Generator NI is the appointed delivery partner for a three year Music

Business Support Programme (MBSP) in Northern Ireland, which is funded

by the Department of Culture, Arts and Leisure and by Invest NI.

The programme specifically aims to accelerate the development of skills,

audiences, markets and incomes for N. Ireland based artists and businesses.
The NI professional music sector continues to thrive and develop both on the
creative and entrepreneurial stages, with many exciting new propositions and
a wide range of artists and businesses on steep international audience
development and market acceleration curves.

DEFINING AND DEVELOPING THE MUSIC SECTOR

IN NORTHERN IRELAND
This Output publication has been produced to highlight the current vibrance of music in Northern
Ireland. The economic development and commercial growth of the sector is our primary role and
hence the core content of Output is focused on these aspects. We also aim to highlight the essential
contribution of other key stakeholders in the development of music as a hugely important element in
the social and cultural fabric of our lives and of those who visit our country and cities.

This publication coincides with the delivery of Generator NI's flagship annual Output Belfast conference

Made by Generator NI

and showcase event, which we deliver in partnership with Belfast City Council. This event is designed to
bring national and international industry practitioners to Northern Ireland, to share best practice and

Mark Gordon

network with our industry, and also to showcase the best of our creative performing talent to the global
industry and media.

Nu Graham

Ross Graham
Grace Loughrey

To achieve the aims and objectives of our MBSP funders, Generator NI acknowledge and greatly value

Siubhn Macauley

their regional, national and international partnerships from both the public and private sectors. Key

Sarah Plunkett

amongst these partners are Belfast City Council, Northern Ireland Screen, Generator UK, Nerve Centre,

& Lucy Skerritt

UK Trade and Investment, PRS for Music Foundation, BPI and AIM.

D E PA R T M E N T O F E N T E R P R I S E , T R A D E & I N V E ST M E N T
Music is a crucial part of the creative economy in

There are also many unique opportunities for collaboration

Northern Ireland.

between different creative platforms. Londonderry based

animation company, Dog Ears recently collaborated with local

Northern Ireland has produced some of the worlds leading

music company, Smalltown America Records, to provide the score

artists, from James Galway to Snow Patrol, Van Morrison to DJ

for its series Puffin Rock. Now available on Netflix, it includes

David Holmes, to current success stories Soak and Bicep. Home

a distinctive, cinematic soundtrack recorded by the Ulster

grown talent like this is helping to shine the spotlight on Northern

Orchestra in BBC Blackstaff Studios. This kind of creative

Irelands creative capabilities across the global music stage. It

innovation is to be applauded and I hope many more companies

is estimated that the Northern Ireland music sector contributes

from the Film, TV, Gaming and Animation sector will seek to

61.5 million in annual GVA to the local economy and employs

work collaboratively with local musicians and publishers.

nearly 4,000 people. My Departments aim is to build on this to

enable the local music sector to both compete globally and

This publication provides a blueprint for developing the economic

realise its significant economic potential.

contribution of the music industry in Northern Ireland and will

support the set-up and growth of music businesses, and accelerate

Northern Irelands music industry is by definition highly

growth in Northern Irelands evolving music industry. As such, I

entrepreneurial. With Executive funding available through the

am pleased to have the opportunity to acknowledge Generator

Music Business Support Programme, we aim to support this

NIs hard work and dedication as they continue to work closely

entrepreneurial spirit ensuring we have the skills and knowledge

with the sector to develop opportunities in the global marketplace

necessary to exploit the substantial export opportunities,

for Northern Irelands artists and businesses alike.

accelerating the growth of the sector and maximising the

contribution the music industry makes to the local economy.

Jonathan Bell MLA

Enterprise, Trade and Investment Minister

We are committed to ensuring that we capitalise on every

opportunity to promote our local talent. Opportunities such as
hosting the MTV Music Awards in 2012 provided a unique
platform to promote music from here to an international audience.
Invest NI also helps businesses from our vibrant music sector to
attend South by Southwest in Texas to promote themselves to
key industry players.

D E PA R T M E N T O F C U LT U R E , A R TS & L E I S U R E
The primary roles of the Executive are to promote a sustainable

The Norths own growing music offer is continuing to add significant

economy and to promote equality. These objectives are the core of

value to the wealth of cultural attractions for incoming tourism,

my Departments priority to Promote Equality, and Tackle Poverty

particularly through events such as Belfast's 10 day Belsonic

and Social Exclusion. This is the context for my Departments role

Festival, now in its 8th year, the 3 day Belfast Tattoo and the

as the government lead on the creative industries a sector

huge success of the Fleadh in Derry during its City of Culture Year.

recognised across the world as a catalyst for wider economic and

social innovation.

DCAL's support and commitment to Derry's year as City of Culture

and to the legacy of that initiative was particularly focused on the

Indeed the creative and cultural sectors are increasingly recognised

breadth of benefit that music can bring to community development,

across the world as important drivers of wider economic and social

inspiring creativity and connecting all ages. My Department

innovation. I recognise the importance of music as a key element in

continues to provide support for music in the North through

the creative sector as it presents a wealth of opportunities: helping

a broad range of initiatives targeted towards social, cultural

us to break down barriers; providing a variety of educational

and economic development.

opportunities; as well as helping us to find ways to integrate many

diverse and minority groups positively into our society.

My Department's contribution to the support of the music industry

sector is best exemplified by its joint commissioning with Invest NI

I would like to emphasise the importance of the arts and culture in

and funding of the Music Business Support Programme, run by

contributing to positive health and mental wellbeing, in creating a

Generator NI who work closely with the sector to develop

cohesive society, in promoting tourism and as an inspirational driver

opportunities for artists and businesses in the global

for the creative industries. Music is an essential part of our cultural

marketplace, and who have produced this publication.

Made by Generator NI

Mark
identity and plays a major role in taking our own culture out to the
rest of the world.

Gordon

Huge benefits can be derived from working together creatively and

Nu Graham

thinking innovatively. As Minister for the Arts, I want the arts,

Ross Graham

music and creative sectors to blossom in the North of Ireland.

Grace Loughrey

Siubhn Macauley

Carl N Chuiln MLA

Sarah Plunkett
Minister of Culture, Arts and Leisure
& Lucy Skerritt

SECTION ONE
DEFINING THE MUSIC SECTOR
THE GLOBAL PERSPECTIVE: AN OVERVIEW

THE UK PERSPECTIVE: AN OVERVIEW

THE MUSIC INDUSTRY IN NORTHERN IRELAND

A) PRODUCTION AND EXPLOITATION OF

INTELLECTUAL PROPERTY IN MUSIC
i) RECORDED MUSIC AND RECORD LABELS

11

ii) ARTIST MANAGEMENT

14

iii) MUSICIANS, PERFORMERS, SONGWRITING

16

& COMPOSITION
iv) MUSIC PRODUCTION

22

v) INSTRUMENT MANUFACTURE

25

vi) MUSIC PUBLISHING

26

vii) MARKETING AND PROMOTION

28

B) LIVE MUSIC SECTOR

VENUES AND PROMOTERS

32

M U S I C F E ST I VA L S A N D L A R G E S C A L E E V E N TS

38

TRADITIONAL MUSIC

48

SECTION TWO
SUPPORTING THE DEVELOPMENT
OF THE SECTOR
MARKET DEVELOPMENT
INTERNATIONAL SHOWCASING, CONFERENCING

51

AND TRADE MISSIONS

TALENT DEVELOPMENT

55

INVESTING IN MUSIC

59

C O N V E R G E N C E , C O L L A B O R AT I O N A N D PA R T N E R S H I P S

62

SKILLS DEVELOPMENT
BUSINESS SKILLS DEVELOPMENT
Made by Generator NI
CREATIVE SKILLS DEVELOPMENT

68

EDUCATION IN THE MUSIC SECTOR

Mark Gordon
S O C I A L A N D C O M M U N Nu
I T YGraham
ENGAGEMENT

74

71

78

Ross Graham

F U T U R E O P P O R T U N I T I E SGrace Loughrey
Siubhn Macauley
Sarah Plunkett
& Lucy Skerritt

80

SECTION
ONE
DEFINING THE MUSIC SECTOR

T H E G LO B A L M U S I C I N D U ST RY: A N OV E R V I E W
The global music industry is a highly competitive

Successfully operating within this intensified

environment characterised by continual change

global marketplace requires complex international

and evolution. While existing in its own right as a

connectivity. However, due to the advancement in

communications, and the digital distribution and

key creative industry, music businesses converge
Made by Generator NI
consumption revolution, regional and
across the screen and digital content industries,
decentralised music industry development and
Mark Gordon
sustainability has become a truly realistic
television, tech, and online media platforms.
Nu Graham
proposition.
Ross Graham
IP in the music sector is based on copyright
Grace Loughrey
Effectively growing and sustaining a regional
created in both lyrical and musical elements of
Siubhn Macauley
industry demands a comprehensive skills base
song writing, composition, arrangement and
Sarah Plunkett
with world-class production and IP creation.
production. IP value in the sector is also created
& Lucy Skerritt
by the establishment of an identifiable and
adding intellectual property (IP) value to film,

exploitable brand, and in the development of

The global music sector can be split into two key

production software and hardware.

activity areas: recorded music and live music.

1

An estimated 41 million people are

paying subscribers to digital music
streaming services worldwide
THE RECORDED MUSIC SECTOR
is in a constant state of change - most notably with the shifts from
physical to digital, and from static to mobile platforms. Consumption
of recorded music is more universally accessible and ubiquitous than
ever, with royalties and revenue streams from recorded music
growing increasingly diverse and complex.
Physical continues to decline while digital music sees significant
growth. Listeners increasingly choose services such as YouTube and
Spotify to stream music. An estimated 41 million people are paying
subscribers to digital music streaming services worldwide
(Source: IFPI).
Another area of growth in the global recorded music industry is in
revenue and royalties from synchronisation licensing across
multi-media content.

