Mine’s a latte and the Adele single...

With the not unlikely scenario that the CD will be replaced by instant downloads, Katie Pattullo hears from John Dingwall, music editor at The Daily Record and former A&R representative with Chrysalis Records, about the role of A&R as the music industry changes its tune — and how the artists, themselves, can benefit

With high profile artists deserting their record companies in droves, illegal downloading and the public choosing ‘talent’ from reality shows to become their pop idols, the role of A&R (artists and repertoire) ­– discovering and nurturing the nation’s music talent for respective record labels – would appear to be taking a different shape.

John Dingwall, a former A&R representative with Chrysalis Records explains: “Gone are the days when new acts were getting multi-million pound record deals just because they sounded good. These days things are done on a much smaller scale – but if an act is made a priority, they’ll take off as before. Changes in the marketplace and the slowing of the economy means a more cautious approach from the major labels.”

So how does potential talent go about getting themselves noticed by those holding the purse strings? “Traditionally, A&R men found their acts through demo tapes, word of mouth, behind closed doors showcases and live gigs. These days, one listens to an act’s MySpace page which can lead to a deal, particularly if millions of listeners got there first,” explains Dingwall.
Signing up to internet sites such as MySpace and Facebook is an effective way to build up an audience. Increasingly, artist managements are using these sites as routes for launching new talent and introducing albums to likely fans.

An alternative route for artist recognition is to attend the Liverpool Institute of Performing Arts (LIPA), which launched Sandi Thom’s career, or Brit school, attended by 19-year-old Adele who currently holds the No 1 album slot.

Dingwall explains the next step in the process for A&R: “Once the act is signed the label can help put the act together with the right producer while the publishing arm (which handles songwriting) can come up with songs or songwriters for a cover artist. James Blunt teamed up with many writers over a number of years before his debut album was made and sold 11 million copies.”

The following stage of production and distribution of an artist’s music is about to enter a pivotal phase. Record labels are being forced to rethink the way they operate.

Commercially, music pundits will have their ear to the ground to gauge the outcome of Guy Hands and the EMI ‘talent drain’ and the loss of 2,000 jobs within the organisation. But, as Dingwall explains: “A record company is most definitely a business in the same way, for example, a publishing firm is a business. Both handle creative talent – but ultimately are there to make money.”

What’s next for the artists themselves? Even if the CD disappears and is replaced by the instant download culture, the music will play on. There is no shortage of talent out there and live music will continue to thrive. The biggest change is going to be the way the music-buying public access it. It won’t be long before major coffee chains include instant downloads as part of the price of a coffee.

With advances in technology, musicians are now able to record their music effectively (and professionally) not just in bespoke and high-tech studios but from the comfort of their own bedrooms – and what’s to stop them working directly with phone companies and coffee chains for distribution rights too?

As Dingwall says: “More and more artists are now able to get themselves noticed and release music without the aid of major record labels.”

Pass the horlicks and Fender, I’m off upstairs to record.