music's #LetTheMusicPlay focuses on the people behind the scenes.

The live music industry supports 200,000 jobs across the UK. At least 60% of those jobs are now at risk.

Everyone in the music sector must be able to access support > https://t.co/kh8dTZoz1A pic.twitter.com/cGG4SvIw8C

— Musicians' Union (@WeAreTheMU) August 4, 2020

The second phase of the campaign is moving on to include those working behind the scenes in the live music industry as well. The industry supports 200,000 jobs across the UK. At least 60% of those jobs are now at risk. Everyone in the music sector must be able to access support.

Share a message through social media in solidarity with the people who you work with, using #LetTheMusicPlay.

And remember to join us in writing to Rishi, calling for the extension of the SEISS scheme and other measures of sector specific support – use our template letter to get started.

Running from 5:00 pm to 7:00 pm, the event was hosted by Radio 2 Folk Award-winning artist Greg Russell, who stressed the financial challenges faced by musicians whose income has been decimated by the ongoing crisis. “Of course, musicians aren’t the only people affected by the virus,” he explained, “but it has driven a bulldozer through the creative arts.”

Presented in association with British Underground, this latest livestream had an international flavour, highlighting both the shared predicament of musicians globally and the community spirit for which the British folk scene is renowned.

Sets at Sheffield’s Yellow Arch Studios came from Lady Nade, Chloe Foy and Russell himself – with a rendition of Seven Hills – interspersed with footage filmed earlier this year at venues in New Orleans and Montreal, featuring Lauren Housley, The Bookshop Band, Findlay Napier, Sam Lee and Armagh Rhymers. John Smith also played a four-song set from his home in Devon.

Financial help for 4,000 musicians – and counting

Despite the convivial atmosphere, the Summer Of Live Folk Special was driven by a desperate call to action, with Russell urging viewers to donate generously to a cause that has already helped nearly 4,000 musicians, and to support a community that has lost over £20 million and an estimated 70% of job opportunities since the coronavirus crisis began.

“Musicians have been hit hard,” says MU National Organiser for Live Performance, Dave Webster. “The music industry fell off a cliff almost overnight, leaving many professionals out of work and the MU responded by being the first to set up a hardship fund for musicians.

“Live music was one of the first entertainment sectors to be shut down and looks like being the last to reopen. This is why we are doing all we can to help them in this time of need, while aiming to keep musicians gigging.”

Armagh Rhymers: Ancient folk traditions for the modern age

The first hint that the Folk Special was to be no ordinary evening of music was announced by Ireland’s Armagh Rhymers. Founded in the 70s as champions of traditional ‘theatre of the people’, the quartet have since brought their brand of ancient folk music, elaborate costumes, storytelling and drama to festivals and schools across the world.

Opening the Summer Of Live event, Armagh Rhymers’ performance of What Put The Blood On Your Right Shoulder in New Orleans was otherworldly and haunting, with Barry Lynch and Anniejune Callaghan’s faces hidden by masks, foliage and wicker costumes, while their trilling Celtic bouzouki and wistful harmonies spoke to a less chaotic age.

“It was the same for us all in the music business, we had to stay safe and creative,” they say of weathering the coronavirus. “So we launched a project called The Noble Call on social media, sending good wishes and asking every single person we’d ever worked with to send us a piece of their own creative work – and they did.”

Chloe Foy: Manchester Hot Tip with Heart-on-Sleeve Songs

Chloe Foy doesn’t need to shout to make herself heard. Gloucestershire-born and Manchester-based, this rising singer-songwriter specialises in delicate slow-burn acoustic balladry, decorated with a glorious swooping vocal that’s won her the attention of tastemakers like Steve Lamacq and over 15 million Spotify streams.

With her recent tour itinerary including SXSW, the Green Man and Cambridge Folk Festivals, plus an international tour in support of Jesca Hoop, Foy has felt the loss of her live work keenly since the crisis.

But at Summer Of Live, as well as showcasing the sparse beauty of ‘Where Shall We Begin’ and ‘Flaws’ – ably assisted by Harry Fausing Smith on electric guitar and violin – Foy had a serious point to make. “I wanted to get involved with this event,” she says, “because I feel that raising money for the hardship fund is hugely important. So many musicians are being left behind right now and they should not be penalised for their choice of career. We need to keep music alive.”

Lady Nade: A voice for the ages, writing the best in modern folk-soul

Evoking the smoky thrills of a ’20s jazz club and the crackle of a long-lost acetate, Lady Nade’s astonishing voice has taken her far beyond the folk circuit of her native Bristol. Enchanting crowds across Europe, appearing on media including BBC2, BBC6 and Radio 4, and opening for Grammy nominee Yola, Nade’s modern interpretation of the roots form, and her mastery of fingerstyle acoustic, was much in evidence on her latest album, Safe Place.

But it’s onstage that Lady Nade is perhaps at her most captivating. For Summer Of Live, she treated viewers to intimate solo performances of the frustrated Powerless, the bruised Last Dance, the heartfelt friendship ballad Josette, and the poignant Complicated, about the death of a family member.

“I wanted to get involved with Summer Of Live, because I love giving back and contributing to my community,” she says. “I chose to start with ‘Powerless’. It’s a brand-new song written during lockdown, and seemed fitting, because we’re powerless over Covid-19 and everything it’s brought.”

Lauren Housley: Yorkshire Singer-Songwriter Bringing Comfort & Joy

For Summer Of Live’s next segment, the action shifted across the water to New Orleans, where local music writer Gabe Soria gave a whistlestop tour of the city’s creative hubs – now reeling from the shutdown – and stressed the importance of global solidarity. "Musicians around the world are in trouble. Venues around the world are in trouble. There's no other way to put it.”

The Crescent City’s cultural centres might lie deserted for now, but British Underground were able to film three striking performances shortly before the virus hit. First onto the makeshift stage at the famed Euclid Records store was Lauren Housley.

In her early years, the Yorkshire-born singer-songwriter fell for music as “my therapy” and has since passed that comfort onto others with 2015’s independently released ‘Sweet Surrender’: a debut album that saw her playlisted by Radio 2, supporting Vintage Trouble, and invited onto the star-studded bill for BluesFest at the O2 Arena.

“The main challenge of lockdown for me,” Housley reflects, “was the sudden cancellation of all shows until the end of the year, not just from a financial point of view, but because playing live with my band feeds my soul. To stay positive, I've been connecting more than ever with my fans through a regular Tuesday night concert on Facebook.

The birth of my baby boy Noah also helped me stay positive. The song I performed in New Orleans is called ‘Sing To Me’, taken from my new album, Girl From The North. I always describe it as an adult lullaby. For me, it represents finding a place of calm amongst the chaos of everyday life.”

Sam Lee, The Bookshop Band and Findlay Napier: Off-kilter roots from three modern masters

As Summer Of Live continued, three of modern folk’s quirkiest artists took the stage. Following Housley at Euclid Records was Mercury Award nominee, Sam Lee, whose mission over the past decade has been to gather, rework and share the ancient folk music of Britain and Ireland.

The London-based songwriter and environmentalist’s debut album, 2012’s Ground Of Its Own, made critical ripples, but in New Orleans, he treated viewers to a highlight from this year’s Old Wow, with ‘The Garden Of England’ combining double bass, fiddle and bodhrán with Lee’s melancholy vocal, to hypnotic effect.

“Derived from the classic English folk song ‘Seeds of Love’, I rewrote it to speak about the journey and life of our native folk songs,” he says, “and the complexities of stewarding these ancient and wise gems into a modern world and keeping them alive in our day and age.”

It’s hard to imagine a more fitting backdrop than the famed Beckham’s Bookshop on Decatur Street for the next act. The Bookshop Band are Beth Porter and Ben Please: an idiosyncratic folk duo occupying the sweet-spot where music meets literature.

With their 13-album catalogue inspired by texts spanning from Shakespeare to Philip Pullman – and their songs often guest-starring contemporary authors – critics have dubbed their material a “fairytale land for adults”. At Beckham’s Bookshop, they gave us the dreamlike ‘We Are The Foxes’, told through the eyes of an urban fox.

Meanwhile, performing in Montreal, Findlay Napier was as raucous as his reputation, with the much-admired Glaswegian troubadour leading the crowd in a call-and-response singalong of Hamish Imlach’s classic Cod Liver Oil And The Orange Juice. The song might date back to the late-’60s, but the bawdy lyric – telling of a baby conceived in an outdoor toilet – had the audience howling approval.

“That song is from my album Glasgow,” he says. “It has become a bit of a showpiece at my gigs as I increase the patter between verses. It’s part interpretation and part storytelling. Some folks have called it stand-up… but I’ve dabbled in stand-up and it’s bloody hard work!”

John Smith: Devon Visionary Running With the Baton of John Martyn

Summer Of Live had one more ace up its sleeve. The legendary John Renbourn once called John Smith “the future of folk music”, and the singer-songwriter has lived up to the billing, applying his signature blend of fingerstyle and slide guitar to a five-album catalogue with over 33 million streams, and building a live profile that has seen him headline internationally, open for folk heavyweights like Davey Graham, and guest with everyone from Jackson Browne to Jarvis Cocker.

“Staying in one place is new to me,” he says of lockdown. “I’ve done nothing but tour for the last ten years, but it turns out that being still has its rewards. I’ve been reading, listening to a lot of music, practising, playing with my daughter. It’s been a good time.”

For Summer Of Live, Smith exclusively invited us into his Devon home studio. Moving between electric and acoustic guitar for dazzling takes of Hares On The Mountain, Save My Life, Far Too Good and the title track of his recent Hummingbird album, his masterly blend of traditional folk and avant-garde sonic effects tipped a hat to the most adventurous work of John Martyn. Meanwhile, Smith’s witty use of an applause app reminded viewers of a sound that we’ve all missed so badly during lockdown.

Watch the Summer Of Live Folk Special here.

Financial support for musicians

Members with genuine and pressing hardship can apply to our Coronavirus Hardship Fund for individual grants of £200, to cover immediate financial needs.

Find out more about the eligibility criteria for the fund and how to apply.

If you’re able to help us provide immediate support for musicians in real financial hardship as a result of coronavirus, then please donate to the Coronavirus Hardship Fund.

