Should British Black Music Shut Up Shop? debate report

* The British music industry is accused of failing the black music sector, by not adequately engaging with and developing home-grown talent

* Participants urged to do for self, by going the independent route

* Positive action is advised – artists and producers need to produce credible products, radio needs to popularise domestic product by pro-actively featuring it, and the consumer must decide to consciously support by buying British black music

This debate was by far one of the best. The photo gallery gives some indication of participant numbers. It was also an enjoyable session because keynote speaker Hugh Francis, in his inspiration speaker mode, kept the place enthralled with his exhortations, rebukes, advice and encouragement, as he broke down the British black music history, engagement of the internet, and the independent route. 

“The UK music industry has failed us. The UK media has failed us. Industry organisation such as the BPI has failed us. AIM has failed us. Sony Music has failed us. BMG has failed us. Universal Music has failed us. Warner Music has failed us. EMI has failed us. The BBC has failed us. ITV has failed us. Channel 4 has failed us. Capital FM has failed us. Kiss FM has failed us. They can’t deny this,” charged Francis. Many of the participants concurred with Francis’ observation. 

However, it drew blood from a white manager, who particularly took issue with this, and went on to rubbish the whole press report. Francis and I went subsequently went through some frustrating email exchanges with said manager, without having a mind-shift. Instead, this manager, who makes a good living representing black talent, tried to pontificate over matters he did not fully appreciate.

He was going on about how black music had not been failed, and indeed, we should be appreciative because blacks in the music business were disproportionately represented in relation to their population size! That there are glass ceilings and blacks hardly hold any serious power within the music industry, was lost on him. It reminded me of the response I received after the ‘Are White Artists Appropriating Black Music?’ debate. Two white people asked to be removed from our mailing list – one runs a soul music website, the other has a black music label and promotions company. Again, they had lost the plot, by saying they don’t see colour, music has no colour, etc. Which beggars the question: how come they only sell or promote music made by black artists? What pretence and hypocrisy, denying facts which put food on their table!

Back to the debate. I highlighted in my introduction the need for understanding it’s a business. Which is why we operate from City University, which has very useful and accessible music industry courses, including one named The Business Of Black Music. The BMC facilitates music industry courses through its sister organisation BTWSC. There are other institutions I’ve taught at that I can recommend, such as Collage Arts, City & Islington, and University Of Westminster. Also, Tony Biola  presented a paper, in which he explained what he was doing for British black music as head  of the Centre of Vocational excellence (CoVE) in music technology  at South Thames College. One of the benefits for students is that they get to remix Sony-BMG material, with an option for the major to release it, if it’s deemed suitable.

The way forward was by having strong product, proactive radio support, and the punters supporting home-grown, by putting their hands in their pockets! Hence, we need strong albums, instead of mix CDs, many of which are technically illegal products, learn from the independent labels that have given us big album sellers such as Arctic Monkeys, and engage proper distribution.

In order to build a cohesive sector, the BMC is in the process of putting together guidelines for a directory mapping out who does what. It offered the Black Music Records & African Crafts Fair VII, as a model at a community level for networking, promoting and selling. Additionally, the BMC has launched June Is British Black Music Month and Brit On The Bill campaigns. The first hopes to encourage the conscious promotion of British music through talks and performances throughout the summer month. The latter wants to have at least on British act on the bill of any black music concert headlined by a foreign artist.

A wider coverage of the debate, which included Hannah Pool’s insightful Guardian essay on black music, and better web listings, meant we had many new participants (we even made Channel 4’s news!). Although the BMC debates does not revolve around having celebrities, it was refreshing to have reggae star Dawn Penn in the audience. Particularly as she revealed she was now involved in self-releasing her material. The do-it-yourself and indie label route was encouraged repeatedly.

In a nutshell, the consensus was that British black music should not shut up, but should instead try and build its own infrastructures, rather than hopelessly waiting for the majors and mainstream to seriously engage. The internet to some extent, made it possible to hold out or go it alone, was another popular view. Artist manager and former Rampage member Richie Pascoe reminded the participants of useful site, like myspace.com.