Save the right to perform: #saveirishbusking

15-Feb-2015 By Ciara Sheahan 1 Comment

Keywest busking on Grafton Street

Dublin is famous for it’s busking tradition. Tourists love it, locals appreciate it .

Busking provides a free platform for bands and artists carving their craft of performance.

The list of famous buskers on Grafton Street includes names like Bono, Kodaline, Passenger, Sinead O’ Connor, Paddy Casey, Damien Rice, Rodrigo y Gabriela, The Riptide Movement, Keywest and Mundy. Aside from just singers, Dublin city streets and open spaces are populated by dancers, jugglers, acrobats, poets and comedians. From St. Stephen’s Green through Temple Bar to Henry Street, numerous artists and groups perform daily enhancing the artistic ambience of the city.

However, there is a dark cloud looming over the expression of art within the city. The dark cloud consists of protest from residents of Temple Bar who don’t want anyone playing after 11pm, (even at the weekends) anywhere near their homes. Apparently business owners have complained about buskers being too loud outside their shops, which to be fair might be the case if it’s one guy with a crappy accordion squeezing out the same dirges all day. And several councillors who seem to think that busking is still back in the 60’s with one guitar, one voice and a golden plec.

As streetscapes become more populated, busier and noisier so the humble busker has had to compete by using amplifiers. Amps however are the devils hearing aid, according to the mysterious minority protesters. The anti-amp brigade wanted a complete ban on amps throughout the city. Especially residents of Temple Bar who don’t want them within three metres of their homes. It’s ok by the way for the sirens, traffic, disco bars and general city centre noise, but not for two guys singing Wonderwall at 1am on a Saturday night.

Keywest are a Dublin based band who have built a massive fan base, due to years of successful busking on Dublin’s streets. They have mounted their own campaign to draw attention to the ridiculous nature of the new by-laws. Here’s the letter they submitted to Dublin City Council.

Dear Councillors,
My name is Andy Kavanagh & I’m a member of Keywest. Lets talk about Street Performing. It is no longer just busking. No longer just a Banjo and a rebel song. It’s a varied and vibrant artistic community.

Before I start I want to be clear as I think we’ve begun on the wrong foot. I believe in control on street performance. On more than one occasion I’ve met with assistant city manager Brendan Kenny and the Lord mayor Christy Burke and discussed my position. I even had a part to play in bringing these regulations to the table. Now it’s time to make them reasonable and workable.

Seems rational right? Well according to Councillor Mannix Flynn, “the amplifier in street performance and busking is like a virus. It kills creativity and wards off other artistic individuals.”

WOW It’s this attitude in people that had Galileo in fear of his life.

If I’m interpreting this correctly, banging an acoustic guitar loudly and wailing Oasis songs out at the top of ones voice is real talent and therefore preferable to an acoustic guitar plucked expertly in the stylings of the incredibly talented and now world famous Dublin buskers Rodrigo y Gabriela! Surely not.

A old banjo player wailing rebel songs is more desirable to the public majority over the soft sweet voices and plucked guitars of buskers turned superstars Ed Sheeran and Passenger.You’d have bagpipe over a Violin that is beautifully enhanced by backing music. No longer can the people of Dublin or the Tourists that visit us enjoy a magician that performs a captivating show, a circus act that delights with its mastery of acrobatics or a Dance act demonstrating perfect synchronicity and skill.