Members’ profiles can now be set so that they’re visible to members of the public, as well as to other members. We’ll also be updating the membership directory in the next few weeks so that it will be searchable by the public as well. You can use your profile to describe the kind of work you do, and link to examples of the services that you are offering.

The Covid-19 pandemic has seen many musicians having to move both their work and their networking activities online. Our plan is to better exploit the member directory as a tool for our members to advertise their services, and find other musicians to network and collaborate with.

We hope that as we develop it, the membership directory will also give those looking to hire or collaborate an easy to access list of musicians looking for work.

If you have services that you wish to advertise online, we recommend updating your profile. We will be letting members know when the member directory becomes searchable to members of the public – please note that those who have opted to keep their profiles private or members only will not be searchable.

Members wishing to update their profiles can do so by logging into the website and visiting the My Details page.

Silence is not an option. We stand together, to educate and wipe out racism now and for future generations.

Read more > https://t.co/EbLyddl3oG#NoSilenceInMusic https://t.co/Tdx3hLm2vP

— Musicians' Union (@WeAreTheMU) August 2, 2020

Prompted by too many examples of racism and intolerance – most recently the sustained anti-Jewish outbursts and the horrific incidents that led to the BLM movement – the open letter urges everyone in the industry to speak out and eradicate racism.

The statement comes following a series of events and incidents from anti-black racists and antisemites, as well as from those who advocate islamophobia, xenophobia, homophobia and transphobia.

The letter acknowledges that minorities have suffered and have painful collective memories. It goes on to identify that all forms of racism have the same roots – ignorance, lack of education and scapegoating.

The statement includes the following call to action: “We, the British music industry are proudly uniting to amplify our voices, to take responsibility, to speak out and stand together in solidarity. Silence is not an option.”

The signatories include artists The 1975, Nile Rodgers, Lewis Capaldi, MNEK, Rita Ora, Clean Bandit, Labrinth, Little Mix, Ashnikko, NAO, Biffy Clyro, Mabel, Years & Years, Jess Glynne, Jonas Blue, Niall Horan, James Blunt, Naughty Boy, Grace Carter, Yungblud, and Joy Crookes.

Read a copy of the open letter, as well as a full list of the signatories.

Equalities Networks

Members' opinions on equality and diversity issues are vital to the way the MU shapes its services, policies and campaigns.

Join an equalities network for regular updates on our equalities work via newsletters, as well as the opportunity to contribute to MU consultation responses and take part in surveys.

The more you contribute, the more the MU can reflect members' views.

Browse our range of equalities networks and join.

In his announcement, the PM also said that this decision will be reviewed on 15 August. 

Pilots of indoor performances, run by the Department of Digital, Culture, Media and Sport in partnership with industry bodies including the Musicians’ Union, are also delayed by two weeks. 

A safe return to work  

Responding to the announcement, MU National Organiser for Live Performance Dave Webster said, “The MU is bitterly disappointed to learn that the opening of live indoor gigs has been postponed due to the rise in Covid-19 cases.

“We will continue to press Government to support our members who have been hit hard by the pandemic.

"This includes lobbying to close the gaps in the Self Employment Income Support Scheme, ensure a safe return to work as soon as possible, and extend job retention schemes after October if it is not."

Supporting musicians through the pandemic  

MU research shows that 38% musicians do not qualify for Government support schemes, and 19% members are considering abandoning music altogether.  

The MU has been lobbying Government hard to extend their job retention schemes and plug the gaps in support – recommendations that the Digital, Culture, Media and Support Select Committee incuded in their report on the impact of Covid-19.  

Add your voice to the call. 

Write to Rishi now  

Sturgeon announced that she hopes that from 24 August, outdoor events and concerts with physical distancing measures, enhanced safety and hygiene measures and restricted numbers will be permitted, emphasising that this information is indicative and will not be confirmed until nearer the time.

She also announced that she hopes that theatres and live music venues will be able to open from 14 September with physical distancing and enhanced hygiene. In order to facilitate this, the Venue Relief Fund has been increased from £10m to £12.5m.

Read the Scottish Government’s full route map for moving through and out of Phase Three on their website.

Our Regional Organiser for Wales & South West England, Andy Warnock responded to the news:

“I am pleased and relieved that the Welsh Government is supporting arts and culture in Wales with £53m of funding.

“This means that the vast majority of the £59m of new funding for Wales triggered by the £1.57bn being spent by the UK Government in England will be spent on supporting arts and culture in Wales. Although ideally the whole amount would be spent on arts and culture, it’s very positive that there will be direct funding for individuals, as well as a cultural contract tied to government support.

“We will be engaging further with Welsh Government and the Arts Council of Wales on the details of the funding over the coming weeks. I’m grateful to Welsh Government for their engagement with trade unions, and to our colleagues at BECTU, Equity, and Wales TUC for their support and collaboration with us.”

A clear lockdown timetable is needed

Andy continued by adding:

“We are aware that the situation for music in Wales as lockdown measures are eased is still very unclear. We have stressed to Welsh Government that detailed guidance and a clear timetable for the return of music is urgently needed, and will continue to do so.

“We know this is crucial so that our members and businesses can plan for a safe return to work and consider how to manage their finances and funding over the coming months.”

For more news and events in Wales, see the Wales and South-West England Regional Office’s page.

CMM acknowledges that this is a hugely complex process but as emphasised in their letter to Government earlier this month, the primary aim of such unprecedented funding should be to support the broadest cross-section of our industry to facilitate a safe return to live music economic activity.

Utilising the Recovery Fund to support live and studio music businesses, alongside support for freelance creative professionals through Project Funding, should help accelerate a return to safe live events, and allow money to start flowing through the ecosystem again.

Together these funds – with the new £2m open to crew, stage managers and technicians – should provide the best opportunity to support more workers, including the creators and performers, and all those roles that are dependent upon live music.

It is about livelihoods, jobs and the future

While we will never salvage completely what's been lost, until social distancing is removed, subsidising of activity will be required. Carefully targeted funding will help water the green shoots of recovery in the Creative Industries and their contribution to the UK economy.

A Government-backed Insurance Scheme – like that provided to our creative colleagues in film and TV production – is a welcome provision for wider Culture and we would urge decision makers to extend such a scheme to our valuable Live Music Industry.

Take Action for Musicians

Please continue to use your voice to ask the Chancellor Rishi Sunak to protect all self-employed workers, and ensure no musician is left behind.

You can use our template letter if you're not sure what to say. Remember to include how you are affected too. Personal stories make all the difference.

Write to Rishi now.

Coronavirus is not the only challenge. Britain’s full departure from the EU is fast approaching, with no sign of a deal on touring visas for musicians or copyright rules. And there are the perennial issues surrounding streaming rights and payments.

In a wide-ranging interview, he tells the MU of his fears, and hopes for the future, and his passion for, among other things, the music of The Specials, Led Zeppelin and Fantastic Negrito.

What has it been like, taking the helm at a moment of existential threat for the music industry?

This is supposed to be a part-time non-executive board job, but since joining on 1 April, I have literally spent every single day trying to deal with some aspect of the impact of Covid on the workers in the sector. I am very concerned that a world-renowned music industry, which pays its taxes and supports public services, is in danger of losing critical infrastructure, because the support packages haven’t been put in place in time.

The only good thing I can say about the current circumstances, is that I am used to dealing with crises. I try to remain very clear-headed about what needs to be done.

What have UK Music’s initial priorities been?

The first month was really about trying to deal with all the member bodies and beyond, to make sure that those people who were really suffering were getting access to the various funds that were set up, and that everyone was talking to each other. In the end there were seven or eight support funds set up and, of course, the MU and Help Musicians were at the absolute heart of that.

While we were doing that, we were making the case for government support and the furlough scheme, and we were lobbying daily to try to close the loopholes, some of which we managed to plug, while others, very sadly, we haven’t been able to close.

What about the next steps, as restrictions ease?

We knew that, at some point, the policy would go from risk elimination, where everyone is locked down in their homes, to risk mitigation, where you are slowly lifting the lockdown.

That’s been the most difficult. In the live sector, people love music, they love congregating in close proximity to each other and communing with artists. That is why so many musicians remain in the industry because they love performing in front of other human beings.

We still haven’t cracked how you move people round big venues safely, so that people can still be paid and make a living. It is tragic, and I am incredibly concerned for anybody who works in live music, from artists to support staff to promoters to venue owners. We are in real trouble.

Do you think the government’s £1.5bn financial rescue package for the arts does enough for music?

We are obviously lobbying to make sure commercial music gets its share. The argument we have put to government is that much of what UK Music members represent does not require public subsidy and has always been commercially successful. We are no longer in that position, so ministers have to understand that we are as valid a cultural sector in this crisis as any other, and we deserve our fair share of transitional support.

How do you think the government has responded generally?

It’s taken time for them to identify the bewildering array of problems that Covid has caused, and it has taken time for us to work out the route map back and to get government to recognise that our claims are valid.

We actually spent the first month trying to look after our own. The first response of most people in the music industry was ‘how do we feed everyone, how do we make sure the rent is paid?’ There was a lot of solidarity and a lot of support and the MU were at the very heart of that, pushing very hard on ministers, shaking the tree, basically trying to marshall everyone’s resources.

I think the government are listening, though it’s a constant struggle, because ministers are getting a thousand problems a day on their desks and we need to make sure we make the case for UK music in all its glory.

What are relations with the government like, particularly as you are dealing with ministers who used to be your political opponents?

Most politicians are pretty mature about this. They know I am playing a less partisan role, and I am not the official opposition anymore. I got through four or five secretaries of state when I was holding down the shadow culture brief and one of my toughest opponents was Matthew Hancock. He welcomed my appointment to UK Music and I appreciated him doing that. When I have been talking to MPs and ministers, they have been very business-like.

The only parallel to Covid I had in politics, was the banking crisis where I was literally working at a desk next door to Gordon Brown. It gives you an understanding of the pressure that the core team at No 10 are under, and also an understanding of the best way to make an argument and to get your case heard in a high-pressure, fast-moving situation.

And that’s what we are trying to do. UK Music is quite lean and has a very small team. We’ve only got nine staff. They are working hard seven days a week to make sure everyone is communicating with each other, and that there are as few surprises as possible. I am really grateful to them and obviously at board level we have got a very great deal of wisdom and experience from all sectors around the table.

