Trepidation, fascination and in-depth insight, field visits for work within the realms of music licensing is certainly no easy feat – but they are exciting.
By fully understanding who we’re working with as venue owners, what we’re working with in terms of venue scale, allocation of music events and spaces, it is a marvellous idea to visit venues in-person. Not only for maximum efficiency in terms of client reports but maximum accuracy in terms of music licensing the venue to the best of our knowledge. All because we’ve seen the venue with our own eyes!
Quite simply, it puts a face, a name and an icon to the black and white data-entry accounts. Above all, it makes it personal, natural and far more enjoyable enjoyable in terms of what we do for music licensing – which really, is all about for the working musician.
For my first field trip as a Live Music New Business Advisor, it was extremely insightful. When we travelled past Knebworth and it’s mighty park – which was put on the map from Oasis’s iconic performance in ‘96 – before we headed into Central London, I knew I would be in for a treat. If such a staple in musical history is dotted just outside the capital of London, what cultural significance is tucked away in the centre of the capital?
First, we headed down within the shadow of the Shard via Amazing Grace, a newly refurbished church-now-turned bar nightclub, it had all the qualities of a fantastic and elusive venue for underplays and musical vibes perfect for a relaxing Friday evening. After that swell visit and a talk with the owners about everything to do with the music licence, we swiftly headed west to Hammersmith. An often quaint but equally illustrious as the glorious amphitheatre of Apollo greets you in the vast stretch of culture, as you step out of the underground station. At Hammersmith, we had the privilege of attending a tour at one Riverside Studios, a circular space for multi-art performances, theatre shows, cinema screenings and a magnitude of musical events. First popularised for its feature filming of Doctor Who during the first couple of series (and the use of stage doors as the noise for EXTERMINATE) it is now a Jack-of-all-trades swivelling circus of party tricks. If you’re around London between Christmas and New Year, I recommend diving in to check out the 360 AllStars variety show they have coming in.
Grabbing a mocha to go, we headed back to the realms of underground during dreaded rush hour. Fortunately, with working from home a viable option for many commuters, it didn’t necessarily seem that bad for a Friday.
Now here I am, lodging notes in my phone as the train heads back to familiar territory. My familiar territory.
It would be an advantageous decision to do more field visits in the future. Covering the scope of the UK, live music new business is ripe for the taking. Especially after the horrors of a pandemic, the opportunity for growth in live music and the entertainment sector is colossal. With ample drip-feedings being delivered from the Government, establishing the premise of music licensing via a friendly face is all-the-more-important for maximum efficiency and accuracy in today’s current industry.
More to come I hope. As always, thanks London.
Man v Music 