The success of live music on an

international scale has seen live music
revenues surpass recorded music
LIVE MUSIC
is wide in scope; from small scale venues serving niche audiences,
to large scale festivals with audiences of over 150,000 in
attendance, often with associated broadcast.
The success of live music on an international scale has seen live
music revenues surpass
recorded
music. The
Made
by Generator
NIboom in popularity
is down to the unique experience these events offer attendees,

allowing them to engage with

music
in a personal, tangible way.
Mark
Gordon

Nu Graham

Live music events provide an

identifiable
Ross
Grahamcommercial market

opportunity, which attractsGrace

highlyLoughrey
profitable brand alignments and

sponsorships. These include

food, Macauley
drink, mobile network, fashion
Siubhn
and car brands sponsoringSarah
large events
aligning with their own
Plunkett
target markets.

& Lucy Skerritt

H ES IMCU SI IN
C DI N
N N
R E LIARNEDL A N D
T H E MT U
UDSUTSRT YR Y I IN
NOOR RT HT EHR ENRI N

Northern Ireland has an exceptional track record for producing outstanding creative musical talent
and IP. Van Morrison and his sextet of Grammys, punk prodigies The Undertones penning John
Peels favourite song of all time; the abundance of extraordinary local talent has a
long-standing legacy.
With the achievements of classical pianist Barry Douglas OBE, Ivor Novello winning producer
David Holmes, celebrated House masters Bicep and the Mercury Prize nominated SOAK,
Northern Irish music has shone especially bright on the world stage in recent years.

CASE STUDY
8

SM
N
I A
MLUL TSO
I CWIN
N ANM
U EMRBI C
E RAS
The music
Ireland
contributes
million
in GVA
the localtoeconomy
Founded
inindustry
2001 as in
anNorthern
independent
label
in London,61.5
owner
Andrew
Ferristodecided
relocate
per year, employing
1,900
of those people
directly
employed
within
a
Smalltown
America over
back3,820
to his people.
homeland
of Northern
Irelandare
in 2009.
The
label signs
both

music business,
while the restartists;
are in notable
music-based
roles
within include
other industries.
TBR)
indigenous
and international
regional
signings
And So I (Source:
Watch You
From
Afar, More Than Conquerors and Axis Of, whereas Die! Die! Die! (New Zealand), USA Nails
The NI music
industry hires mostly
part-time
individuals,
making
up 58% repertoire.
of the workforce.
(London)
and Mnemotechnic
(France)
are examples
of their
international
37% of individuals are self-employed. (Source: Creative Skillset report).

Smalltown America has a recording studio in Derry~Londonderry, as well as a successful sister

AccordingSmalltown
to the latest
available
data,based
there in
areBelfast,
aroundwhich
640 music
company
America
Music,
deals businesses
with music operating
and song in

Northern Ireland,
turning over 166 million per year. The majority of businesses are
publishing
and licensing.
based in Belfast, with more peripheral businesses based mostly in the
Derry~Londonderry and Lisburn areas. (Source: TBR)

Smalltown America houses marketing, distribution and audio production from

our HQ in Derry~Londonderry - employing seven staff and offering internships

The music industry in

to four graduates each

year.byFor
businesses,
Made
Generator
NI NI offers low operational cost, good

access to business property and an increasingly engaged talent pool. Internally,

Northern Ireland contributes

Mark Gordon
we've seen increasing customer
demand for wider and deeper product lines.
Nu Graham

61,500,000

Ross
Graham
Artisanal, physical products
such
as screen-printed posters, coloured vinyl
Grace Loughrey
variants and collectible lathe cuts provide good margins outside of our normal
Siubhn Macauley
product sets - we see fans of bands consuming everything an artist has to offer.
Sarah Plunkett

in GVA to the local

& Lucy Skerritt

economy per year

ANDREW FERRIS
9

THE MUSIC INDUSTRY

IN NORTHERN IRELAND
PRODUCTION AND
EXPLOITATION OF
INTELLECTUAL
PROPERTY IN
MUSIC

10

i) RECORDED MUSIC AND RECORD LABELS

This sector of the industry has without doubt been the area most affected by the radical changes resulting
from the revolution in digital and communication technologies across the past two decades. Traditionally
labels were gatekeepers, arbiters of taste and investment in the sector due to the intrinsic power of
being the marketing, promotion and distribution mechanism for physically reproduced, recorded music.
As we move into the age of digital streaming, the record label remains a relevant entity, but the
commercial arena is a more challenging and ultimately democratically competitive one.
The industry-wide shift to independent and self-releasing records, rather than releasing on corporate
and major record labels has been liberating for the creative freedom of artists, as traditional barriers of
production, promotion and recording costs have ceased to price out emergent acts from the marketplace.
There is a large DIY ethic surrounding recorded music and record labels in Northern Ireland. Bands start
their own labels, self-fund and self-release their own music, assuming the responsibilities to release,
monetise and stream their own work. Attached to this are a small number of niche tastemaker labels
releasing everything from soundtrack albums to limited runs of hand-pressed 7 singles.

Made by Generator NI

The function of a record label and the key role of A&R (artist and repertoire) within labels retains its

Mark Gordon

value, to be attached to even a modest indigenous record label can be perceived as a critical and financial

Nu Graham

endorsement of an artists songwriting talent and earning potential. Northern Irish artists have been

Ross Graham

signed to both national and global labels: acts such as Ash, Snow Patrol, Two Door Cinema Club,

Grace Loughrey

Therapy? and more recently SOAK, have grown their careers in the global marketplace through

Siubhn Macauley

successful creative and business partnerships with both independent and major labels.

Sarah Plunkett

& Lucy Skerritt

11

CASE STUDY
12

SMALLTOWN AMERICA
Founded in 2001 as an independent label in London, owner Andrew Ferris decided to relocate
Smalltown America back to his homeland of Northern Ireland in 2009. The label signs both
indigenous and international artists; notable regional signings include And So I Watch You From
Afar, More Than Conquerors and Axis Of, whereas Die! Die! Die! (New Zealand), USA Nails
(London) and Mnemotechnic (France) are examples of their international repertoire.
Smalltown America has a recording studio in Derry~Londonderry, as well as a successful sister
company Smalltown America Music, based in Belfast, which deals with music and song

publishing and licensing.

Smalltown America houses marketing, distribution and audio production from

our HQ in Derry~Londonderry - employing seven staff and offering internships
to four graduates each
year.byFor
businesses,
Made
Generator
NI NI offers low operational cost, good
access to business property and an increasingly engaged talent pool. Internally,
Mark Gordon
we've seen increasing customer
demand for wider and deeper product lines.
Nu Graham
Ross
Graham
Artisanal, physical products
such
as screen-printed posters, coloured vinyl
Grace Loughrey
variants and collectible lathe cuts provide good margins outside of our normal
Siubhn Macauley
product sets - we see fans of bands consuming everything an artist has to offer.
Sarah Plunkett
& Lucy Skerritt

ANDREW FERRIS
13

ii) ARTIST MANAGEMENT

An artist managers role is to coordinate

In recent years, more and more artists are

their artists career development and help

choosing to self-manage - the DIY business

to secure and maximise creative revenue

model - often successfully handling their own

streams from their artist's IP. The typical

business affairs, particularly during the earlier

business arrangement between artist and

stages of their career path. Nonetheless, it would

manager would be an agreement that the

be rare for an artist to progress towards

manager would represent the act for the

substantial recording and publishing deals, live

betterment of the artist's career and

representation, or large scale endorsements

business development, for a share

without employing the services of a full-time

(typically 20%) of net incomes.

manager (or managers).

Managers help to influence and conclude

key business and financial decisions
surrounding a musician's progress within
the industry; and with associated legal
services will act as a key broker towards
concluding deals between an artist,
producer, composer or performer with
other operators and service providers
of the music industry.

THE CLAMEENS ON
TOUR IN INDIA

14

CASE STUDY

RUMOURMILL MUSIC
Mark Holden's Derry~Londonderry based management company RumourMill
Music is one of the new crop of regional management operations that have

emerged over the past few years in Northern Ireland.

As an artist manager based in Northern Ireland, I have successfully

negotiated multiple high profile opportunities for my artists, The
Clameens. Since my appointment as the bands manager, I have
secured a record deal with 25 Hour Convenience Store (a London
based record label run by Gary Powell of The Libertines). As a
result of this, the label and I are currently strategising business
exports to European
territories.
Made
by Generator NI
Mark Gordon
The support of Generator
NI, PRSF and UKTI has helped access
Graham
UK and international Nu
export
market development opportunities
Ross Graham

including The Great Escape, Liverpool Sound City and NH7

Grace Loughrey

Weekender Festivals in India. This support has resulted in a

Siubhn Macauley

significant growth of business opportunities for companies

Sarah Plunkett

such as my own in Northern Ireland.

& Lucy Skerritt

MARK HOLDEN
15

iii) MUSICIANS, PERFORMERS,

SONGWRITING & COMPOSITION

Musicians and performers along with

Northern Ireland has a rich musical

songwriters and composers are the

history and a vibrant performance culture.

primary creators in the music industry,

From traditional musicians to band

providing the assets and creative expertise

members, NI produces a plethora of

that generate incomes amongst the

innovative, contemporary composers

professional sector.

and instrumentalists.

Partners in the entrepreneurial and

Individual musicians and performers are

ancillary service sectors of the music

often self employed or are characterised as

industry also commercially capitalise

being micro businesses, and sometimes

upon and exploit these assets created

employ and sub-contract services to third

by artists.

parties (session musicians, touring

partners, support services).