You were a high-profile supporter of the Agent of Change campaign to preserve music venues. The government is proposing a relaxation of planning laws, which some fear may pose a new threat to venues. What have you been telling ministers?

Whenever you have these paradigm-shift policy changes, if they get done too quickly there’s always the danger that you throw the baby out with the bath water, or to quote a Conservative philosopher Edmund Burke, ‘change always brings certain loss and only possible gain.’ We have already made it clear to ministers that if they change planning laws it would be catastrophic if we lose the guarantees we have through Agent of Change.

We have got to be vigilant - the devil is in the detail. If you’re rushing through legislation in difficult periods, then these things can unravel quite quickly unless you are keeping an eye on every line in every clause in every bill, and that’s what UK Music does as a service to the sector.

What are your concerns for British musicians and Brexit?

Getting musicians to be able to do European and world tours is the number one priority. We are constantly reminding ministers and civil servants that enabling our musicians, technicians and crews to cross borders has got to be part of the deal.

There’s very great sympathy for the position in government. But this is a negotiated deal between the UK and EU and we need to make sure that both parties understand it’s in everyone’s interest that we allow culture to cross borders as easily as possible.

I was very strongly remain when I was an MP, but there are actually some opportunities for these bilateral trade deals, particularly the deal with US, where we could get a deal that makes it easier for UK musicians to tour in America.

The copyright issue is fiendishly complicated, although the impression I get from ministers I talk to, is that they understand that it is really important that we do get a negotiated deal on that. But we are leaving it awfully late to get that deal.

UK music is respected and revered in every country around the world. What it represents is soft power, and I want to see musicians and leading people from the industry on delegations with ministers in advance of trade deals, making the case for our creative industries and our music sector in particular. But we need a functioning music industry to do that. That’s the long-term prize for both our industry and the government. We want to work in partnership with them on that.

What about the vexed issue of streaming royalties?

There are obviously different views around the UK Music board table. Where we are completely united is that we need to ‘grow the pie’ and make sure that people can have a greater share. That’s our approach right now. I applaud the MU for the campaigns they are running, but at a UK Music level we want to make sure that we can get a shared position on increasing income in the sector in general.

I don’t think anyone in the industry feels comfortable that we have musicians who are having trouble paying bills at the end of the month. Average wages for musicians are much lower than the national average and, sooner or later, if you continue on that downward trajectory, you are going to lose very skilled and brilliant musicians from the market. Britain can’t afford that and neither can commercial music. I do understand how concerned the MU executive are.

Where did your love of music begin?

I am a failed childhood musician. I had guitar lessons and piano lessons and it greatly saddens me that I was rubbish, and very ill-disciplined, but music was in the home. It was the defining characteristic of my early and late teens.

The best live gig I have ever been to was at Birmingham Odeon when I saw Kid Creole and The Coconuts, believe it or not. They were just fantastic live performers. But the band I worship now, and worshipped as a teenager, is The Specials. I was a little bit too young to catch them at the very height of Two-Tone, but I love that band and they have fostered my love of music. They told the story of Britain in the late 1970s and 80s. Their lyrics told the story of people’s lives as they were. And that really reached me.

My first job was as trainee library assistant at the Labour party headquarters in the Walworth Road. It was the time of Red Wedge, and loads of musicians trying to support Labour. So I used to sharpen the pencils for the national Red Wedge committee. The whole experience fostered a real love of culture and music.

I managed to get in the last Black Sabbath gig, with my son, in Birmingham in 2017. Sadly I have never seen AC/DC, and never will now in their original line-up. Obviously from where I grew up in Kidderminster, we didn’t just worship The Specials, we worshipped Led Zeppelin. Robert Plant and John Bonham didn’t live too far away. And I’ve seen Robert Plant a few times now, so I am catching up with my 70s and 80s heroes.

And there’s a whole load of new bands I want to see. About 18 months ago I went up to Dingwalls on the off-chance and saw a roots guy called Fantastic Negrito in front of about 150 people. It was another belting night, probably up there with Kid Creole and The Coconuts. He went on to win a Grammy!

Are you optimistic for the future?

I am optimistic in the sense that, unlike my previous political career, nearly everyone I meet in the music industry is very passionate, very driven, loves what they do and that creates a resilience and an ability to deal with every eventuality.

For someone who has just come from the brutal crucible of politics, it is genuinely uplifting to see people so committed to the sector they love.

It’s too early to be optimistic about how we get out of Covid yet. There are more decisions for government to make, in partnership with us, before I can wave a flag of hope. All I can say is, there is a dedicated team at UK Music doing their best to make sure we pressure ministers every day, to look after what is the jewel in the crown of the creative industries.

We understand that announcements will be forthcoming on funding in Scotland, Wales and Northern Ireland shortly.

Full details of the Arts Council England administered funds are available on the Arts Council England website and on the Government’s website.

Key highlights from the announcement

Key highlights include:

• The Cultural Recovery Fund is intended to support significant organisations, which were financially sustainable before Covid-19 but are now at imminent risk of failure and have exhausted all other options. It is intended that the investment will ensure that, by 31 March 2021, successful applicants are either – a) fully or partially reopened, or b) operating on a sustainable, cost efficient basis, so that they are able to reopen at a later date if, for example, reopening under social distancing is not possible or economically viable.
• Grants from £50k up to £3 million available.
• £622 million will be distributed in the first round with Arts Council overseeing £500 million across the arts and cultural sector.
• Open 10 August to 4 September (first round from 10 August to 21 August - second round runs from 21 August to 4 September).
• Allocation includes the previously announced £2.25 million in targeted support for grassroots music venues.
• A remaining allocation of £258 million will be reserved for later in the financial year.
• To be successful, applicants will need to have an innovative plan for how they will operate and be sustainable for the remainder of this financial year, as well as demonstrate their international, national or local significance.
• Smaller organisations must show how they benefit their local communities.
• Separately, £270m loans will be available for £3 million plus and open to both charitable and commercial organisations. Organisations can apply for loans or grants but not both.

Eligibility criteria:

• Applications sought from cultural organisations (both profit and not for profit) based in England that are properly constituted and are registered at Companies House and/or Charity Commission, and are able to produce at least one year’s full independently certified or audited financial statements. Applicants do not have to have had public funding in the past to be eligible.
• Individuals are explicitly excluded from applying for these funds.

A new Cultural Recovery Board announced

As part of the same announcement the Government announced that there will be a new Culture Recovery Board.

The board will be chaired by Sir Damon Buffini, to help administer the programme and advising on the largest grants, as well as deciding the beneficiaries of the further £270m repayable loans being made available.

We are concerned about the exclusion of individuals

Naturally, the MU is very concerned about the exclusion of individuals and how the funding will filter down to its members. We hope the funding will not only sustain the infrastructure of the industry but protect jobs and support freelancers.

We will continue to lobby for sector-specific extension of the Furlough scheme and the SEISS so that our members are supported while the live music business, in particular, remains largely dormant. We also continue to ask for the gaps to be filled in or alternative funds to be made available for the 38% of our members who do not qualify for either scheme.

We know theatres, orchestras, music venues and festivals provide significant work for our members and these will struggle to recover while social distancing remains in place. We also know that a review of social distancing is unlikely to take place until at least November 2020.

We will keep a close eye on how the funding is administered to ensure that the livelihoods of musicians are catered for.

At this point in time, opportunities to gig in pub gardens, teach music, perform outdoors and – when the Government announces it is permissible indoors under social distancing – will be crucial to our members. Further advice and guidance on these areas will be made available in due course.

Sources of funding for individuals that are available

Importantly, Arts Council England is adding £18 million to their programme for individuals, Developing Your Creative Practice. This is unlikely to fully mitigate against the winding down of the Government support schemes, of course, but we hope it will make some paid work possible.

We will be providing further advice and guidance to members in our Coronavirus newsletter as further funding opportunities arise.

Project funding, such as through the PRS for Music Foundation, will play a crucial role and we will be working with music industry organisations to maximise on these and ensure our members can utilise these wherever possible.

Take Action for Musicians

Please continue to use your voice, as you can see from this week in Parliament it really is working. Ask the Chancellor Rishi Sunak to protect all self-employed workers, and ensure no musician is left behind.

You can use our template letter if you're not sure what to say. Remember to include how you are affected too. Personal stories make all the difference.

Write to Rishi now.

The event, which ran from 2:00 pm to 5:00 pm, was hosted by radio presenter, producer and DJ, Shell Zenner, and featured interviews and live performances from four distinctly different artists – rapper and poet, KinKai, r‘n’b singer-songwriter and producer, Prima, singer-songwriter Jack Curley, and singer-songwriter, Eliza Shaddad.

MU General Secretary Horace Trubridge praised the Summer Of Live event and the talent of the artists involved. “At a time when we are desperately missing live music, it is great to see and hear performers of this calibre doing what they do best, and all for a very good cause,” he said.

Making music in Manchester

With the exception of London-based Shaddad, all the artists and host Zenner hailed from Greater Manchester, and there was a strong sense of shared identity and mutual support.

“Manchester’s homegrown talent is really special to be a part of,” said Prima, who after a few years in London returned to the city, where she has flourished as an artist with the help of a strong creative team. “We’ve got each other’s backs all the time and that’s a rare thing to have. I love the north… this is where I’m supposed to be.”

How the MU Coronavirus Hardship Fund will help

Shell Zenner was an assured and empathetic host, well-attuned to the plight of musicians at this worrying time and full of praise for the MU’s work on their behalf.

Throughout the broadcast, she reminded viewers of the whole aim of the event – to encourage donations for the MU Coronavirus Fund. She was also acutely aware of the challenges facing musicians in general during lockdown and mindful of the need for profound change across the profession.

Building a better music industry for musicians

“If this has shown us anything it’s that the model we have at the moment is not sustainable,” she said, highlighting the inability of musicians to make income from the streaming of their recorded music, while all options for live income have dried up.

Zenner championed Keep Music Alive, the MU campaign to ‘fix streaming’, which calls for industry stakeholders to come together to agree an equitable, sustainable and transparent model for royalty distribution in the streaming era. “It’s really important to get these basic fundamental things in the music industry, to make money from your product basically,” she said.

