Hello there,

Following a recent story in the Liverpool Post about the strange goings-on in my local music scene (Liverpool), Tom has kindly asked me to write a post and reiterate the importance of getting solid legal advice before making any commitment or signing any deals. The story centres around a local startup label, a self-styled ‘maverick producer’ and the 10-year record deals framed as ‘artist collaboration deals’ that were being offered to young artists, without anything to suggest they had the infrastructure or experience to deliver on their ambitions.

In the music world, as in any industry, speaking up can be challenging. But when, as in this case,  somebody you’ve never heard of tells you they are starting a “game-changing global, independent record label” based in out of a music venue that few people had heard of outside of the backstreets of Liverpool and state things such as the following:  

• They will be working towards remixing the entire Ramones back catalog and then releasing it via said label.

• They suggest that Iggy Pop, Dave Grohl, Henry Rollins, oh and Grace Jones will be invited to Parr Street Studios, Liverpool (which they are looking to buy) to form a Ramones tribute band/ supergroup – for a livestream event. 

• They planned to open the UK’s first vinyl pressing plant for many years. 

it’s probably a good time to start asking some probing questions. All lofty ambitions,  yet back on planet earth, as of 2024 none of the above has come to pass. 

So if something seems too good to be true it’s hugely important to get legal advice. As an NUJ member of many years, I’ve certainly benefited from the excellent legal advice they offer when my own work has been exploited.  So I’d reiterate the obvious advice, that when artists get to the sharp end of their careers, and offers are coming in they consider joining organisations such as The Musicians Union or The Association of Independent Music.

The linked article very much mirrors my experience because I am embarrassed to say, I briefly worked closely with the people involved during phase one of the ‘label start-up’. Indeed, it’s fair to say the article below only scratches the surface. I saw firsthand the negative effect it had on the careers of some very talented artists and the devastating effect it had and continues to have on the self-confidence and mental health of those involved. 

Two bands who did sign are still apparently locked in drawn-out negotiations over who owes what to whom and they claim they have never seen a penny from their music.

It’s also worth pointing out that whilst many cities now have Music Boards there still appears to be no real infrastructure in place to protect young bands from exploitation. Liverpool is a UNESO music city yet it didn’t stop the Hope and Glory festival debacle happening a few years back. Eurovision was good though. 

The article below is paywalled (yup, because journalism, like music, is having a tough old time at the moment), but you can read enough of it to get a flavour of what was going on. If it piques your interest then it’s certainly worth trying to read the whole article if you have a spare few quid. 

Jacaranda Records wanted to ‘change the industry’. How did it go so wrong?

Photo by Blaz Erzetic