16

CASE STUDY

SOAK
CASE STUDY
Bridie Monds-Watson is a singer songwriter from Derry~Londonderry, performing under

D
V I SOAK.
D HShe
O Lwas
Mpicked
E S up by Rough Trade Records, who released her debut
theA
name

album Before We Forget How to Dream in May 2015. SOAK has without a doubt been one
Made by Generator NI
of
the most
successful
breakthrough
artists from
Northernand
Ireland
in recent
years,Belfast.
even He
David
Holmes
is a producer,
music supervisor,
composer
DJ born
and bredin
being nominated
2015.
Sheprogressing
has headlined
European,and
UScomposing
and
started
his careerfor
as a Mercury
DJ at the Prize
tenderinage
of 15,
to producing
his
Mark Gordon
Australian
touredtowith
thefilm
likesscores.
of Bombay
Bicycle
Club, collaborated
own tracks,tours,
in addition
whole
He was
commissioned
by Dannywith
DeVito to score
Nu Graham
Chvrches
and performed
music
festivals
Glastonbury,
Latitude
and
Steven
Soderberghs
film at
Out
of Sight
in 1998,
later sound
tracking
theBestival.
renowned films
Ross Graham
Oceans Eleven, Oceans Twelve and Oceans Thirteen.
Grace Loughrey
SOAK showcased at Brighton based The Great Escape in 2013 and 2015, Holland's
Siubhn Macauley
Eurosonic
in 2015
and SXSW
(pictured)
in Texas in Film
2015&with
the which
help and
support
of
David
founded
a production
company,
Canderblicks
Music,
released
Good
Sarah Plunkett
UKTI, Invest
NI and
Generator
NI,record
helping
raise
her profile
in the international
Vibrations,
a film
biopic
of Belfast
shop
owner
Terri Hooley;
David also created the
& Lucy Skerritt
music
market.
soundtrack
for the film. Belfast-based, BBC and RT TV show The Fall also featured music
scored by David Holmes as did the recent award winning feature film 71.

17

CASE STUDY

C I A R A N L AV E RY
Ciaran Lavery is an alternative folk singer songwriter from County Down, building a
successful international business based primarily upon his global popularity on music
streaming services. Ciaran has toured across Europe and played many times in the US,
including the 2014 UKTI Songwriters Mission in Nashville and Folk Alliance in Kansas.
Ciaran has surpassed 20 million plays on Spotify, mainly with tracks Shame and Left for
America. Ciaran Lavery is a skilled songwriter and performer, and also a talented co-writer as
can be heard on his collaborative mini-album Sea Legs with local electronic artist Ryan Vail.

18

The last twelve months have been very successful for me as a

musician and for my team that have helped to pave a path for both
me and my reputation as an artist among an ever developing and
impressive scene that exists in Northern Ireland right now.
Every day we work toward building a long term career so my music
can be as relevant in 20 or 30 years as it is today. It's a long road.

C I A R A N L AV E RY

CASE STUDY

BARRY DOUGLAS
Barry Douglas OBE is a leading international pianist who in 1986 was awarded the hugely
prestigious Tchaikovsky International Award and went on to develop a high profile
international career. Barry also works as a conductor, and regularly performs at St. Lukes
lunchtime series, in London. He founded Camerata Ireland in 1999; an orchestra which works
across the border to nurture and develop young Irish and Northern Irish talent.

Camerata Ireland performs at home and abroad including Belfast,

Derry~Londonderry, Cork, and Dublin, plus tours to USA, China,
South America, Europe and India this season. Randox is our Global
Sponsor, a fantastic
arts
business
Made
by and
Generator
NI partnership. We are also

supported by Arts Council Northern Ireland and Arts Council Ireland.

Mark
The climate for the arts
inGordon
Northern Ireland is not optimum at the

Nu Graham
moment due to austerity,
and many arts organisations are struggling
Ross Graham
or disappearing. However,
artists who work in Northern Ireland are
Grace Loughrey

determined to make a positive contribution to society. Camerata has

Siubhn Macauley

just launched an education initiative in North Belfast, which has been

Sarah Plunkett

very well received. There is a lot to do and I am sure we will get

there.

& Lucy Skerritt

BARRY DOUGLAS
19

CASE STUDY

ULSTER ORCHESTRA
The Ulster Orchestra is the only symphony orchestra in Northern Ireland that operates on a
full time basis. Founded in 1966 by the Arts Council of Northern Ireland, the orchestra has
performed across the globe in places such as Hong Kong and mainland Europe however
the orchestra mostly performs in Belfasts Ulster Hall. The Ulster Orchestra provides the
vast majority of classical music-based outreach work within Northern Ireland, developing
cultural and artistic engagement within classical and contemporary music.

T H E U L ST E R O R C H E ST R A , C O N D U C T E D BY P R I N C I PA L
G U E S T C O N D U C T O R J A C V A N S T E E N , O C T 2 014

20

Made by Generator NI
Mark Gordon
Nu Graham
Ross Graham
Grace Loughrey
Siubhn Macauley
Sarah Plunkett
& Lucy Skerritt

21

iv) MUSIC PRODUCTION

The recording and production sector in

In the modern digital age much recording can

Northern Ireland consists of a variety of

be, and often is, undertaken in home studios,

practitioners and businesses combining

using a PC and a range of software, where once

creative skills with technical and

recording desks and outboard equipment

engineering expertise, operating on

costing tens or hundreds of thousands

various scales.

was required.

The technological landscape of this

The Northern Irish sector includes a range of

sector has been subject to significant

small and mid-sized facilities run by experienced

advancements over recent years.

engineers and producers, across a range of

The costs of recording equipment and

musical genres, supplying services both to

hence associated services were formerly

local clients and increasingly servicing an

much higher, with considerable budgets

international client base from Europe,

required to adequately equip and resource

the USA and further afield.

recording facilities.

22

CASE STUDY

D AV I D H O L M E S
Made by Generator NI
David Holmes is a producer, music supervisor, composer and DJ born and bredin Belfast. He
started his career as a DJ at the tender age of 15, progressing to producing and composing his
Mark Gordon
own tracks, in addition to whole film scores. He was commissioned by Danny DeVito to score
Nu Graham
Steven Soderberghs film Out of Sight in 1998, later sound tracking the renowned films
Ross Graham
Oceans Eleven, Oceans Twelve and Oceans Thirteen.
Grace Loughrey
Siubhn Macauley
David founded a production company, Canderblicks Film & Music, which released Good
Sarah Plunkett
Vibrations, a film biopic of Belfast record shop owner Terri Hooley; David also created the
& Lucy Skerritt
soundtrack for the film. Belfast-based, BBC and RT TV show The Fall also featured music
scored by David Holmes as did the recent award winning feature film 71.

23

CASE STUDY

ANALOGUE CATALOGUE
Analogue Catalogue is a newly established, high quality residential analogue recording studio
in County Down. Recording to 24 track 2 Tape through a vintage Trident Series 80B desk,
the studio team originally recorded a wide range of artists at their Manchester studio from
2003 to 2013. Recent clients of Analogue Catalogue include The Vaselines (Sub Pop),
Jeffrey Lewis (Rough Trade), King Creosote & Jon Hopkins (Domino), Barbarossa (Memphis

Industries), James Yorkston (Domino), The Aliens (EMI), and Fionn Regan (Universal).

Swimming against the tide of the digital revolution, Analogue

Catalogue has successfully carved itself a niche in vintage
recording techniques. Head Engineer/Producer Julie McLarnon
learned her skills at the legendary Strawberry Studios where
she worked with Happy Mondays, New Order, 808 State and The
Charlatans to name but a few. Analogue Catalogue was based in
Manchester for over a decade where we developed a global
reputation for making great records to magnetic tape without a
computer in sight. Last year we shipped our entire studio and its
reputation to Julies homeland in rural County Down. Positioned
equidistant from both Dublin and Belfast Airports we have
successfully maintained our international clients, whilst also
becoming a valuable asset to homegrown talent.

ROB COT TER

24

v) INSTRUMENT MANUFACTURE
Instrument manufacture in Northern Ireland is a growing sector that prides itself on producing
unique acoustic and electronic instruments of a high quality. The sector is highly competitive,
concentrated and export led. Manufacturers in Northern Ireland focus on high-end, niche
instrument manufacture, and range from long established market leading craftsman led brands
such as the prestigious Lowden Guitars to newly emerging electronic instrument manufacturer
Patchblocks.

C A S E ST U DY: R U AC H
CASE STUDY
Ruach was set up in director Stephen Hendersons garage in 2011. Ruach produces and

ANALOGUE CATALOGUE

internationally distributes cajons, a type of percussion instrument made from birch wood or cherry
wood, along with a number of accessories. Ruach prides itself on its environmentally friendly

approach,
a new
tree for
every instrument
made.
Analogue planting
Catalogue
is a newly
established
high quality
residential analogue recording studio
in County Down. Recording to 24 track 2 Tape through a vintage Trident Series 80B desk,

the studio team originally recorded a wide range of artists at their Manchester studio from
Made by Generator NI
Delegating
and
exhibiting
at SXSW
by(Sub
Invest
NI, really
2003 to 2013. Recent clients of Analogue Catalogue
includesupported
The Vaselines
Pop),

validated
and current
products
in theBarbarossa
American(Memphis
market,
Jeffrey Lewis (Rough
Trade), my
Kingnew
Creosote
& Jon Hopkins
(Domino),
Mark Gordon
Industries), Jameshelping
Yorkstonme
(Domino),
Aliens
(EMI), and Fionn Regan (Universal).
find outThe
how
consumers
Nu Graham engage with the brand and

helping to plan how to get

into
that market effectively. I was able to
Ross
Graham

shoot video marketing assets

and expand my network of global
Grace Loughrey

Siubhn
Macauley
business contacts at events
held
by the British Music Embassy. Its a
Sarah Plunkett
challenge to develop a sustainable
new manufacturing company in
Lucymanage
Skerritt to reach a global market.
Northern Ireland unless&you

STEPHEN HENDERSON
25

v i )i ) MMUASRI KC E PT U
I NB G
L I SAHNI N
D GP R O M O T I O N
A small
In
the music
number
industry,
of highly
a music
professional
publisher
local

The current
establishment
music publishing
of a marketable
industry
brand
in can

sector-specific
(or
publishing company)
services are
is responsible
available to for
both

often translate
Northern
Ireland
into
is important
mainly characterised
ancillary by a

regional clients,
ensuring
the songwriters
and to a national
and composers
and

incomes
small
number
from the
of independent
sales of merchandise,
companies with

international
receive
payment
client
when
base
their
wishing
compositions
to

such as t-shirts
developing
music
and
catalogues.
physical record
(Manysales
local

develop
are
usedthe
commercially.
regional market.
In committing to a

online or
writers
doatnot
livehave
shows.
publishing agreements

publishing contract, a songwriter or

and rely on royalty collection agencies to

The creation
composer
"assigns"
of tailored
the copyright
music marketing
of their

In relation
collect
theirtodue
theroyalties).
marketing opportunity and

and promotion
composition
to is
a publishing
essential incompany.
securing

brand development, the importance of close

meaningful media endorsement of local

creativemanaged
Locally
collaboration
and based
between
publishing
the music

repertoire,
In
return, the
allowing
company
thelicenses
opportunity to

sector and the

companies
are contingent
now engaged
design
in sourcing
and screen
and

further resonate
compositions,
helps
in the
monitor
national
where
and

sectors cannot
signing
creativebe
compositional
overestimated.
and song

international marketplace.
compositions
are used, collects royalties

writing talent from Northern Ireland, Ireland,

and distributes them to the composers.

the UK and internationally - including

Marketing
and promotion
within
music
They
also secure
commissions
forthe
music

copyrights originating from France,

industry
and
promote
is increasingly
existing compositions
about brandto

the USA, Australia and Iceland.

development
and film
identification
as well as
recording
artists,
and television.
brand alignment.
The copyrights owned and administered by
publishing companies are arguably the
most important forms of intellectual
property in the music industry.