KinKai – Respected poet and rapper with a far-reaching sound

The first artist on the bill was KinKai, who draws on his Jamaican and Sierra Leonian roots and is a respected figure in the UK underground hip-hop scene.

Jazz, reggae, west African music and hip-hop beats pervade the music. It’s an emotive, heartfelt and far-ranging sound, infused by his ready wit and forthright lyrics that focus on poverty, social and family issues. His second album Mellow Mermaids And Malibu notched up over a million streams on Spotify and its follow-up, A Pennies Worth release in May 2020, looks set to follow suit.

“The number one rule for me with music is if you’re going to do it, try and make it undeniable,” he told Zenner. “That doesn’t mean everyone’s going to love it but no one can deny it’s got a level of quality to it.”

KinKai’s output is prolific and he has collaborated with numerous artists such as revered producer Glue70. He said lockdown has been a time of emotional extremes, with five family deaths within three months. “But then it’s like I’ve had an album to put out in the same time. So it’s like ‘I’m going to go cry, but I’m going to come back.”

One of the first tracks in his set was “Sorry I’m Late – I Was In Quarantine”. It’s a fluid, soulful sound – sparse, poignant and impeccably realised. “Let’s see some champagne glass emojis,” he smiled, before the track Plantain & Champagne, as fans posted comments in realtime. “Keep throwing those emojis down,” he said, “I need them.”

Prima – Singer-songwriter with stunning voice and chilled r’n’b grooves

Like all the artists performing at Summer Of Live, r’n’b singer-songwriter Prima said the worst aspect of lockdown has been the inability to get out and physically play live. “I really, really miss gigging. I gig all the time. I miss people’s energy.”

Prima has a strong, soulful voice, as was evident on the tracks she showcased, such as the Anywhere and Running Me Down.

She attributes this to her classical training and says the vocal trills she uses in r’n‘b are very similar to those used in operatic arias. “The trills in that music are so intricate, just like an r’n’b lick. So for me, my soul exists in r’n’b, but my education was in the classical world. Bringing those two worlds together was perfect for me.”

Prima went on to discuss how she was exploited as a younger artist and experienced sexual discrimination. But she said the experience had only made her stronger. “I have been in these situations but over the years I’ve seen things change, which is amazing, because you just can’t get away with that sort of stuff anymore.”

When asked what advice she would give artists coming up, she said: “Have a strong head on your shoulders, build up a team around you and collaborate. Always ask people for what you think is right. And don’t be nervous about asking for things.”

Jack Curley – rising singer-songwriter with intimate sound and exceptional vocal range

Anticipation was high for the appearance of Jack Curley, from Stalybridge, who recently signed a major deal with Parlophone. Zenner kicked off by asking him what he will be asking for on his rider, now he has entered the big league. “Oh, I’m not much of a diva” he smiled. “Just as long as I’ve got a bottle of water and a guitar I’ll be fine.”

Curley showcased tracks from his EP, Tomorrow, before launching into the track that started it all, Alice, which racked up eight million streams. “That’s a heartfelt song,” he said, “means a lot to me”. Curley’s effortlessly powerful voice and broad vocal range were impressive.

Like most musicians, he recalled low points “playing in pubs to no one” and described playing to his biggest audience yet in Germany as “the best feeling I’ve ever had”. Curley said he had spent a lot of time walking during lockdown, which he said was a change as he was “an Uber kind of guy”. He also admitted he had found it hard to be musically creative during the Covid-19 crisis.

He spoke of his love of playing live and said he is itching top get out there after lockdown. “I just want to get back out on the road. That’s why I do it – seeing the people’s faces, the fans’ faces. It’s the best thing in the world. As soon as lockdown’s over, we’ll get it done.”

Eliza Shaddad – Gritty, emotive singer-songwriter with an alt rock sound

For singer-songwriter Elizah Shaddad, the final artist featured at the event, the three months of Covid-19 lockdown has been an industrious time, enabling her to write songs for her next album. But like all musicians, the uncertainty of how and when venues might reopen in the future has meant she has been unable to plan a schedule to release and promote the album.

“It’s all so uncertain and it’s all such an uncertain career [anyway], it can be quite devastating. But I’m really inspired by the kind of initiatives like Tom Gray’s #BrokenRecord campaign – taking the time to look at the industry and figuring out how we can make it better and fairer. I feel quite lucky because a lot of the festivals we were booked to do have just transplanted their whole line up to next year, which is I think really decent.”

Shaddad studied jazz at the Guildhall School of Music & Drama, and has since shaped a diverse sonic palette, spanning Arabic scales, heavy rhythms within an indie-folk and alt-rock vein. This Scottish-Sudanese artist released her debut album Future in 2018, to widespread acclaim.

The tracks she showcased at Summer Of Live included new single Make It Go Away, which starts with slow, overdriven grunge guitar before gliding into a slow, infectious groove. There’s a beautiful simplicity to Shaddad’s sound and her set demonstrated her assured songcraft, lyrical honesty and rich, emotive vocals.

An integral part of our drive to support musicians

These events are an integral part of the MU’s drive to support musicians whose livelihoods have been devastated by the events of the last three months.

“Like so many people affected by the Covid-19 pandemic, musicians have been hit hard,” said Dave Webster, MU National Organiser for Live Performance.

“The music industry fell off a cliff almost overnight, leaving many professionals out of work and the MU responded by being the first to set up a hardship fund for musicians. Live music was one of the first entertainment sectors to be shut down and looks like being the last to reopen.”

Watch back through the IGTV highlights of the previous Summer of Live festivals.

Donate to help musicians

If you are able, help us provide immediate support for musicians in real financial hardship as a result of the coronavirus crisis.

Donate to the Coronavirus Hardship Fund now.

The commission mission has seen YGN fund the writing of a number of articles by experienced and novice writers, on topics that will serve those looking to develop careers in music and as independent artists.

We’ve been promoting YGN’s articles through news stories – read the list of the first ten that they published, and the list of the following five.

The final five in the series are:

• The Musicians Who Are Turning The Internet Into an Income by Eloise Bulmer
• A Musicians Guide A Musicians Guide to TikTok and other Social Media by Emily Simpson
• How To Get Started In Music Production Today by Luke Davis
• Interpreting Artist Data: An Introduction by Sadie Thompson
• How To Get Yourself Out of a Creative and Mental Slump by Kathryn Woods

The project was created in collaboration with in collaboration with London In Stereo. And as partners of YGN we gave this project support, alongside Small Green Shoots, Association of Independent Music (AIM) and Youth Music.

YGN is a professional network produced by and for young people in the music industry, visit their website for further advice and to browse their calender of regular events.

The letter to the ABRSM

Dear ABRSM,

As an organisation with a huge influence on young people’s musical and cultural development you have a responsibility to reflect the diverse heritage of music and improve diversity in the music education sector. There have been concerns for many years that you are failing to do either, that your syllabi lack diversity and contributes to the erasure of Black, Brown, Indigenous and Asian People of Colour (BBIAPOC) from Western European musical history.

While seeking language that accurately reflects our aims, and acknowledging that this may be imperfect terminology, we use BBIAPOC in this context to recognise ABRSM’s role as a global institution with links to the white colonial communities that have settled in New Zealand, Australia and North America, where Indigenous peoples continue to be racialised and oppressed by non-indigenous or whiteness.

A music syllabus that reflects the diversity of music teachers and the students they teach is integral to improving representation and participation in music education. We all have a responsibility to ensure that music education is accessible to and reflective of the most diverse range of students possible - and ABRSM is pivotal in making this happen.

With over 650,000 candidates sitting ABRSM exams each year in more than 90 countries, you are in a privileged and unique position to create and drive change in the music education sector.

ABRSM’s history is entwined with the history and legacy of British Empire. As David Wright’s social and cultural history of the ABRSM notes, your organisation is a legacy of Victorian Britain and the colonial project having been created to expand the technological and professional workforce needed to run the British Empire. Many Black and Brown musicians and composers in the Global North are here as a direct result of that, and their absence in syllabi speaks to the ongoing erasure of their contributions to Western European Classical music.

This is not a new issue. Various individuals and organisations have raised the lack of BBIAPOC composers with ABRSM numerous times in recent years, most recently a petition started by Grace Healy that to date has received over 4000 signatures. Many of us have received inadequate responses.

Whilst we welcome your revised commitment to diversity and the launch of a mentoring scheme these commitments still have no measurable targets. Without publicly stated, measurable targets, your commitment feels like another inadequate response.

The recent music industry initiative called #theshowmustbepaused has brought a renewed focus to this issue. The Black Lives Matter movement in the US and the UK has shone a spotlight on what happens when there is a lack of BBIAPOC people in positions of power and influence and arts, culture and music has a huge role to play in sharing our collective histories and stories as a nation. Including BBIAPOC voices is essential to creating a more fair and equal society.

There is a wealth of BBIAPOC composers to choose from. There is a wealth of BBIAPOC composers to commission new work from. There is a growing number of musicians, academics, students and music teachers asking you to be more diverse. Another inadequate response is not enough. We demand to see tangible action.

We, the undersigned, demand the ABRSM undertakes the following actions:

• Include works by BBIAPOC composers throughout your syllabi and guarantee a minimum standard of inclusion in policy going forwards
• Conduct a review of your processes for selecting pieces for your syllabi, including how pieces are assessed and who assesses them, to ensure a fair and transparent process – and publish this report
• Commit to commissioning a minimum of 50% of all new works by composers from BBIAPOC communities by the end of 2021

We also demand that any task force, board or committee that discusses how these actions will be implemented must include BBIAPOC to ensure this commitment.

Who composes the music we teach matters. Young BBIAPOC musicians need the opportunity to learn about BBIAPOC role models if they are to aspire to be musicians and composers.

Music education is a subject that should thrive on diversity. To limit the subject is a disservice to students, teachers and the composers who aren’t being played.

ABRSM must address these inequalities or it will be left behind.

Demanding change

Over 70 organisations, musicians, music teachers and academics have signed the above letter calling for change.