And the expert Street Performers that travel the world every year can no longer consider Ireland a place to show off their skills.
All of the above mentioned acts require amps. Amps allow talented people to reach out to audiences. You may have a problem with Keywest but what did all of those talented people do. You have insinuated we don’t respect business’s. That’s simply not true.
We leave business cards in every store so they can text if they feel our volume control or crowd control is not up to scratch. We pop in after the first set to check if everything is ok.
We have never ignored a request to lower the volume or move on. Never!
We ask our crowds to stand at the halfway point on the street and we finish sets after 4 songs to disperse the crowd. We do 4- 5 sets lasting two hours in total. We don’t repeat songs even once in a day and we don’t play in the same place more than twice a week or ever at night. What more do you want ? We have written statements from managers in over 30 stores on Grafton Street supporting Keywest in particular.
No Mannix the real enemy here is a lack of talent and lack of respect, not amplifiers.
You’ve referenced going back to the days of Bono and Glen Hansard busking without amps. That is a day gone by I’m afraid just like Morse code and telegrams. The reality is very different. With no amps you will have a swarm of oasis songs, accordions, brass instruments, bongos and bagpipes.
There was a time people travelled in horse and carts until the birth of the car and upon it’s groundbreaking arrival it presented a whole new set of problems but in the interest of human progress we adapt and create new systems to integrate the newer more modern ideas. We don’t just abandon what we don’t yet understand and go backwards.
You may not like Keywest but many Irish people do.

We are now 52,000 people strong on Facebook because of busking. Ireland’s new arrivals on Aer Lingus and Arab Emirates flights are pointed in our direction through a landing tourist information video. Youtube views of Keywest performing on Grafton street amount to over 10 million views. Most importantly the voting Dublin public decided we were “Dublins Best Street Performers 2014” with 60% of the vote.
Like many buskers we’ve done our fair share to promote Irish tourism.

I’ve performed all over the world. The rules vary but by and large they are aiming at the same thing. Dublin is Ireland’s capital city and I believe we should be trying to come in line and break new ground on the international standard. I’m addressing you as a very proud Dubliner. I live on Ormond Quay opposite Temple Bar and I enjoy all the city has to offer. I am not at all hesitant when I say, to me, Dublin is the perfect blend of everything and one of the greatest cities in the world to call home.

I am organising this campaign to bring light onto a topic that has been shrouded in darkness when it comes to the Irish public. Keywest are no longer a regular sight on Dublin streets but as busking has now given me a voice I intend to use it to save the free spirit that makes Dublin so great. This campaign is not in the interest of self preservation it is on principle.
I believe in respecting everyone. I believe we can implement controls that improve the quality of buskers and the quality of life for business and residents. I believe in compromise. A ban on amps is not a compromise. A decibel level of 80 decibels is exceeded by just talking on Grafton St so I don’t believe that is fair either.

I’d rather not expend my efforts in a campaign against councillors but on a campaign with councillors that enhances living in or visiting this fair city.

Andy Kavanagh,
Proud Dubliner and Street Performer

In spite of Andy’s spirited and impressive campaign against the impending bye laws, earlier this week Dublin City Council voted to ban all busking after 11pm. A complete ban on busking outside the GPO and in O’Connell Street (wonder if that counts for choirs raising money for charities at Christmas?), no busking on Temple Bar Square, a limit of 80 decibels (street noise level) and a lower level of 75 decibels in Temple Bar. Buskers have to pay for a permit of €30 to busk or €90 extra if you have an amp. The Keywest campaigners haven’t given up yet. They’re determined to #SaveIrishBusking:

Glen Hansard, legendary Dublin busker and Oscar winner said: “As a busker, one thing that does not work is self-consciousness. A busker needs to be working. A busker needs to shed all ego and get down to work. Play your songs, play them well, earn your money, and don’t get in people’s way.”

Surely we as a community cannot let the interests of a few over sensitive ears in a prime city centre location undermine the very fabric of our artistic society. Watch, post, retweet and contribute to #saveirishbusking.

youbloom artist spotlight: Kingdom Of Crows

04-Feb-2015 By admin Leave a Comment

Having formed Kingdom of Crows as a one man acoustic project in 2011, Stephen Kelly invited two guests, Bob Power and Brian Brennan to record a demo with him in the studio in 2012. Due to the unique sound this resulted in, Kingdom of Crows played some Dublin based shows as a three-piece acoustic act in late 2012.