26

CASE STUDY

JSEMF A
F LRL O
TO
BW
I NNS OAN
M EP R I C A M U S I C
Jeff
Started
Robinson
as a record
is the label
ownerinand
2001,
managing
the Smalltown
directorAmerica
of Jeff Robinson
brand developed
PR, a freelance
a
marketing
publishing consultancy
arm in 2011,that
headed
provides
by Charlene
cross-media
Hegarty.
campaigns
Smalltown
for the
America
creative
Music
industries.
is a
During
music publisher
Belsonic and
Music
composition
Festival Jeffagency,
Robinson
based
PRincoordinated
Belfast. With
media
an array
campaigns
of talented
with
artists
Northern
including
Irish writers,
Noel Gallagher,
composers
Elbow,
and artists
Biffy Clyro,
on their
Florence
roster, +Smalltown
the Machine,
America
Paulo
Nutini,
Music has
30 Seconds
been ableTo
toMars,
place Beady
music Eye,
with Plan
brands
B, such
and Paul
as MTV,
Weller.
O2,He
Vodafone
also represents
and

childrens
Toyota. media company Dog Ears.

Smalltown America Music have strategic partners in place in 4 of

I started my company, Jeff Robinson PR in 2009 and have been
the 5 key music markets - North America, UK, Germany & France.
actively expanding year on year. Although initially 100% music
Smalltown America Music continues to demonstrate growth year
focused we decided to expand into all elements of the creative
on year - we have increased our core staff base, the volume of our
industries, including restaurant and Theatre PR. The growth of the
catalogue and theMade
geographic
spanNIof our intellectual property
by Generator
company has benefited greatly from the assistance given by public
rights. We have agreed deals with a number of global brands
sector supported music
development initiatives, helping with
Mark Gordon
including Toyota, Vodafone,
O2 and Icon Films.
advice, early funding opportunities
and mentoring, which has been
Nu Graham

influential in the business

decisions I have made. We are very lucky
Graham
We face competition Ross
at every
stage from major and independent
Grace
in this country to have
theLoughrey
support and backing of the arts and
publishers, however, we have been very successful in landing global
Siubhn
Macauley
creative industry sector,
which
in turn keeps us producing talent
deals. We remain committed to new talent, unique IP and the
Sarah Plunkett
and supporting the industry
at the highest level.
strength of our offering.
& Lucy Skerritt

NAS ROTNY
C H A JREL FE FN RE OHBEIG
27

vii) MARKETING AND PROMOTION

A small number of highly professional local

The establishment of a marketable brand can

sector-specific services are available to both

often translate into important ancillary

regional clients, and to a national and

incomes from the sales of merchandise,

international client base wishing to

such as t-shirts and physical record sales

develop the regional market.

online or at live shows.

The creation of tailored music marketing

In relation to the marketing opportunity and

and promotion is essential in securing

brand development, the importance of close

meaningful media endorsement of local

creative collaboration between the music

repertoire, allowing the opportunity to

sector and the contingent design and screen

further resonate in the national and

sectors cannot be overestimated.

international marketplace.
Marketing and promotion within the music
industry is increasingly about brand
development and identification as well as
brand alignment.

28

CASE STUDY

JEFF ROBINSON PR
Jeff Robinson is the owner and managing director of Jeff Robinson PR, a freelance
marketing consultancy that provides cross-media campaigns for the creative industries.
During Belsonic Music Festival Jeff Robinson PR coordinated media campaigns with
artists including Noel Gallagher, Elbow, Biffy Clyro, Florence + the Machine, Paulo
Nutini, 30 Seconds To Mars, Beady Eye, Plan B, and Paul Weller. He also represents

childrens media company Dog Ears.

I started my company, Jeff Robinson PR in 2009 and have been

actively expanding year on year. Although initially 100% music
focused we decided to expand into all elements of the creative
industries, including restaurant and Theatre PR. The growth of the
Made by Generator NI

company has benefited greatly from the assistance given by public

sector supported music
development initiatives, helping with
Mark Gordon

advice, early funding opportunities

and mentoring, which has been
Nu Graham

influential in the business

decisions I have made. We are very lucky
Ross Graham
Grace
in this country to have
theLoughrey
support and backing of the arts and

Siubhn
Macauley
creative industry sector,
which
in turn keeps us producing talent

Sarah Plunkett
and supporting the industry
at the highest level.
& Lucy Skerritt

JEFF ROBINSON
29

THE MUSIC INDUSTRY

IN NORTHERN IRELAND

THE LIVE MUSIC

SECTOR, EVENTS
A N D F E ST I VA L S

30

THE LIVE MUSIC SECTOR

The live music sector is the largest area of

In 2014, over 260,000 music tourists attended

Northern Irelands music industry, turning over

events, generating 84 million for the Northern

44 million per year and employing over 700

Irish economy and sustaining 694 full time

individuals in a variety of roles (Source: DCAL).

jobs. A Northern Ireland Tourist Boards visitor

survey revealed that 4% of tourists holiday in

The roles involved include musicians, DJs and

NI primarily to visit a concert or event

performers, venue promoters and producers,

(Source: UK Music/NITB).

behind-the-scenes sound and lighting

technicians, and venue hospitality staff.

The 'night-time economy' encompasses a

Live music and music promotion is staged

variety of areas, including hospitality, catering,

in a variety of spaces from small pub and club

travel, pubs and clubs. Within the night-time

venues to large scale concert halls, and urban

economy, live music and club culture is a key

and rurally staged outdoor music festivals.

driver in attracting people to the larger towns

and cities of NI.

Live music events play a crucial role in

attracting tourism, fundamental to the local

The live music industry in Northern Ireland

economy, while highlighting and supporting the

accounts for over 44 million in turnover,

cultural identity of Northern Ireland.

making it the largest sector within the core

music industry (Source: TBR).

31

i) VENUES AND PROMOTERS

Belfast and Derry~Londonderry, where most

A vibrant live scene also provides an important

night-time music venues are concentrated,

platform for local musicians, DJs and

have a dynamic nightlife with a variety of

performers to develop their skills and careers.

pubs, clubs and music venues. Large

They also function as important cultural and

scale venues such as the Ulster Hall,

social hubs, promoting community involvement

the Waterfront, the Royal Opera House,

in cities and towns, especially community

the Millennium Forum and the SSE arena

focused venues such as the Nerve Centre in

bring international music artists into

Derry and the Oh Yeah Music Centre in Belfast.

Northern Ireland, with smaller venues such

as the Limelight complex, the Mandela Hall,

A major component of the night-time economy

the Black Box, T13, Aether and Echo and the

in Northern Ireland is a booming clubbing

Errigle Inn serving the more niche interests

scene, with DJs and electronic dance music

of music audiences.

drawing in clubbers from across the country.

Club nights in Box, Aether and Echo, Kremlin,

Events across these venues are often

El Divino, Ollies, Thomsons Garage, Limelight,

curated, marketed and produced by live

Chinawhite and Laverys prove to be highly

music promoters, who specialise in booking

popular both at the weekends and with the

talent, promoting events to audiences and

student population during the week.

managing the associated production and

ticket sales.

Outside of Belfast, popular clubs include Kellys

in Portrush, Sallys in Omagh and Sugar and
Envy in Derry~Londonderry.

32

CASE STUDY

PRODUCTION SERVICES IRELAND

Belfast based Production Services Ireland (PSI) is the leading supplier of sound and lighting

equipment and expertise to the live music and performing arts sector throughout Ireland,
and also working successfully in the UK, European and Asian markets.

PSI has grown substantially over the past 10 years, covering more
live events than ever before, and this growth has enabled us to open
a branch in Dublin in 2011, and to form partnerships with UK based
companies, building a support network, and setting a standard of
service on both sides of the Irish Sea.This, in turn, has enabled
us to take contracts touring Europe, USA, China and Japan, and
allows us to promote PSI outside our local catchment area.
The live sector in NI is constantly growing, and the standard is always
on the up.In NI we have had, in the past, to play the poor cousin with
visiting acts expecting to have to settle for a sub-standard service;
something we at PSI have kicked against for years!It is now
recognised that NI has an amazing amount to offer in this sector,
and we are producing some outstanding new talent, as well as
attracting more and more major, established players to our venues,
easier to do with a world-class venue in the SSE Arena Belfast.

S E A N PAG E L
33

34

CASE STUDY

SHINE
Shine Productions is a major Belfast based events and promotion company as well as being
one of the UKs longest running underground club nights. Shine is also closely associated with
the three Limelight venues in Belfast, The Academy venues in Dublin and the annual outdoor

multi-day Belsonic festival in Belfasts Custom House Square.