Signatories include:

• Chi-chi Nwanoku OBE, Double bassist, Founder, Artistic & Executive Director of Chineke!
• PRS Foundation
• The Ivors Academy
• Leon Bosch, Conductor, Double Bass Virtuoso and Professor at Trinity Laban Conservatoire of Music and Dance
• Ammo Talwar MBE, Chair of Diversity Taskforce at UK Music
• Dr Anna Bull, Senior Lecturer at University of Portsmouth

For the full list, please contact equalities@theMU.org

Black Members’ Network

Black members are invited to join our Black Members’ Network for regular opportunities to get involved, have your say on what we do, contribute to consultation responses, and help make policy that reflects the truth.

Teachers are also encouraged to join the MU Teaching Section, email teachers@themu.org to join.

Culture secretary Oliver Dowden announced plans to save 150 grassroots venues from the threat caused by Covid-19 limiting cash flow.

Our National Organiser Live Performance, Dave Webster, welcomed the news:

“We are delighted that this money has been earmarked to assist the struggling grassroots venues circuit. Keeping venues alive for musicians to play is a key part of the return to live music and a lifeline for artists and fans.

“Let's hope that as soon as it is safe to do so indoor performances can restart.”

No musician should be left behind

Whilst this new move is excellent news for musicians and grassroots venues, individual freelancers still need support.

Act now by continuing to ask the Chancellor Rishi Sunak to protect all self-employed workers, and ensure no musician is left behind.

You can use our template letter if you're not sure what to say. Remember to include how you are affected too. Personal stories make all the difference.

Write to Rishi now.

The MU is taking part in the 48 hour @twitter boycott in solidarity with Jewish members.

If you would like to contact us for advice or assistance in that time, please visit https://t.co/f7Ke5beZ1V. #NoSafeSpaceForJewHate

— Musicians' Union (@WeAreTheMU) July 27, 2020

We stand in solidarity with all of our Jewish members, against anti-Semitism in all its forms. The intention behind the walkout is to drive home that there must be #NoSafeSpaceForJewHate on social media, and that Twitter’s inaction is unacceptable.

We will not tolerate anti-Semitism

Our Equality, Diversity and Inclusion Official John Shortell explained the MU’s position:

“The MU will not tolerate anti-Semitism and stands in solidarity with our Jewish members and the wider Jewish community. Anti-Semitism has no place in the music industry or in society.

“Recently people from all over the world have come together to take a stand against racism and demand action. Social media platforms must tackle all forms of racism and implement more robust ways to address anti-Semitism and remove it from the platform.”

The MU stands with members against anti-Semitism in all its forms. If you‘re an MU member and experience anti-Semitism at work, you can contact us for advice and assistance.

The Online Harms Bill must be implemented

We are also urging the Government to implement the Online Harms Bill, which could be used to hold websites accountable if they fail to tackle harmful content online.

The Bill is currently only in the proposal (or “white paper”) stages, and there are fears that it could be facing lengthy delays.

Our Deputy General Secretary Naomi Pohl explained why the Online Harms Bill is so essential:

“We call on the Government to implement its Online Harms Bill which sets out action to tackle online content or activity that harms individual users or threatens our way of life in the UK.

“Platforms must be held accountable for illegal or harmful content posted by users. It is unacceptable that Twitter did not take down Wiley’s posts immediately. If the BBC had hosted racist or discriminatory content, they would have been held to account.

“We must demand more from social media platforms and search engines; they know what they’re hosting due to highly sophisticated content recognition software they use so they are culpable.”

We will be inactive on our Twitter channel during this time, but members can still get in contact with their Regional Offices via email and telephone.

The fund has been designed with an emphasis on bolstering freelancers and performers and preventing the loss of arts organisations, with priority being given to those who have not been able to access other funding from government or elsewhere.

The fund will open from 31 July - 17 August and the awards will range from £1,000 to £5,000.

Find out more on Department for Communities webpage.

Very welcome news for the creative sector

Our Regional Organiser for Scotland & Northern Ireland Caroline Sewell responded to the announcement:

“This is very welcome news for the creative sector in Northern Ireland, and particularly for those performers and creative workers who have fallen through the gaps in terms of eligibility for other sources of government support.

“The Department for Communities have listened, and we look forward to further working with them in the coming months to ensure we continue to look at ways we can support our members during this time of hardship.”

No musician left behind

Act now to support musicians by continuing to ask the Chancellor Rishi Sunak to protect all self-employed workers, and ensure no musician is left behind.

You can use our template letter if you're not sure what to say. Remember to include how you are affected too. Personal stories make all the difference.

Write to Rishi now.

The article includes lists of:

• Black-led music businesses
• Coalitions & Social Networking Groups
• Key Black Films/Series to watch (starring, directed or created by)
• Documentaries (including interviews with black leaders, thinkers, academics)
• Books addressing experiences of race and written by Black authors
• Podcasts hosted by Black thinkers or discussing race

Read the article for all the lists and recommendations.

Black Members’ Network

Black members are also invited to join our Black Members’ Network for regular opportunities to get involved, have your say on what we do, contribute to consultation responses, and help make policy that reflects the truth.

If you’re not sure if you’re eligible to vote, you can read more about the criteria on PRS for Music’s website.

Over the last 18 months, PRS for Music has conducted a full governance review, undertaken by expert consultants and lawyers. The recommendations of this independent review were largely agreed by the PRS Board, but with some minor variations.

In order to implement these changes, the Board will be asking PRS voting members to approve amendments to the Articles of Association and the Rules and Regulations at its forthcoming AGM.

Due to current restrictions the PRS AGM will be held virtually, details of which will be send to PRS members in the next few days. As this year’s AGM will be held online, all PRS voting members will need to submit their vote for both the Directors Ballot (4 August) and on the proposed governance changes (14 August) in advance.

Information on how to register your vote will be included in the Formal Notice which will be received by PRS for Music members next week.

The proposed changes

The proposed governance changes include:

• The current PRS Board is to be reconstructed as the Members’ Council – with a renewed focus on member engagement, and ensuring the views of the membership are reflected in decision making
• The Members’ Council will be smaller than the current PRS Board, although there will be a small increase in the number of independent non-executives. The Members’ Council will, therefore, be more efficient and cost-effective
• The new Members’ Council will appoint a Writer President – to champion PRS and the membership
• A limit on the amount of terms that Directors can serve on the Council (five three-year terms) – to encourage new blood and diversity
• The election of Writer and Publisher Council members is to be changed to collegiate voting, so that only Writer members vote for Writer candidates, and similarly only the Publisher members vote for Publisher candidates. This means writers alone will get to decide who represents their views
• Three seats to be designated for the highest earning Publishers – this would enable the Publishers to be on the Council without going through the ballot process, but they would not be able to participate in the ballot or appointment process for the other Publisher seats on the Council.

For further information visit PRS for Music’s website.

MU General Secretary Horace Trubridge appeared before the committee on 9 June to give evidence on the impact that COVID-19 has had on musicians. At the time he highlighted that nearly 40% of musicians did not qualify for either assistance scheme and called for:

• Extension of Government support schemes for our sector until normal work can be resumed
• Plugging of all gaps in the scheme
• A review into the streaming funding model

“So much of our industry is dependent on audiences” explains Horace - and we don’t know when audiences will be able to go back. Our industry has unique needs, which other countries are recognising through Government support. pic.twitter.com/ozaicndayV

— Musicians' Union (@WeAreTheMU) June 9, 2020

Main recommendations in report

Today’s report makes some excellent recommendations, which pick up on many of Horace’s points.

Some key points include that:

• There should be flexible sector specific versions of CJRS & SEISS for creative industries until their work and income returns to a sustainable level
• The Government must learn from the shortcomings of their support schemes and must recognise the importance of supply chains – without workers, there’s not much use for a venue beyond its inherent value
• The DCMS should investigate how a fairer streaming model could work
• There should be music tax relief – modelled on existing orchestra tax relief 

Delighted at the committee’s report

Horace responded to the news:

“We are delighted that the committee has picked up on so many of the issues that I raised back in June, and I thank them for their work on this issue. The MU now calls on the Government to respond to this report in a positive way and act to protect and support musicians before it’s too late.

“Music is worth £5.2 billion to the UK economy and the Chancellor needs to bear that in mind. Our industry is the envy of the world, but we won’t retain it unless we invest in it during this difficult time. Our sector must have further financial support from the Government if it is to survive and resume pre-COVID levels of production”

He also welcomed the Committee’s recommendation to investigate the unfairness of the streaming model:

“At a time when the major record companies are making eye-watering profits it cannot be right that established musicians are left to rely on hardship funds. There needs to be a full review into the streaming model to see where the money is going, because it is not going to the musicians.”

Take action now

You can support the reports recommendation for the Government to act now to support musicians by continuing to ask the Chancellor Rishi Sunak to protect all self-employed workers, and ensure no musician is left behind.

You can use our template letter if you're not sure what to say. Remember to include how you are affected too. Personal stories make all the difference.

Write to Rishi now.

Collaborating to lobby for funding

We have also been working with colleagues from BECTU, Equity, WGGB, and Wales TUC, especially to try and secure further support for self-employed workers and those that fall through the gaps of government schemes in particular – as well having regular discussions with the Arts Council of Wales.

Discussions about how the additional £59m arts and culture funding for the Welsh Government will be allocated and spent are ongoing. We are arguing, with the other creative unions, that the money must support jobs and workers as well as venues and organisations, in line with the Welsh Government’s fair work and social partnership principles.

The joint creative unions training project Cult Cymru has also secured new funding in order to provide additional training on issues such as health and safety, mental health, and wellbeing, that I’m sure will be helpful for members.

There have also been regular discussions with the Arts Council of Wales, while our engagement with Cardiff Music Board has continued and been helpful in relation to wider issues.

Highlighting the need for outdoor music

I’m pleased that Cardiff Council have been working on creating new and larger outdoor spaces for hospitality in the city, which we hope can also be used for performances and live music. We are also writing to other local authorities to encourage them to support live music outdoors during the summer.

The Welsh Government has taken a cautious approach to easing lockdown and have had input into a variety of guidance and reopening measures, but the current situation for music and musicians is unclear and we are now stressing the urgent need for a clear timetable and guidance on music and performing arts activity.

We have highlighted the particular need for outdoor music to return soon, given the other activity that has been allowed to resume, in time to take advantage of the summer and are hopeful that there will be clear progress soon.

Further guidance from the Welsh Government

The current Welsh Government guidance is available at the links below. This doesn’t currently include any guidance on performing arts activity, but we’ve stressed that this is needed urgently and are involved in ongoing discussions about its contents.