Soon after this, Stephen started work on what would be the first track for his debut album. Stephen commented: “It was a humble three guitar piece named Call of the Void, it was suggested that I continue building the song, adding vocals, drums and bass to it”. Enter Lucy Early vocalist and lyrics writer (formerly with Factions) and guests bassist Robert Stanley (The Very Special/The Outsiders) and drummer Ken Mcgrath (The Very Special/The Outsiders).

Stephen notes: “Our sound grew and grew but we still maintained our acoustic roots and style. Eight new songs were written on top of Call of the Void, some including guests like the talented international violinist Nuria Garcia Salas of Catalunya and Ireland’s own Jonathan Yeates (Mr Blueface), who also produced our debut album The Truth is the Trip in his studio The Casualty Factory.”

In early 2014, now with nine new songs ready to go and the addition of two popular songs from their 2012 demo,these are Dreamless Sleep and Elizabeth which have been revamped in the new Kingdom of Crows sound, the band were ready to start recording their debut album.

However the process was brought to all but a complete halt after guitar/keys player and main songwriter for the group Stephen Kelly suffered serious injury in a motorbike accident. Through his love of music and sheer determination Stephen vowed “after nurturing the songs for so long nothing was going to stop this album being completed” and after six months of recovery Stephen returned to complete the project.

They chose the title of their debut album, due for release later this year as The Truth Is The Trip. Remarking on the influences for the album and title, Stephen said: “The title of the album has great relevance throughout the record and also in what was going on in the world at the time of recording. What really goes on in the world won’t be seen on mainstream news and when we open our eyes and realise the truth of what is actually transpiring, that is surely a trip”.

Stephen adds: “Our goal has always been to harness all of our influences into our music, be it from Luke Kelly to Bob Marley or Black Sabbath to opera, we don’t want to limit ourselves to one genre or style and we hope people can hear and feel that when listening to the album”. With that in mind, take a listen to some of the bands edgy and thought provoking music, which we feel would suit many movie and TV scores well: http://www.breakingtunes.com/kingdomofcrows

Music career support, advice and a £25k giveaway

20-Jan-2015 By Ciara Sheahan Leave a Comment

There’s £25K out there, with your name on it. Yes, you… you the aspiring artist. You the songwriter, right there sitting on the end of your bed with relentless harmonies running through your head. And it’s not just for you… it’s for bands, guitarists, directors, DJs, producers, innovators, dreamers.

Music Gateway are giving it away. If you’ve never heard of them here’s the low down. Music Gateway is an online platform where creative project managers/owners can meet their artistic dream team. It’s a cross between linked in and a dating agency, except it’s for the music, gaming, film, advertising and general multimedia business.

This is how it works. You’re the songwriter. You want to get your latest heartfelt lullaby into the movies or an advert. You create an account, write a sparkling profile, post examples of your work, experience to date and location. Mr. Miramax Music Supervisor then posts his project description, budget and requirements. You find him or he finds you. You pitch on his project for free, start a conversation. Let it develop. He decides he wants your latest heartfelt lullaby. You agree terms, a nominal commission is allocated to Music Gateway depending on the deal (but no royalties are taken, that stays with you!) and off you go…. Oscar nomination on the way.

Sounds simple ? Well in reality it is. There’s a few more terms and conditions on the site, but no show-stoppers.

So, the generous souls at Music Gateway have decided to invest £25k in aspiring artists. They want you to log in, create a profile and tell them a bit about yourself. Tell them your goals, your plan, your plan B. Whatever it takes. They will endeavour to help advise, support & promote your careers on the site through projects they post on Music Gateway. They are looking after you to make sure you get the best kickstart to 2015.

The site is www.musicgateway.net. There’s a whole lot more about the Music Gateway crew we haven’t covered yet, that’s for another day. If you want a bite at this £25K cherry, get yourself on the site and start connecting.

Rock ‘n’ roll job for musical adventures: Pat Baker’s story

19-Dec-2014 By admin Leave a Comment

Pat Baker has the rock ‘n’ roll job to die for.