Northern Ireland continues to punch considerably above its

weight in the context of the UK live music industry.
Our live events have grown exponentially in terms of size
and frequency over the last 5 years, and avail of business
partnerships and relationships within the UK and
Ireland, as well as with European and
global organisations.
Belfast feels as much an essential stop on a
UK touring run as Dublin, or any of the
major cities in England and Scotland,
and is very much a favourite
stop-off for many international
artists touring in Europe.

JOE DOUGAN
35

CASE STUDY

LIMELIGHT
In 1987, the Limelight (pictured) opened as a nightclub, later expanding into neighbouring
premises, becoming three rooms, now known as Limelight 1, Limelight 2 and Katys Bar.
Over the years, Limelight has played host to bands like Oasis, Biffy Clyro, Snow Patrol and
The Libertines. In 2010, County Dublin based MCD and Belfast based Shine Productions
bought and rebranded the three venues.
The Limelight hosts 5 regular club nights on Mondays, Tuesdays, Thursdays, Fridays and
Saturdays, with a wide range of music genres. Club nights during the week attract the
considerable student population of Belfast, whereas weekend nights attract both
students and young professionals.

CASE STUDY

MOVING ON MUSIC
Moving on Music is a not-for-profit charity organisation, who since 1995 have become one of
the premier promoters of jazz, traditional, roots, classical and cross-over genres of music in
Northern Ireland. They promote one-off events, curate tours, run the Brilliant Corners jazz
festival in Belfast, and host an array of education and outreach projects. These projects have
previously included Beyond the March, an initiative designed for members of marching
bands to explore music making and share ideas about the development of musical
repertoire and style. Workshops provided opportunities for musicians to develop
their skills alongside experienced musicians and composers.

36

CASE STUDY

THE ODYSSEY COMPLEX

The Odyssey is a large multi-purpose leisure complex consisting of the Odyssey Pavilion, the
SSE Arena Belfast and the W5 science exhibition centre. Its 10,000 capacity arena has
welcomed Robbie Williams, Lady Gaga, Dolly Parton, Michael Bubl and Black Sabbath to
name but a few. After Adele announced that the first show for her 25 tour would be in Belfast,
tickets for the two dates at the SSE Arena sold out in minutes.
In November 2011, Belfast hosted the MTV EMAs (pictured), attracting 20,000 visitors to the
Odyssey Arena. The event contributed over 10 million to the local economy, proving to be one
of the biggest drivers of music tourism in Northern Ireland to date. (Source: NITB, 2011).
Further to those in attendance, over 600 million people across the world watched the award
shows broadcast, boosting Northern Irelands image, and helping to portray a positive, exciting
and international image of Belfast.

37

i i ) M U S I C F E ST I VA L S & L A R G E S C A L E E V E N TS
Northern Ireland is home to a number of unique music festivals in various urban and rural
venues and locations; each catering to particular audiences across a wide spectrum of styles
and genres. These events also provide a wide range of short term service contracts and
employment within the sector.
Although most festivals feature high profile headline artist/performers, the role that festivals
and large music events play in providing a prominent platform for emerging local talent
cannot be overestimated.

CASE STUDY

BELSONIC
Every summer since 2008, Belfasts Custom House Square becomes an outdoor arena for
around a week, with 35,000 people celebrating the years most acclaimed popular music.
Starting as a three day festival, Belsonics popularity soon grew, increasing to 10 days of
events, with headliners such as Florence and the Machine, Biffy Clyro, Dizzie Rascal
and Thin Lizzy.
Belsonic is run by Shine Productions, who have crafted an event that yearly attracts large
audiences and stimulates substantial inward visitor numbers, with both indigenous and
international tourists travelling to Belfast to experience the expertly curated music culture.

38

39

40

FESTIVAL

CASE STUDY
CASE STUDY

41

AVA's debut was

fantastic, a proper
celebration of the creative
arts in Northern Ireland
and has really helped
turn a global spotlight
onto the city.

T I M M Y ST E WA R T / T B O N E
42

AVA festival and conference is a new annual event celebrating established and emerging talent
in visual arts and electronic music in Northern Ireland. AVA, which stands for Audio Visual Arts
was created by Up! Productions in collaboration with Generator NI. The first AVA festival was
held on Saturday the 30th of May 2015. AVA incorporates both a conference element during
the day and a live music element during the evening.

THE CONFERENCE
During the daytime, various events, panels and discussions took place with leading national
and international experts in electronic music and audio visual arts. In 2015, 200 people were in
attendance, and keynotes were led by DJ Nu-Mark of Jurassic 5 and Adam Smith, who notably
directed videos from The Chemical Brothers and The Streets. Panels and discussions were led
by Generator NI, Shine.net, Ableton, Hospital Records, Sentric Music, Paul Hamill and others.
The conference aspect of AVA is designed to engage people of all ages and career stages in the
local and international audio and visual arts industries.

THE LIVE MUSIC

During the evening, leading DJs performed to a large, energetic crowd. In 2015, 2500 people
packed into T13 for an array of audio visual and electronic dance music performances. Headliners
included Bicep, Ejeca, Optimo, Space Dimension Controller (pictured) and Phil Kieran.

BOILER ROOM
Boiler Room is a recognised global leading brand/music platform that organises small, intimate
gigs, streaming them on their website to hundreds of thousands of online fans around the world.
Boiler Room made its debut appearance on the island of Ireland at AVA festival with huge success.
Over 170,000 people watched the live boiler room broadcast, in addition to over 110,000 views
post-event. Debuting Boiler Room in Ireland and NI has put Belfast on the electronic music scene
and destination map.

43

AVAS W I D E R
CONTRIBUTION
AVA Festival contributed significantly to the
development of the electronic music sector in
NI, delivering a positive potential tourism impact
from the success of AVA in addition to the audience
of the live Boiler Room stream. AVA Festival
attracted almost 10% of their attendees from
outside of Northern Ireland, which for a festival
in its infancy, is impressive.

ROMAIN TARDY
S P E A KS AT AVA

Additionally:

DJ duo Schmutz were signed to an agent and booked in Berlin as a direct

result from featuring on the AVA Festival Boiler Room Live stream.

DJ Sid Carey won the emerging electronic producers competition and was
signed to the Extended Play label and will have his track released on EP
and feature on the Feel My Bicep blog.

DJ Timmy Stewart received a booking in South America (Argentina) off the

back of his feature on the AVA Festival Boiler Room Live stream.

The Visual Artist Collective Guerrilla Shout has since been booked to
create a feature video for AKON, netting 2 million views on You Tube.

44

T13 Venue has now been approached by a number of organisations/music

opportunities, which has led to subsequent bookings (one from Ministry of
Sound) for the venue, worth a considerable amount of money.

Each street food stall at AVA was offered a pitch at the Tall Ships event off the
back of AVA.

Intern student has subsequently received a job after her 6-month placement
at AVA Festival.

AVA Festival and Conference was a complete success in year

one due to an exceptional team and line-up, artist support and the
robustness of key partnerships. Leveraging the various resources,
outside of financial support, added content and strength to the
AVA offering. These partnerships included Generator NI as our
key partner for the free daytime conference, Boiler Room as our
broadcast partner, streaming our outdoor stage live across the
world, Ableton as another of our conference partners, providing
software and hardware content and artist lead workshops,
Tourism Ireland and Belfast City Council for funding and the
Commercial Education Trust for the initial seed funding and
continual support and guidance.

AVA F O U N D E R S A R A H M C B R I A R
45

CASE STUDY

CIT Y OF DERRY JAZZ

A N D B I G B A N D F E ST I VA L
Since 2002, Derry~Londonderry has played host to thousands of jazz, big band and blues fans,
over a long weekend in May, with world-class performers such as Jamie Cullum and Jools
Holland. The festival annually features over 100 musicians, with performances across
60 venues including shopping centres, restaurants, bars and theatres.

CASE STUDY

CELTRONIC
As one of the leading electronic music festivals in the country, Celtronic (pictured) attracts
thousands of visitors annually with a lineup of both local and national acts, including Chic ft.
Nile Rodgers, David Holmes, Objeckt, Move D, Derrick May, Ripperton, Ben UFO and Karenn.
Celtronic is known world-wide as an intimate festival, where big name acts that usually play to
hundreds of thousands of punters, play for just a few hundred. The owners of Celtronic also
run a high-specification recording studio in Derry~Londonderry, providing a space for the
emerging electronic dance music pioneers to record their music.

46

In Derry~Londonderry, we have found in recent years in addition

to major events and concerts, niche music events can be great ways
of attracting 'music/festival tourists' to the city through events like
Other Voices, Music City, City of Derry International Choral Festival
and Celtronic. Among the reasons for the success of Celtronic over
the years is due to its unique festival format of major international
acts playing in relatively small, intimate spaces. The festival also
continually showcases the best emerging and established local
and national producers as well as showcases from the regions
leading club nights and promoters. The festival's non-profit
making ethos means that the festival is one of the best value
festivals in the country with a 5 day access all events pass
costing only 40.

GARETH STUART

47

iii) TRADITIONAL MUSIC

The world of traditional music, as beloved

Around 790,000 of public investment was

as ever by local communities, provides both

made in 2014-2015 for traditional music

cultural and economic worth to Northern

organisations, events and projects in Northern

Ireland. In addition to the indigenous

Ireland, from Arts Council NI, the Ulster Scots

market, trad serves as a continued draw to

Agency and Foras na Gaeilge.

international visitors and cultural tourists.

A 2014 report stated that over 42.2 million
Often performed in informal settings in

was contributed to the economy by the

small pubs, sessions are a lively, cheerful

traditional music sector, mostly from secondary

expression of local cultural tradition.

spending. Although these figures are notably

Popular venues and music tourism

increased by the Fleadh in Derry in 2013, they

destinations include Kellys Cellars,

still show the level of return on investment and

The Sunflower Pub and Maddens Bar in

value that the traditional music sector offers

Belfast, Peadar ODonnells, Sandinos and

the Northern Irish economy.

Grand Central Bar in Derry~Londonderry.

(Source: Comhaltas Ceoltiri ireann).