• Creative industries: guidance for a phased return 
• Culture and heritage destinations and venues: guidance for a phased return 
• Coronavirus: guidance for tourism and hospitality businesses for a phased and safe re-opening
• Keep Wales safe at work 
• Guidance on reopening places of worship: coronavirus 
• Covid-19 Economic Resilience Fund Eligibility Checker 
• Back to school plans from September: coronavirus 

See more news, events and contact details from our Wales & South West England Regional Office.

Guidance from the Scottish Government

The Scottish Government has begun to issue a raft of guidance for different sectors, including the creative sector, with a view to getting safely back to work.

The guidance published so far includes Creative Studios, Events, and Tourism and Hospitality. Guidance on Performing Arts and Venues will be published shortly. 

We are glad to have been able to contribute to and have influence in the development of these and continue to feed into these ongoing conversations as the situation develops and lockdown restrictions are eased.

Collaborating with the other creative unions

EC member, Rab Noakes and I have continued to meet with creative union colleagues, STUC and Scottish Government advisors on a regular basis.

This group now comprises of the MU, Equity, Bectu, Writers’ Guild for Great Britain, Scottish Artists Union, Scottish Government Advisors and the STUC. 

These discussions have been positive, productive and helpful and have been geared firmly towards ensuring that the voice of the creative unions is heard and is at the forefront in future sectoral planning. 

Welcome financial support must be distributed

There has been very welcome recent announcements of  financial support for the creative industries including £10m support for performing arts venues, and a further £2.2m announced for grassroots music venues from the Scottish Government – in addition to the £97m package which was announced as part of the UK Governments £1.57bn relief package.

The culture unions want to ensure that they are involved in how this money is distributed in order to ensure that freelance creative workers, many of whom have not been able to benefit from either the Job Retention Scheme or the Self Employed Income Support Scheme are not left behind. Particularly as realistically, they will be unable to return to work in venues, theatres and festivals for some time.

We have written to Fiona Hyslop, Cabinet Secretary for Economy, Fair Work and Culture to request a meeting as soon as possible.

Calling for the reintroduction of busking and outdoor performances

All local authorities in Scotland and Northern Ireland have received a letter from myself as regards the reintroduction of busking and outdoor performances in order to ensure that local restrictions are lifted or relaxed for the purposes of getting musicians back to work in the safest way possible.

One angle on this which has been helpful to highlight is the encouragement to ‘keep it local’, and drive consumers to local high streets in the wake of the devasting impact Covid-19 has had on local town centres.

The presence of live music makes this a more attractive and inviting option for shoppers, whilst also allows some musicians to get back to work.  I have received a number of very positive responses from Local Authorities with whom we continue to discuss matters, which has been very encouraging. 

Highlight issues in Northern Ireland

I am also having regular meetings with the Department for Communities in Northern Ireland alongside colleagues from Equity.  We have taken the opportunity to highlight our members issues and the concerning numbers who are ineligible for the financial support packages.  

The Northern Ireland Government have recently announced a £4m funding package for the arts sector and will benefit from £33m as part of the UK Government relief package.

We are now lobbying to ensure that once this money is received by the Northern Ireland Executive, it remains within the arts sector and that this money goes some way to helping artists as well as saving important cultural organisations and venues.

We have been working hard to ensure that the MU’s voice is heard and have so far been able to exert real influence on behalf of our members. We will continue to lobby for a safe and economically viable return to work for MU members as soon as government guidance allows.

See more news, events and contact details for our Scotland & Northern Ireland Regional Office.

Find out more about, and sign up for, the following events:

• Cutting a set-up sequence on Premiere Pro – Tuesday 4 August, 1:30 pm – 2:30 pm
• Compliance & Online Rights – Thursday 6 August, 1:30 pm – 2:30 pm
• Creative Thinking Webinar – Tuesday 11 August, 1:30 pm – 2:30 pm
• Long Form Story Telling Webinar – Thursday 18 August, 1:30 pm – 2:30 pm

You can also browse our full range of events available online – including our weekly meditation sessions which are open to non-members too.

Our letter to the Prime Minister

Dear Prime Minister,

I am writing to you on behalf of Musicians’ Union members and in support of the National Education Unions five recommendations for urgent action to tackle racism.

Recent events in the USA, the loss of Black lives due to racism and police brutality, have horrified our members. Here in the UK the covid-19 pandemic has brought existing inequalities and systemic racism into sharp focus and highlighted how the discrimination Black communities experience has life or death consequences. The Musicians’ Union stands in solidarity with Black communities and the global anti-racist movement.

Racism permeates every aspect of society including the music industry. From the demonisation and heightened surveillance of music of Black origin, to the underrepresentation of Black composers in music education syllabi. No area of life is untouched by racism. The Musicians’ Union will continue to challenge systematic racism and demand action that leads to radical change in the music industry and beyond.

The education sector is uniquely placed to dismantle racist attitudes and assumptions that support anti Blackness. The Musicians’ Union fully supports the National Education Unions five recommendations to tackle racism and calls on the Government to:

• Provide immediate advice to employers in the education sector about the racial disparities in the pandemic in order to minimise risks to the wellbeing and safety of Black workers and the communities in which they live, work and travel.
• Review the curriculum to ensure it embraces the fact that Britain is rooted in Black and global history, achievement and culture and includes the achievements of Black Britons; as recommended by the Stephen Lawrence Inquiry.
• Commit to review Initial Teacher Training to equip all trainee teachers with anti-racist strategies and tools, for the benefit of all students.
• Adopt a strategy to make the pipeline of new entrants to the teaching profession significantly more diverse over the next four years.
• Learn from the Windrush Review and develop a plan to teach about the history of the UK and its relationship to the rest of the world – including Britain's colonial history and the history of migration.

For racism to continue to thrive it relies on inaction.

The Musicians’ Union urges you to implement these recommendations immediately.

Yours Sincerely,

Horace Trubridge
General Secretary

Black Members’ Network

Black members are also invited to join our Black Members’ Network for regular opportunities to get involved, have your say on what we do, contribute to consultation responses, and help make policy that reflects the truth.

Remember, racism is a Trade Union issue. If you experience or have experienced racism then please contact your Regional Office.

We hope that being able to pay £1 for the first six months of membership will make the benefits of being part of a union more accessible to a wider audience during this difficult time – and that those who take this opportunity to trial membership at a significant discount will find it well worth the full-price.

MU membership brings benefits such as:

• Instrument and personal liability insurance
• Copyright and property rights protections
• Expert career and business advice
• Subsidised hearing assessment and protection
• Entry to training courses, workshops and events across the country
• Legal advice and assistance

An increase in membership numbers benefits everyone

We also hope that an increase in membership numbers from the scheme will keep down the costs for all members. Please spread the word to any musician you know who might benefit from being able to join for £1 – you can read further details in our membership FAQs.

Our General Secretary Horace Trubridge said:

“We are pleased to be able to offer yet another easy and affordable route to membership of the MU. This time for musicians who have dropped out of membership. The Union works tirelessly on behalf of musicians and has played a leading role in advising the government during the pandemic.

"We must do more, and with our members’ help we will. Come and join the only organisation in the UK that serves the interests of all musicians.”

If you’re eligible for the scheme, join the MU today and pay just £1 for the first six months.

Current members who are suffering from financial hardship due to the Covid-19 can apply for a three-month subscription fee holiday, and a hardship grant of £200.

We promoted the first ten blogs in a news story last week, which you can return to here. YGN has since published a further five blogs.

• How to Know Your Worth as a Freelancer – Kira Radley
• Soundtracking Inspiration: the Music Keeping us Motivated in Lockdown – Katie Thomas
• Creative Ways to Write About Music in Your Early Career – Jenessa Williams
• Three Essential Marketing Strategies That Independent Artists Can Borrow From Tech Start-Ups – Ivana Karabova
• How Music Venues Saved Me, and Why We Need to Save Them: A Love Letter – Alexa Povey

The project was created in collaboration with in collaboration with London In Stereo. And as partners of YGN we gave this project support, alongside Small Green Shoots, Association of Independent Music (AIM) and Youth Music.

YGN is a professional network produced by and for young people in the music industry, visit their website for further advice and to browse their calender of regular events.

Episode one features interviews with singer songwriter Nina Nesbitt, and Psychotherapist and BBC 6 Music presenter Nemone Mexatas among others. The second episode features our General Secretary Horace Trubridge as well as MIRI, Lauren Housley, Mike Burgess. And the third episode will be released on Monday 27 July.

The first two Covid-19 specials, as well as the full back catalogue of episodes can be streamed online for free.

UK-based Black music creators working in any genre and at any career level whose music careers have been impacted by Covid-19 can apply to PRS Foundation’s open call. Grants of £750 will be made available, to support outstanding talent in flexible ways. Additionally, a £250 top-up amount is available for applicants with access needs.

Musicians should apply through PRS Foundation’s website before the deadline of 10 August.

Minorities will be hardest hit by the economic impact of the pandemic

This targeted round of funding recognises the Black music community is disproportionately impacted by Covid-19, that the economic impact of the pandemic will hit minorities hardest, and the concern that outstanding Black talent has been less able to access hardship funding over recent months.

For this deadline, PRS Foundation is partnering with six dynamic Black-led music organisations:

• GIRLS I RATE
• Jazz re:freshed
• MOBO Trust
• No Signal
• Saffron Records
• Tomorrow’s Warriors

For more guidance on eligibility criteria and how to apply, see PRS Foundation’s website.

The Scottish government have made this decision following public health advice and input from across the live events industry, including from the MU. It appears that the transmission risk associated with drive-in live events, where the audience remains in their parked cars, is sufficiently low to allow them to take place. Appropriate guidance and mitigations must be followed.

Other live outdoor events are not due to commence before 31 July. Drive-in cinemas were permitted to resume screenings, following associated safety guidance, last week.

New guidance for live events

The Scottish government updated its guidance for the live events industry on 20 July, and also recently released new guidance for Creative Studios and Hospitality and Tourism.

The new guidance specifies that organisers must ensure live performers adhere to physical distancing and hygiene measures, including the relevant guidance on singing and the use of musical instruments.

