How did you get into A&R?
I guess it was a combination of hard work and right time/right place really. I was working for a music charity called Youth Music when I was introduced to the then head of A&R at BMG Records and explained how I really wanted to get into A&R. He suggested I bring some demo’s in every few weeks or so. I pretty much hit everywhere I could think of and covered as many gigs as possible over a six month period and made a lot of really reliable contacts. A couple of CDs that made it to his desk got a great reaction and they offered me a full time job. After an eventful few years working with the likes of Spiritualized, Death in Vegas and The Electric Soft Parade, I moved to Warner Bros.
What's the best way for an act to get your interest?
Just be really honest – send an email with the most recent material and if I like what I hear I’ll come to see a gig. The last few things I’ve worked on were from seeing incendiary gigs and falling in love with the potential.
What does an ordinary day consist of?
Starting at about 10am and working through my backlog of emails. I usually check out a few bands’ message boards before getting into the batch of demos that may come in (solicited or not). At the moment we have three bands recording albums, so there’s always a new mix or recall to listen to or a recording schedule to discuss with management. There are also a few meetings internally with press departments, radio promotions, product/artist development managers as well as hearing about new stuff from music publishers, promoters, lawyers and other new managers. There might be a few interesting gigs to see that evening - in London or out of town - so it’s a balancing act trying to get to things on time.
Solicited demos?
I’d consider a demo coming via a third party whose judgment I trust as a ‘solicited demo’. That might be from someone like an established manager, another A&R, a promoter or venue owner or if I’ve actually made the initial contact and asked to hear something (perhaps as a result of a tip from a contact or by picking up on a buzz from a message board for example). If it’s come through out of the blue, that’d be ‘un-solicited’.
Have/would you ever sign something from an unsolicited demo?
I haven’t but I’ve certainly been to see a few things from exciting demo’s that have come in. Sadly they didn’t live up to the potential. It’s the ‘holy grail’, to be sent the next Beatles/’Stones/Bowie from an unsolicited demo, but I’m still waiting.
What do you wish unsigned acts knew, in order to make your life easier?
That real substance and potential gets attention, not loads of flash and filler. I get a lot of lavishly produced and packaged recordings with a ream of glossy photos and meaningless quotes. Sadly, they usually turn out to be disappointing. It’s the bands who are imaginative and concentrate on the songs and building a fan base that make me take notice.
One piece of advice.
To get the best team of people around you, ones who you can trust implicitly!
And once you've signed someone, what do you do then?
As with all signings, you’ll usually work very closely with a band throughout their careers, from song/producer choice for albums and single promo plots to discussions on support slots and tour plans/video treatments.
Step Six: Artist Management