CASE STUDY

THE TRADITIONAL MUSIC FORUM

The Traditional Music Forum was established by the Arts Council of Northern Ireland (ACNI)
in 2014 as part of its commitment to support the Traditional Arts of Northern Ireland; one of
10 priorities identified in the Arts Councils Music Strategy (2013-2018). The Forum draws
together traditional music organisations and artists with the aim of helping the sector to
explore and develop their aspirations. In addition, the Forum acts as a cross-community
advocacy group for the inclusion of traditional music in formal music education.
48

CASE STUDY

FLEADH CHEOIL NA HIREANN

I N D E R R Y ~ L O N D O N D E R R Y , 2 0 13
The all-Ireland traditional music festival has been held in various towns and cities across
Ireland since 1951. The festival includes competitions, attracting the best traditional
musicians from around the world. In 2013, the largest fleadh to date was held in
Derry~Londonderry, attracting over 430,000 people to the city over 8 days.
Derry~Londonderry hopes to be awarded the opportunity to host the Fleadh in 2017 and
2018, due to the success of the citys previous Fleadh. The popularity of the Fleadh in
Derry~Londonderry shows how important traditional music is to Northern Ireland,
reinforcing the role of music in the depiction and expression of cultural identity.

49

SECTION
TWO
SUPPORTING THE
DEVELOPMENT OF THE SECTOR

50

MARKET DEVELOPMENT
Often at the forefront of global trends, the music industry is known for its versatility, and the speed
with which it adapts to and avails of technological advances. The shifting sands of the modern
marketplace can help or hinder, requiring constant consideration, examination and often re-evaluation.
Commercial music has always been driven by media, broadcast and publicity. As technological change
accelerates, new audience development avenues emerge apace, with online and mobile digital
platforms now dominating market and audience access alongside traditional and broadcast media.
The turnover time for most growing music businesses and artists is just as rapid: business models can
quickly become unsustainable if practitioners are not mindful of the ongoing emergence and decline
of trends and new business models in IP distribution, monetisation and exploitation.

INTERNATIONAL SHOWCASING,
CONFERENCES AND TRADE MISSIONS
Attendance, delegation and showcasing at

every year, often with funding from regional

selected national and international music

support initiatives and partnerships including

conferences and events can be a vital learning

Invest NI, Generator NI, Belfast City Council and

experience for established and emerging music

ACNI; frequently in partnership with a range of

businesses alike. Network-building and skills

national organisations and initiatives including

development opportunities abound for emerging

UK Trade and Investment, BPI (British

IP creators and their contingent businesses.

Phonographic Industry), AIM (Association for

Northern Irish artists and companies attend a

Independent Music) and PRS for Music

large and diverse range of global conferences

Foundation.
51

CASE STUDY

BERNADETTE MORRIS
Bernadette is a fiddle player and fluent Irish speaking singer who has performed across
the globe, including showcases at Celtic Connections, Folk Alliance and WOMEX. She
released her debut album All the Ways you Wander in 2013, a fresh look at many

traditional Irish folk songs, produced by Beoga member Sean g Graham.

52

Belfast has proved a great base to develop my musical career, with

support from Generator NI and The Art's Council of N. Ireland. I
currently produce, manage and perform my music both locally and
internationally. I have attended Womex and performed at Celtic
Connections, Germany and Folk Alliance International in the US,
representing Irish culture and arts abroad. I intend to continue the
development of my business and move into new markets, starting
with a business development trip to India with the support of
Generator NI and Belfast City Council.

BERNADETTE MORRIS

CASE STUDY

SOUTH BY SOUTHWEST (SXSW)

South by South West in Austin, Texas has developed into the world's largest convergent
creative industries festival, originally a purely music industry focused event, it now brings
together over 35,000 professionals from all media industries. Northern Irish businesses
respresenting the best from all corners of music, film and interactive attend SXSW
as part of a major trade mission each year.

SXSW for us has become a key event that broadens our fan base and
market profile. It introduces us to new people in the music media both
in radio and in TV, both in the US and at home. We were invited on
BBC 6 Music - Steve Lamacq showed up to our Northern Ireland
showcase at Latitude 30. We saw attendance at our UK shows grow
massively with sold out gigs. At least 10 major Irish and UK festivals
have booked us since SXSW which will keep us flush financially so
we can carry on promoting the new album.

THE LOST BROTHERS

53

CASE STUDY

START TOGETHER STUDIO

A T T H E G R E A T E S C A P E 2 015
The Great Escape in Brighton, is a three day music festival, conference and
showcase event which attracts over 3,000 delegates comprised of music industry
professionals and around 16,000 music loving punters. Rocky OReilly attended
The Great Escape in 2015, to expand and maintain his client base, ensuring the

sustainability of Start Together Studio.

I have already started working on new projects for UK based

record labels after meetings at the festival. I have made around 30
new contacts with whom I have communicated after the event. I
also appeared as a panellist for the Music Producers Association,
improving my experience level and raising my profile. I have made
a strong contact with a new producer manager and expect to be
working with them on an ongoing basis in the near future. As well
as working for new labels and artists already, I have been in
meetings for future work with a number of UK based artists &
managers. I believe I have secured representation with a new
producer-management company.

ROCKY O REILLY
54

TALENT DEVELOPMENT
Support for emerging talent on a local and

Those selected benefit from an accelerator

regional scale is essential, as multinational

programme for exceptional NI creative talent,

corporate music businesses now choose to

which includes a wide range of tailored support

invest in artists that are already regionally

initiatives such as campaign planning,

developed, pre-identified, endorsed and

supporting attendance at trade missions

market-ready. Talent development support

and industry showcases, fostering creative

provides the foundation for a platform

collaboration, promotion and marketing

of initial success that attracts further

support and the production of world-class

investment and partnership towards

digital video content in partnership with

global market success.

Northern Ireland Screen.

One of the four, core elements of the

The programme also provides participant artists

Generator NI programme is the delivery

and their business partners with the opportunity

of an annual Talent Development

to partake in a series of 4 two day 'compacts' a

Programme. Each year the Generator NI

year providing hot house knowledge and

Talent Development Programme supports

network development on specialist areas

the development of an identified group of at

in the industry.

least 6 exceptional artists, bands, producers

and performers. These acts areidentified

Notable outputs and successes of the Talent

through Northern Irelands own version of

Development programme include Ciaran

Generator (UK)s national Tipping Point

Lavery, Silences, Alana Henderson and

programme whereby key industry and

Jessica Doherty.

media tastemakers identify and tip what

they believe to be the next big thing across
all genres of music.
55

CASE STUDY

EMMA HORAN
Emma Horan is a 16 year old singer songwriter from Lurgan. She rose to recognition
through YouTube, with her cover of Mumford and Sons Little Lion Man, which charted on
iTunes. Since then, she has been on tour with X Factor star Janet Devlin and played at
industry conferences such as Festival of Icons. She has been working closely with
Generator NI through mentoring and the talent development programme, to

develop her skills as an artist and songwriter.

56

I have had such an amazing year with music. As I started online

putting videos up of myself singing, things have just gone crazy! I have
gained so much support for my music and that means everything to
me, my manager Nick has been brilliant. This year I have been writing
music lots through Generator NI's development programme and my
writing skills have progressed so much and I have had such fun.
During the summer I have been co-writing with a songwriter and
producer Tre Sheppard and have loved every minute of it and cannot
wait to release the music we have created. The team around me are
great and I couldn't have done it without them.

EMMA HORAN

CASE STUDY

ALANA HENDERSON
Alana Henderson took part in Generator NIs annual talent development programme in 2014,
and from then has gone from strength to strength. After recording her EP Wax and Wane, Alana
was selected as a touring backing singer and cellist for Irish singer songwriter Hozier. The

international touring and export of her musicianship has enabled Alanas career to become a

sustainable and successful ongoing venture.

During the early stages of developing my music career in Northern Ireland,

support from Generator NI allowed me to develop my business through
recording and performance opportunities, assisting me in expanding
my reach so that I could tour on a small scale as a solo artist in Europe
(Germany, Austria) and perform at conferences in the USA (Oregon,
Washington). Through these local networks in the NI music scene,
I made great connections in the industry.
I was introduced to Hozier in early 2014 and began touring internationally as
part of his band as well as opening his shows on occasion (Germany, Austria,
Netherlands, UK). I have toured extensively throughout the USA, Australia,
New Zealand and Europe. This expanded my fan base significantly, broadened
the reach of my music in the global market, increased my online streaming
figures (Spotify 4,000,000+ streams) and established connections which I am
certain will lead to future collaborations and projects.

ALANA HENDERSON
57

TA L E N T D E V E LO P M E N T ( C O N T. )
The Nerve Centre in Derry~Londonderry,

The Oh Yeah Music Centre in Belfast also

Northern Ireland's leading Creative

delivers its own talent development programme:

Learning Centre, also delivers a wide range

Scratch My Progress, offering a series of

of talent development initiatives in

musical acts the chance to hothouse their talent,

Derry~Londonderry and the North West.

learning about the business of music as well as

Its Music Sync Programme, delivered as

the skills of performing and writing.

part of the UK City of Culture and Legacy

programmes, provided a landmark music

The Scratch concept was inspired by the work

development intervention in support of

of Battersea Arts Centre in London, which

young people across the city and

pioneered the idea of a 'ladder of progress'

community.

using achievable steps and constant feedback.

The project allows artists to test and develop

The Nerve Centre has also partnered with

their ideas from scratch with the audience,

Generator NI in the hosting and delivery

and each other. Scratch My Progress is a

of a wide range of successful talent

partnership with PRS for Music Foundation,

development initiatives including the

Pledge Music, Help Musicians, and the Arts

48 Hour EP Bootcamp, the MTV Music

Council of Northern Ireland.

Academy and the Resonate Futures

programme.