Other mitigating measures will include limiting attendance to one extended household per car, calculating the capacity to allow two-metre distancing to be maintained for both staff and customers, and customers remaining in their vehicle at all times (other than to safely access toilets and food/merchandise areas).

Organisers will also need to keep a record of staff and customer contact details to help with contact tracing in case someone linked to the event contracts Covid-19.

As well as advice from the Scottish government, musicians preparing to return to live performances should check our recent health and safety guidance for personal and venue safety when performing during the recovery period.

No musician left behind

Although a return to work may be possible for some, many musicians urgently need continued financial support.

Ask the Chancellor Rishi Sunak to protect all self-employed workers, and ensure no musician is left behind.

You can use our template letter if you're not sure what to say. Remember to include how you are affected too. Personal stories make all the difference.

Write to Rishi now.

Firstly, the return of indoor live performances in England is dependent on the successful completion of a number of pilot schemes which are currently ongoing. The MU has been involved in the pilot schemes and, through member engagement, has put forward a number of proposals for consideration.

Secondly, venues will need to stick to the guidance published earlier this month which includes reduced venue capacity and limited ticket sales. Whilst this is clearly necessary in order to keep everyone safe, it could make a number of live performances not viable financially.

Clearly there will continue to be real issues for many musicians, so we are continuing to appeal to the Government to provide sector specific support for our members.

The guidance is for England only at this stage. We will provide updates on other devolved areas when they announce their response. Members should familiarise themselves with our health and safety advice for live performances.

One step on the long road to recovery

Our General Secretary Horace Trubridge responded to the news:

“Whilst we welcome this news, we also recognise that it is just one small step down a very long road to recovery.

“We really need to hear that this government understands the plight that so many in our profession are struggling with and put in place a sector specific financial support package to enable musicians to stay in the profession.

“Simply placing the live music industry into an ‘induced coma’ will not guarantee that musicians can stay in the profession.”

Take action now

Please continue to use your voice, as you can see from the Government’s new measures, it really does work.

Ask the Chancellor Rishi Sunak to protect all self-employed workers, and ensure no musician is left behind.

You can use our template letter if you're not sure what to say. Remember to include how you are affected too. Personal stories make all the difference.

Write to Rishi now.

Our National Organiser for the North of England, Matt Wanstall, responded to the news:

“The MU is deeply saddened to hear that key Manchester venues Deaf Institute and Gorilla, as well as Hull’s Polar Bear and The Welly will close for good. It's a bitter blow for musicians and fans, and a significant loss to the musical and cultural life of both cities.”

We’d like to spend some time sharing memories of these venues today, and reflecting on their significance to musicians, the music industry and the wider cultural life of the country. Let us know your thoughts through our Twitter, Facebook or Instagram channels.

Government support is vital

Despite the welcome arts package announced by the Government earlier this month, it is clearly still vital that the Government provides further support to musicians and the music industry.

Musicians lost over £21m in the first ten days of lockdown alone. Over 90% told us they had been affected. Four months later, 38% musicians still do not qualify for Government support – going up to 53% for theatre musicians – and 19% are considering abandoning music altogether.

Our key asks for the Government are to:

• Close the gaps in the Self Employment Income Support Scheme (SEISS)
• Extend support for arts, culture and entertainment workers after October
• Support safe ways of working like live music events with social distancing applied
• Cover shortfalls in ticket money due to social distancing so that theatres and venues survive
• Undertake a government review of streaming royalty distribution

Take action now

Ask the Chancellor Rishi Sunak to protect all self-employed workers, and ensure no musician is left behind.

You can use our template letter if you're not sure what to say. Remember to include how you are affected too. Personal stories make all the difference.

Write to Rishi now.

Take the survey now.

About the project

Launched in July, this Trinity Laban student-staff collaborative research began as four separate master’s projects before being brought together by programme leader Dr Liliana Araújo and further expanded to focus on students and teachers.

Now, Trinity Laban students and staff are working across music and dance to understand the motivational and emotional impact that Covid-19 is having on performing arts students and teachers.

Learn more about the project on the project website.

To mark the anniversary, The Ivors Academy talked to several music industry figures about their memories of the MP3 and the impact that it’s had.

It’s a time to reflect on a huge change to the music industry, and remember how important it is to support the call to Keep Music Alive by fixing streaming now.

We must ensure that the whole music eco-system is supported

Our Deputy General Secretary Naomi Pohl:

“I remember an ex-colleague, who dealt with recording, saying it was his sad lot to preside over the death of the record industry. At the time, CD sales were beginning to plummet and there was a lot of doom and gloom about piracy. Thankfully, the record industry is still going strong and announcing record profits.

"The predicted decline has not materialised and that’s due to the success of digital. What we must ensure for the future is that artists are fairly paid and the whole music eco-system supported. Otherwise we face a decline in artistry and diversity in music, which would be a disaster for both fans and the industry.”

MP3 was a revolutionary link in a chain of disruption

Kevin Brennan MP, member of the Digital, Culture, Media and Sport Select Committee and guitarist/songwriter for parliamentary rock band MP4:

“Such was the power of the humble MP3 that we named the world’s first parliamentary rock band after it! It was a revolutionary link in a chain of disruption that transformed how we listen to, and distribute, music. Music and technology have been intertwined since Thomas Edison developed the phonograph. The music industry has a long track-record of accelerating and adapting to new technologies.

"From concept albums and sleeve artwork made possible by 12-inch LPs to shorter tracks and algorithm-based marketing we see through streaming – the technology through which music is distributed has always influenced its form.

“The pandemic has exposed how in this digital world songwriters and musicians rely on live music, and how failings in the streaming market for recorded music and gaps in the Government’s support for freelancers and sole-traders impact the livelihoods of music creators.

"Plenty of people still make money out of recorded music but we need a new deal for those who actually make that music. This is why I’m supporting the call by The Ivors Academy and Musicians’ Union on Government to hold a review of streaming with a view to achieving a transparent and fair system.”

This crisis is a golden opportunity to re-write the rules

Crispin Hunt, Chair of The Ivors Academy:

“Before the MP3 the music industry thought it sold music. It didn’t, it sold plastic with music in it and MP3s changed all that. The music industry has evolved, but it still needs to re-think how music rewards its creators now it’s plastic free.

"As creators we’re given crumbs from streaming revenues and face coercive business practices that buy out our rights in return for ‘exposure’. Making a career for many music creators in this environment relies on live music. With no mass gatherings for the foreseeable future and creatives falling through the gaps in Government support we’re all concerned about the immediate future.

"Music will survive, the industry will adapt and we will rush to adopt new technologies. But this crisis provides a golden opportunity to re-write the rules, to challenge established business practices and thinking, and imagine a fairer and more equitable way of creating and distributing value from the music we create.”

The MP3 player was an alarm bell

Tom Gray, musician, member of the band Gomez and writer director of PRS:

"I remember in the late-nineties my A&R man, opening a box and in hushed tones telling me the tiny device he held before me could hold - wait for it - 16 songs. He felt certain it would revolutionise the industry. He was right. Thanks to the MP3 player, music is the most mature digital market and should serve as warning to all other industries, regulators and governments.

"We are nearly completely captured by big tech and a few global corporations, setting tens of thousands of creators in a non-negotiable and detrimental bind. Competition law and digital strategy are not fit for purpose. The brilliantly conceived and convenient MP3 player was the alarm bell at the dawn of this cautionary tale."

Take action now

Together the The Ivors Academy we’re calling for a Government review into streaming.

We want greater transparency in where the money goes, and a fairer share of the pie for music creators and performers, so that music creators and performers don't have to rely on hardship funds while major labels boast about record streaming profits.

If you haven’t already, then please sign and share the petition now.

They have now published a blog covering their key findings and drawing on the experiences so far of the music educators who were involved.

Topics discussed include how they made the webinar itself as inclusive as possible, the main challenges different educators had faced whilst moving to online education, and possible solutions for making online education more inclusive.

Music educators and interested musicians should read the blog on Drake Music’s website, which goes into depth on all the topics listed above.

To get involved in future webinars, and stay up to date with Drake Music’s Think 22 programme – a strategic programme of work bringing inclusive practice to the fore in music education nationally – join their Facebook group.

Much of Feldenkrais’s thinking was that if we change the way people move, we also change the way that they think. And that’s very much part of the process when we start to work with Feldenkrais.

Many of our habits are learnt via a reward-based process, of “negative and positive reinforcement”, whether sensorially, or socially, (or anything else). These reinforcements are one of the processes that has allowed us to make it through the evolutionary process. There’s some kind of trigger; we do something; and then feedback- put simply: that was good, lets do it again, or that was bad, let’s not try that again.

But when we get curious about what is happening in the moment for us, we change from this positive/negative reinforcement of habit (often with a reduced sensation), to a more visceral, or felt feeling, and sensing more realistic outcomes of behaviour. To take a small example, when I eat in a way that takes time to sense the movement and feel the break down of food in my mouth, I am less likely to overeat- I have a visceral, felt sense of how much I have eaten, rather than solely the flavour on the tongue, and the emotion that accompanies it.

In a similar way, I might cognitively know that I “need better posture”, but sensorially, I can’t back it up with a felt sense of how I position myself in space, in relation to other areas of the body. So I can’t change it, or sense what to do, should an area of myself start becoming uncomfortable. I might try and push myself around to get rid of discomfort, but for the majority of us this is a negative feedback loop: My shoulder hurts, I feel something is in the wrong position, I push my shoulder around, and that doesn’t help, and I feel more stuck and out of control. Which mostly leads to more tension, not less.

Getting up close to our habits

In Feldenkrais lessons we learn to learn through curiosity and information feedback, which calls on different areas in the brain. We move into curiosity, getting up close to our habits, without trying to look the other way, but spending a little time to really see what’s there without closing our eyes to any area of ourselves, rather the opposite- how can you include more of you? A physical mindfulness if you like. Trying different ways of moving, without being goal oriented, trying to be as un-judgemental as possible, can allow us to let go of what we are doing that is causing us strain.

Feldenkrais is no magic bullet. It takes some level of commitment for most to find the benefit of Feldenkrais, like any practice. But where it excels is that Feldenkrais uses the way that we all learn, that we all learnt pre-verbally as infants: through movement, to rediscover connections and sensations that we may have forgotten about.