58

INVESTING IN MUSIC
Seed investment opportunities for music

The Arts Council of Northern Ireland supports

businesses are notoriously difficult to

individual artists through SIAP (Support for

secure. Traditional routes for start-up

the Individual Artists Programme) to help

business funding often come from bank

established and emerging artists take that

loans; however these can be hard to secure

all important next step in developing their

in the music industry, where 77.4% of small

professional artistic careers.

and medium enterprises (SMEs) self-fund

the initial stages of their business.

There are five separate funding streams within

Outside of the music industry, only 39% of

the SIAP programme including general arts

SMEs self-fund. (Source: Wilson et al,

awards, artists career enhancement scheme,

2001).

major individual award and travel awards. In

2015/2016, ACNI made 155 SIAP awards to

Artists and businesses from the music

artists totalling 415,000.

sector in Northern Ireland have been

supported financially in various capacities
by Invest NI, DCAL, ACNI, the Creative
Industries Innovation Fund, Belfast and
Derry City Councils, and national entities
UKTI, PRS Foundation, AIM and the BPI.

59

CASE STUDY

MALOJIAN
The Arts Council of Northern Ireland supported local artist Malojian (Stevie Scullion)
with two individual artist awards recently. The funding provided Stevie with the
opportunity to attend a showcase event in Nashville, the mecca of music in the United
States of America. He had the chance to perform and network with an audience of
influential industry and media delegates.This award also provided the opportunity for
Malojian to spend time co-writing in Nashville with other songwriters, opening his work to

a new group of people.

60

I hope to create at least 5 collaborative new song copyrights and part

of the process will be studio sessions to finesse and record those
works. I have always wanted to record in Nashville as some of my
favourite records were recorded there. I believe working in this
environment will greatly enhance my skills as a musician and
songwriter.

STEVIE SCULLION

CASE STUDY

INVEST NIS TECHSTART

SEED INVESTMENT PROGRAMME
Established by Invest Northern Ireland as part of its Access to Finance strategy, techstart NI is
providing support for early stage technology businesses and university spin-outs. Inflyte App is a
music promotion platform that allows record labels, pluggers, PR companies and publishers to
send branded digital music promo campaigns direct to their clients' mobile devices for feedback

online or offline, wherever they are. The company secured a 150,000 investment from techstart NI.

Inflyte was delighted to welcome techstart NI as its seed investor. We

have found the process and manner in which the transaction was handled
to be commercial but light touch with the investment being closed in less
than six weeks.
Im delighted to say that Inflyte has had a really strong opening twelve
months in business. When we launched last year we were working with a
small number of independent electronic record labels, but our client list
now includes leading global music brands such as Defected, Cocoon,
Mad Decent and Ram Records. Were exclusive providers for many of the
UKs leading PR agencies including Your Army and Renegade Music and
over the past few months, Inflyte has delivered content for artists as
wide-ranging as Madonna, New Order and the Stereophonics.

PA U L H A M I L L

61

CONVERGENCE, COLLABORATION
A N D D E V E LO P I N G PA R T N E R S H I P S
Two heads are better than one, and the

Working with creative music businesses too can

music industry has never been one to shy

elevate the offerings of tech startups, producing

away from even the most unexpected of

hardware and software servicing the music

mash-ups.

industry.

The creative industries are in one of the

Developing partnerships between creatives and

strongest positions to collaborate, and stand

businesses across these convergent sectors is

to gain remarkable benefits.

essential to maintaining sustainability within the

music industry. These partnerships co-create

Within the realm of screen, for example: film,

products and digital content, adding untold

TV, advertising, online, apps & gaming, there

value to one another's propositions, ultimately

exists the need for a steady stream of music

multiplying money-making potential.

and sound IP creation.

62

63

CASE STUDY

HYPERDUCK SOUNDWORKS
The relationship between gaming and music is strong. The global gaming industry is worth over
$74.2 billion per year*. Music is used in almost every game on the market, providing huge
opportunities for composers and music rights holders.
Profiting from the popularity of music within the gaming industry, is HyperDuck SoundWorks,
a Belfast based company that specialise in sound design and music composition for the gaming
and media industries. They have worked with some of the most celebrated independent game
creators, most notably, creating the full score for Dust: An Elysian Tail.
(*Source: Superdata)

64

As a small business, being based in Belfast has proven to be an

integral part of our growth. We have substantially grown an
international client base over the past 5 years, and can proudly say
we've made connections with people all over the world who are both
professional colleagues and eager fans. In making people aware of
what HyperDuck SoundWorks can do, we feel that it has also helped
put the spotlight on Belfast's creative sector, and shown people what it
is really capable of.

CHRIS GEEHAN

CASE STUDY

ON MUSIC
With music being used constantly on new platforms and within new technologies, it becomes a
challenge to retain intellectual property rights, and to direct royalties to the correct places.
On Music provides various services such as music data processing services, negotiation and
licensing, and electronic reporting and music cue sheet delivery to major broadcasters, music
companies, copyright societies, distributors and independent producers. Formed in 2005, with
offices in Kent and Belfast, On Music is owned by managing director, Liz Lavery, a copyright

expert with over 25 years of experience in the industry.

As a full service music data company; processing international music

data for copyright societies, broadcasters, publishers and online, our
clients include BBC Worldwide, UKTV, PRS for Music, PPL,
and Bloomberg TV. Since 2005, we have seen vast growth; branching
out into the international market. Our service provides music genre
specialism and internal data quality experts.
Being based in Belfast allows us to be cost-effective for our London,
LA and New York based clients and also providing services for local
publisher LLC Media working with Northern Ireland composers and
production companies.

L I Z L AV E RY

65

CASE STUDY

S C O R E D R AW M U S I C
Score Draw Music is an award-winning music production company. Since 2004 the company
has been commissioned by all major broadcasters in the UK to deliver incidental and title music
and score for projects ranging from network docu-drama to sports. Score Draw has also
delivered bespoke music towards brands including Adidas, The Body Shop and Milka.
Score Draws work in childrens television includes titles, songs and underscore for the
multi-award winning Nickelodeon Jr pre-school animation Lilys Driftwood Bay. In 2014 the
company also composed all the music for the documentary Road which opened the Belfast Film
Festival.

66

Exporting music IP and the identification of global media production

partners remain essential for a company like ours to grow; however
what has benefited us equally is the support NI Screen have given the
indigenous media and production sector. Our two top tier pieces of
activity in documentary and childrens television are both propositions
produced and created in Belfast-and both are world class.

RICHARD HILL

CASE STUDY

PATC H B LO C KS
Patchblocks are programmable synthesisers musical hardware that can be edited to create the
users desired sound using software on a PC or Mac. Patchblocks can be connected seamlessly
together like a jigsaw, to create a wider variety of sound options.
Sebastian Heinz is the mind behind Patchblocks, having developed the hardware and software
during his PhD study at the Sonic Arts Research Centre at Queens University Belfast. Sebastian
started a Kickstarter crowdfunding project to gain initial start-up funding, which was hugely

successful, hoping for 10,000 but raising over 67,000.

In the last year we have built a strong network of distribution partners

world-wide, including retail stores like Conrad Electronics, Thomann,
Rapid and Juno. What has started as a student project has now even
appeared in a TV ad in some European countries. Additional staff has
joined our team and we are working on a range of new products.
Being a Belfast based start-up means we are surrounded by a vibrant
community of creative talent, but also allows us to get a wide range
of support from institutions like Invest NI, assisting us in marketing
and R&D.

SEBASTIAN HEINZ

67

SKILLS DEVELOPMENT
BUSINESS SKILLS DEVELOPMENT
Developing sector specific music business

These range from one to one advice and

skills and knowledge is integral to the

guidance, through seminars and workshops on

creation of sustainable careers in the music

particular essential industry skills, the delivery

industry. Entrepreneurial skills are also

of short courses, all the way up to large scale,

essential to success, as many of the

multi-event conferences.

commercial opportunities available remain

viable only to those able to work on a

In an industry that relies so much on sector

freelance and contract basis.

specific knowledge, it is difficult to overestimate

the benefits that experienced, knowledgeable

Most in demand are an array of industry

mentoring can provide to those in the earlier

specific business skills, focused on the

stages of business and career development.

development, management and marketing of

talent and associated Intellectual Property

Generator NI provides mentoring to those in the

and copyrights.

local music industry in three specific ways: open

access one-to-one mentoring, group mentoring

In partnership with public and private sector

and a tailored mentoring programme for priority

stakeholders, Generator NI has delivered a

artists and their business partners from the

wide range of business skills initiatives and

Talent Development Programme.

events, supporting business development and

helping to engender and support
entrepreneurship across the sector.

68

CASE STUDY

MANAGEMENT SKILLS MASTERCLASS

In association with Honeycomb - Creative Works, Generator NI produced a two-day residential
management masterclass for a group of Northern Irelands rising indigenous artist managers.
The masterclasses involved talks and workshops aimed specifically at developing management
techniques while establishing networks with leading industry professionals.
Mentors included Huw Stephens (Radio 1), Julian Deane (UK based Raygun Music), Graham
Brown (US based The League International), and Adam Shearer (UK based Partisan Records).

69

CASE STUDY

MPC MUSIC GROUP

Paul Brown started MPC Music Group when he signed singer songwriter Jessica Doherty.
Paul attended the management masterclass skills development event, networking with other

industry professionals and developing management techniques.

In our first year of operation,MPCMusic Group has been able

to increase the profile of our artist Jessica Doherty. As a result of
the support of Generator NI, Jessica performed at the BPI Sync
mission in Los Angeles. Her debut single Wolves tolled up
thousands of online hits and enabled Jessica to perform with
artists such as Rainy Boy Sleep, Ciaran Lavery, SOAK and Janet
Devlin as well as performing on Radio Ulster for BBC Music
Day. This momentum has allowed us to expand
to further our work with additional
artists and industry across the
UK and Ireland.

PA U L B R OW N

70

SKILLS DEVELOPMENT
CREATIVE SKILLS DEVELOPMENT
Songwriting, composition, musicianship,

Exceptional songwriting is arguably the critical

arrangement, production and performance are

economic driver in the creative content sector of

the core creative skills that collectively drive

the music industry, an undoubtedly highly skilled

the music industry.

craft to hone.

A range of creative skills development

Much commercially successful popular music is

initiatives are delivered by Generator NI and

now co-written and co-produced. Co-writers and

other sector stakeholders with the aim of

producers are able to share expertise, creative

helping to develop best professional practice in

innovation and ultimately share royalties and

these key creative areas including mentoring

incomes when a song or recording achieves

sessions, creative seminars and masterclasses

success.

with internationally acclaimed practitioners.

71

CASE STUDY

SONG CAMP
As a strategic creative intervention towards developing creative skills, Generator NI devised
and delivers a yearly high-level, skills acceleration event for over 25 leading songwriters,
composers and producers. Song Camp takes place in a group of cottages near the Giants
Causeway, Co. Antrim.
While most of the writers are from Northern Ireland, Honeycomb - Creative Works have
helped to identify and support additional co-writers from the ROI and the Western
seaboard of Scotland, with Generator UK identifying artists from the North East
of England to take part.
Song Camp focuses on strengthening writing skills and collaborative creative network
development, as well as the actual creation of new songs, productions and copyrights.
Feedback from those taking part has been unanimously positive and enthusiastic.
To help the songwriters develop their skills Generator NI has engaged the services of
seasoned professional writers as mentors. These included:
Tim Wheeler: lead singer and songwriter of Ash.
Paul Steel: professional songwriter for Mika, Nicola Roberts, Charlie Simpson.
Gary Clark: professional songwriter for Natalie Imbruglia, McFly, Emma Bunton.
Paul Aidan: professional songwriter across genres for Atlantic, Sony, Universal.
Rod Jones: guitarist and writer in Idlewild.
James Allan: lead singer and songwriter for Glasvegas.
Stuart Fleming: membership development for PRS in Scotland and NI.
72

73

EDUCATION IN THE MUSIC SECTOR

The role of music in education and the

The benefits are greatest when musical

quality of music education provision is of

activities start early and continue over a long

principal importance to the development of

period of time. The teaching of music must also

the exceptional creative talent that

be of high quality for the benefits to emerge.''

underpins a successful music sector.

The National Plan for Music Education
Studies also indicate that effective music

strategy also encourages creative development

education has much broader development

with technology. The focus on STEM subjects

benefits for children and young people.

(Science, Technology, English and Mathematics)

has now shifted to STEAM, including the Arts

In the recently published:

as a core subject area.

'The Power of Music - a research synthesis

of the impact of making music on the

Across Northern Ireland, the DCAL funded

intellectual, social and personal development

Creative Learning Centres in Armagh,

of children and young people',

Derry~Londonderry and Belfast are helping to

Professor Susan Hallam, MBE said:

develop the learning of music through the use of

technology and software. These centres help

"The research shows there is compelling

guide music education facilitators towards best

evidence for the benefits of music education

practice in composition and musicianship in the

on a wide range of skills including: listening

digital age.

skills which support the development of

language skills, enhanced literacy and some
mathematical skills.

74

CASE STUDY

THE SONIC ARTS RESEARCH CENTRE

The School of Creative Arts at Queens houses the Sonic Arts Research Centre (SARC), a state
of the art education and research facility. Accommodating a huge Sonic Laboratory, the centre
provides a space for the creation of innovative music and audio, and for research and
experiments into compositional and performance work. The centre hosts seminars and
performances from visiting artists and houses 40 PhD students, encouraging a

vibrant academic and musical culture.

The Sonic Arts Research Centre has, since 2004, made an important
contribution to the music industry research, creative output,
international connections and an intense programme of concerts,
seminars and festivals. The Sonorities Festival of Contemporary
Music continues to attract cutting edge artists working with sound
and technology from all over the world. Our students and researchers
have transformed Belfasts cultural landscape with innovative
performances and exhibitions across the city. Projects such as the
Soundscape Garden in East Belfast, the Belfast Soundmap and the
newly commissioned sonic gardens for the NI Hospice building are
testimony of SARCs impact in the wider community.

PEDRO REBELO

75

76

MusED2015

77

SOCIAL AND COMMUNITY ENGAGEMENT

Community focused music activities have the capacity to broaden participation and engagement
with the sector. Making music accessible to people of all backgrounds and communities is essential,
as a vehicle to improve the lives of those who might not otherwise be able to experience music, and
by providing an access point to the industry for those individuals. Organisations such as the Oh
Yeah Music Centre, The Nerve Centre and the Andersonstown School of Music engage local people
in music, enhancing skills and developing opportunities.

CASE STUDY

THE OH YEAH MUSIC CENTRE

The Oh Yeah Music Centre is a space dedicated to local music, with various initiatives and projects
aimed at opening the doors to music potential for all ages; but mostly focused on youth. Oh Yeah is
a registered charity, with support from ACNI, The Lottery Fund, PRS Foundation, NITB, Belfast
City Council and more. The centre houses office space, a recording studio, rehearsal rooms, a music
exhibition and a music venue with a bar. The centre was opened in 2007 by Gary Lightbody (Snow
Patrol) and ex-assistant editor of the NME, Stuart Bailie.
Popular projects include Volume Control, which aims to inspire young people aged between 14
and 19 to develop their own music industry and events enterprise, promoting their own gigs, and
starting a record label, through dedicated mentoring. The Scratch my Progress initiative also aids
the development of enterprise through supporting emerging artists, meetings and workshops with
lawyers and accountants, vocal coaches, PR experts and other industry professionals. In recent
years Oh Yeah have expanded their outreach programme to older people, engaging in
cross-community projects about punk and music in NIs recent history.
78

CASE STUDY

NERVE CENTRE
The Nerve Centre, a purpose-built multimedia arts centre first opened in 1999, facilitates
creative collaboration between young people working in arts and popular culture. The Nerve
Centre runs a range of music related projects, an exemplar of which being SYNC Music Promise
in the Community, which offers free access to music creation, performance, production and
mentoring for young people in Derry~Londonderry. The Nerve Centre provides many
opportunities for skills development in the music sector, including music instrument tuition,
accredited music production and performance courses, and has hosted the Managing a Music
Business Enterprise course with Generator NI.

Since 2013, thousands of young people have participated in the

Nerve Centre's ground breaking SYNC creative music education
programme. Embedded at community level and targeting 'hard to
reach' young people, SYNC has delivered a wide range of creative and
performance opportunities; developed an alternative accredited music
curriculum which allows young people to progress to further
education / industry career pathways; launched some amazing
young talents on the music scene; and made a hugely positive
contribution to the personal development of participants.

MARTY MCGILL

79

FUTURE OPPORTUNITIES
There is a growing recognition of music as a transformative power, not only as a cultural
staple but also as an economic driver. Boosting the music economy brings multiple dividends
to communities, from advancing artistic and cultural growth, to generating substantial
economic impacts from job creation and tourism spending, thereby increasing GDP. A vibrant
music economy creates the quality of life that makes people want to live and work in a Music
City, giving these communities an added edge in business attraction and retention.
(Source: The Mastering of a Music City)
The music business continues to expand into new markets and create new business models,
attracting more users to digital music services and bringing artists to a wider global audience.
Global revenue from performance rights - generated from broadcast, personalised streaming
services and venues - saw strong growth - rights income was up 8.3 per cent. Revenues from
synchronisation deals the use of music in TV adverts, films and brand partnerships was up
8.4 per cent in 2014.
(Source: The voice of the recording industry worldwide. IFPI)
A thriving music sector within the creative industries both contributes to the economy, and
also acts as an effective attractor to incoming visitors and investors.
It is essential therefore that the Northern Ireland sector works closely with public and private
stakeholders to ensure that it maximises and sustains its share of the future global market
opportunity.

80

FUTURE OPPORTUNITIES
There is a growing recognition of music as a transformative power, not only as a cultural
staple but also as an economic driver. Boosting the music economy brings multiple dividends
to communities, from advancing artistic and cultural growth, to generating substantial
economic impacts from job creation and tourism spending, thereby increasing GDP. A vibrant
music economy creates the quality of life that makes people want to live and work in a Music
City, giving these communities an added edge in business attraction and retention.
(Source: The Mastering of a Music City)
The music business continues to expand into new markets and create new business models,
attracting more users to digital music services and bringing artists to a wider global audience.
Global revenue from performance rights - generated from broadcast, personalised streaming
services and venues - saw strong growth - rights income was up 8.3 per cent. Revenues from
synchronisation deals the use of music in TV adverts, films and brand partnerships was up
8.4 per cent in 2014.
(Source: The voice of the recording industry worldwide. IFPI)
A thriving music sector within the creative industries both contributes to the economy, and
also acts as an effective attractor to incoming visitors and investors.
It is essential therefore that the Northern Ireland sector works closely with public and private
stakeholders to ensure that it maximises and sustains its share of the future global market
opportunity.

80

FUTURE OPPORTUNITIES
There is a growing recognition of music as a transformative power, not only as a cultural
staple but also as an economic driver. Boosting the music economy brings multiple dividends
to communities, from advancing artistic and cultural growth, to generating substantial
economic impacts from job creation and tourism spending, thereby increasing GDP. A vibrant
music economy creates the quality of life that makes people want to live and work in a Music
City, giving these communities an added edge in business attraction and retention.
(Source: The Mastering of a Music City)
The music business continues to expand into new markets and create new business models,
attracting more users to digital music services and bringing artists to a wider global audience.
Global revenue from performance rights - generated from broadcast, personalised streaming
services and venues - saw strong growth - rights income was up 8.3 per cent. Revenues from
synchronisation deals the use of music in TV adverts, films and brand partnerships was up
8.4 per cent in 2014.
(Source: The voice of the recording industry worldwide. IFPI)
A thriving music sector within the creative industries both contributes to the economy, and
also acts as an effective attractor to incoming visitors and investors.
It is essential therefore that the Northern Ireland sector works closely with public and private
stakeholders to ensure that it maximises and sustains its share of the future global market
opportunity.

80

Made by Generator NI
Mark Gordon
Nu Graham
Ross Graham
Grace Loughrey
Siubhn Macauley
Sarah Plunkett
& Lucy Skerritt