Staying curious about ourselves

We use the space of a lesson to experiment, to be curious about ourselves: how we’re put together, how we move, how we feel, what we sense changing. A Feldenkrais lesson is a moment of time to explore this, without needing a particular outcome. Whilst learning of connections in the body, we are also learning that we are rarely as fixed as we believe ourselves to be, that as our bodies can become more mouldable, more fluid, so can our thoughts and beliefs, without sacrificing our sense of self. The evolution is a quieter one.

When we become curious about ourselves we can move away from fearful movements to rather accepting the stream of information in as neither good nor bad, and parsing through it, in an unconscious way.

Interestingly, in studies of the brains of meditators, scientists discovered that the area of the brain that creates a “brain loop”, the posterior cingulate cortex gets activated when we become obsessed with a craving or thought: (that kind of thinking when we think around a notion endlessly). When one becomes curious, that same brain region quiets itself, allowing a calmer simpler experience of oneself, and ones’ thoughts.

Interested in learning more about Feldenkrais? Browse our current events for MU members and enroll in one of our free, online Feldenkrais workshops.

What the MU is calling for

The UK Government has focused on reopening the economy while sidelining childcare and social care infrastructure. Pubs, hairdressers and cinemas are open again – but for many parents, a lack of childcare means they cannot go back to work. Women still do the majority of unpaid care and the situation will be hardest for single parents, 90% of whom are women.

Existing inequalities have been worsened by the coronavirus outbreak. Black and Asian women and women from ethnic minority backgrounds were more likely to say they were struggling to make ends meet and feed their children during lockdown than white women. Social isolation has hit disabled women hardest, with 56% saying they’ve struggled to cope.

Together as a coalition, we've made recommendations for the UK Government on the following areas:

• Prioritising care
• Safeguarding women’s incomes
• Public health and protecting women from a second wave
• Addressing the disproportionate impact on Black, Asian and ethnic minority women
• Making women safe from violence and abuse
• Disabled women and older women, and self-isolating and shielding households
• Women in prison
• Women's representation in crisis decision making

This urgent call to action has been led by The Fawcett Society with support from the Women’s Budget Group, Women’s Aid, Women for Refugee Women, Women’s Equality Network Wales, Engender, Young Women’s Trust, Imkaan, Maternity Action and Women in Prison.

Take action now

Please download the Fawcett Society’s briefing from their website and send it to your MP, urging them to make sure women and girls are not left behind as lockdown is lifted.

Please also share it on social media using the hashtag #MakeWomenVisible.

Our aim to cover as many scenarios as possible so that you are able to make a decision about returning to face to face teaching, confident that you have practically considered all the issues so that you minimise the risk to yourself and to your students.

Members have embraced the change and unforeseen opportunities

Our National Organiser for Education and Training, Diane Widdison, welcomed this news:

“We welcome these changes to the guidelines which will allow our many members who teach privately to return to face to face teaching.

“Many of them moved to teaching online and embraced the change that brought about unforeseen opportunities as well as some technical challenges which had to be overcome – but we know that our members are looking forward to resuming seeing their students in person to continue the valuable contribution they make to their music education.”

Read our new advice on returning to face to face teaching, including teaching in schools, and other educational establishments.

The following ten articles have been published so far, and are available to read of YGN’s website:

• How You Can Prepare For A Career In Freelance Music Journalism Post COVID – James Balmont
• How To Be An Artist Manager – Tina Edwards
• The Importance of Identity in Cultivating a Stand-Out Brand – Tarun J B Shah
• How To Navigate The Music Industry As A PoC (And Convince Your Parents It’s A Good Idea) – Jodie Yates
• Stuck In A Rut? Here’s The ULTIMATE To-Do List To Get You Going Again! – Bolu Bello
• Being Your Own Boss - How to go Freelance Without Freaking Out – Kate Solomon
• A Beginner's Guide to Running a Great Lockdown Festival – Madeleine Wrench
• Why Community In Music Makes Things So Much Better – Jack Clothier
• Why are there are so few black music supervisors? – Jumi Akinfenwa
• Business and pleasure: how to maintain professional boundaries when you work in music – Jemima Skala

The project was created in collaboration with in collaboration with London In Stereo. And as partners of YGN we gave this project support, alongside Small Green Shoots, Association of Independent Music (AIM) and Youth Music.

YGN is a professional network produced by and for young people in the music industry, visit their website for further advice and to browse their calender of regular events.

So, what does this mean for MU members? The guidance states that musicians, provided they stick to government guidelines around social distancing, can do the following things:

• Rehearsals and training indoors with no audience but with performers practicing social distancing.
• Performances for broadcast and live streaming indoors with on-stage social distancing measures.
• Performances outdoors with an audience.

Further stages in the live performance road map

Stage 4 and 5 of the roadmap are yet to be permitted and have no fixed dates at present:

Stage 4: indoor performances with social distancing in place

Stage 5: indoor performances without social distancing

We are pleased to report that we are in touch with government officials about some planned ‘pilot events’ to explore how indoor performances can safely happen.

Health and Safety on the return to work

Members should read the newly published Performing Arts guidance document provided by Government.  Section 4 looks at keeping performing arts professionals safe at work.

Remember there are legal obligations around Health and Safety and you should ensure any engager has provided a Risk Assessment to you and you are confident that your own personal safety is a priority before accepting any engagement.

You will need to ensure you can maintain social distancing between your fellow musicians whether in training, rehearsal, pre-production or outdoor performance.

Singers, wind and brass players

There has been much debate around singing and playing wind and brass instruments. The Government have now said professional singers, wind and brass players are permitted to play outdoors, with the all-important ubiquitous mitigations in place.

As the science around this evolves, we expect changes. However it is good news for those musicians that they are permitted to perform albeit under enhanced social distancing guidance.

The recommendation for professional singers, wind and brass players, is to maintain a three-metre distance between each musician and anyone else, e.g. other musicians, conductors and audience. There are also guidelines about working side by side or back to back as opposed to face to face where possible. Plus, it is advised to maintain small consistent teams where possible.

If you are a singer, wind or brass player, please read the relevant sections of the guidance in detail. You may also find MU member Richard Steggall's open letter to government on common misconceptions on transmission through brass and wind instruments useful.

The guidance also looks in detail at Orchestra pits and band areas.

Whilst we welcome this position put forward by Government, it is down to venues, employers and engagers to put the guidance into practice.  If you want advice on any risk assessment provided to you or you have any concerns about a particular workplace or engagement, please contact your Regional Office.

Developed as part of a working group convened by the Department of Digital, Culture, Media and Sport (DCMS), this industry-led guidance has been developed in consultation with colleagues across the music industry, including with musicians, recording studios and rehearsal spaces. Throughout their development there has been extensive dialogue with Public Health England and the Health and Safety Executive.

Building confidence and supporting the next stages

Like many parts of the UK economy, the music industry has been hard-hit by the effects of Covid-19 and the resulting lockdown measures. The live sector has been particularly impacted, but studio recording and video production has also stalled. While early steps have been taken to conduct some studio sessions in a Covid-safe environment, this new guidance is designed to build confidence and support the next stages of getting recording sessions and production up and running again on a wider basis.

As lockdown eases, it is vital for the long-term health of the music community and for music fans that production can restart safely and at scale – for its artists, orchestras, labels, retailers and digital services, venues and live sector and all the people that work with them. This guidance puts the safety of everyone working in music at its heart, together with an expert-led, workable approach to making a broad range of music.

Read the guidance now

This music production guidance covers all professional music and music video production and live music streaming – including spaces where music is written, arranged, rehearsed, produced or captured; and applies to commercial recording or rehearsal studios, scoring stages, production rooms, mastering studios, home studios, home office spaces, other shared working spaces, production and post-production locations, whether in studio or on location. 

Separately, guidance is being published for the Performing Arts, which it is hoped will support the live music sector in planning reopening.

Read the full music production guidance

Nine key areas covered

The nine key areas that it covers include:

• Risk
• Who should go to work;
• Social distancing for workers and others in home workplaces, including specific guidance for singers, wind and brass players ;
• Keeping clients, musicians, actors and other visiting workers safe
• Cleaning the workplace;
• Personal Protective Equipment (PPE) and face coverings
• Workforce Management
• Inbound and outbound goods
• Additional Specific Guidance for Specialist Environments

This guidance will continue to be reviewed and updated as further scientific and Government advice evolves.

Welcoming the gudiance

Paul Pacifico, Chief Executive AIM, said:

“We are really pleased to have collaborated with government and their public health experts in developing this practical and clear guidance that will help the dedicated professionals of the recorded music sector return to work safely. Music plays a crucial role both economically and socially – whether it’s the soundtrack to our most memorable life events, or in cinema, television, or theatre where music sets the mood and heightens emotions, whether we listen for solace or euphoria, solitary or shared, music’s role is unique. We hope that this guidance will help us all on the road to recovery across both culture and commerce.”

 Geoff Taylor, Chief Executive BPI & BRIT Awards, said:

“The pandemic has brought home to many just how important music is in our daily lives. Investing in talent and releasing new music are the heart of what labels do, so we are happy to support our artists, producers and songwriters in getting back into the recording studio and other workspaces, safely and with confidence. This will help to unleash a flood of new music for fans and spur an even bigger contribution from music to economic recovery. We thank our industry partners and DCMS and advisers for their collaboration in producing this important guidance.”   

Olga Fitzroy, Executive Director MPG, said:

“The MPG are glad to have been supporting our members getting back to work safely, and are grateful for the input of our members, studios, industry partners and government bodies for their help in developing this guidance. We hope it will give our clients the confidence to commission new productions and get all of our members back to doing what they do best as safely and as quickly as possible.”

Horace Trubridge, General Secretary Musicians’ Union, said:

“The MU has been pleased to work closely with AIM, the MPG and the BPI In assisting and guiding the DCMS in this important work. The UK’s broadcasting, film and production sector is the envy of the world and this sector specific guidance should enable studios, production companies and broadcasters to get back up to speed safely and efficiently.”

Oliver Dowden, Secretary of State for Digital, Culture, Media & Sport (DCMS), said:

"Throughout this crisis, music has been a vital source of support and inspiration for many so we have been working closely with the industry on this important guidance to get production back up and running safely. Artists, musicians and producers should feel confident returning to studios and video sets to make new work for their fans."