From Rolls Royce mechanic to rock ‘n roll roadie… that’s the story of Pat Baker, legendary music tour manager.

The elements decided his fate when he was working in a Rolls Royce Mercedes-Benz dealership. A local contact approached him, said he needed a truck driver for two weeks. Pat said yes and found himself driving Squeeze around in 1979 in the height of the “Cool For Cats” tour.

“I had the best time of my life,” he grins, “and then they handed me a big bunch of money at the end of it. I suddenly realised I was in the wrong business.” Chatting away in the snug operations office of The Olympia Theatre Pat gives me a modest history of his professional adventures.

After the Squeeze job it took him a couple of years to hit the tour trade full time. He managed to get himself sacked from Rolls Royce the day before a Chris Rea tour started. He jumped at the chance and set off selling T-shirts. He worked his way up, watched and learned. He describes himself as “roadworthy”. Capable, willing, consistent, good craic and able to consume more than a few beers is probably what he really means.

During his ascent through the ranks he did keyboard tech, (having never played a keyboard) for Chris Rea, drum tech and African drums for Paul Simon on the Graceland tour, stage management for Adele and Goldfrapp.

He attributes his progression to two things. One, doing all the jobs. He’s been the truck driver, humped PA’s about, done rigging and set ups, lighting and backline. The other success factor is his mechanical mind and his ability to fix things. “You didn’t necessarily have to play the instrument. It was all about set up, strip down, tune and repair.” Nowadays as tour manager for acts like Chris Rea, Pat reckons that because he’s done every role he can anticipate and deal with the problems the crew might encounter. Small venues like The Olympia for example require a different rig than an arena. So Pat’s job is to have the right equipment planned for the right venue to roll out the set up on the day of the show.

Regardless of whatever issues the crew have the old adage “The show must go on” applies to the crew more than it ever does to the band. So whatever shit happens Pat’s gotta fix it.

But that’s alright, because he loves his job. As any successful professional will tell you, it’s about having the right team around you. Pat stands by this referring to the accountability of the industry. “If you’re crap, you only work once. If you’re good, you’ll work with the same people over and over”. Though the industry is populated with lots of young people Pat is adamant about the value of experience.” It’s fine if you can specialise in one instrument, but if you’ve suddenly got to go into a venue, the truck’s broken down and it’s eight hours late it’s knowing how to cope with those situations that will get you through and will get you hired again.” Passing his pearls of wisdom on to anyone considering the production industry Pat’s advice is “Don’t be cocky, watch and learn. None of this ‘I need a tea break’ because no matter what you must do whatever it takes to get the gig up and running. Finally, check and double check everything.”

The hard work pays off though. A lifetime of rock ‘n roll adventures, travels all over the world. Fun filled encounters with old style rock ‘n rollers with Squeeze. Pat did the Paul Simon Graceland world tour in 1987/88 and The Rhythm Of The Saints Tour.

That was 49 countries in 18 months. He was part of the team for the Paul Simon gig in Central Park to 750,000 people in August 1990. He did 149 shows on that tour with lots of time off. A week off in Bali, a week off in Melbourne and a week off in Florida were just some of the perks Pat was young enough to enjoy and appreciate.

Referring to more recent acts Pat speaks fondly of Adele and Goldfrapp, lovely people, great tour. He’s got some right old yarns to tell, however despite my discreet encouragement he declines. Fair enough. After all, what goes on tour stays on tour.

Professionals like Pat and his rigging crews are under the public radar and highly underrated. These are the guys who unload the boxes that contain the magic that makes the show. Whether it’s Ed Sheeran, Queens Of The Stoneage, The Killers, Peter Gabriel or AC/DC none of it would happen without the crew. The next time the house lights go up and your artist is gone back to his hotel these guys will be taking the kit apart, packing it carefully and taking it to the next venue. Driving through the night to deliver the dream to the next set of fans waiting at the barrier.

They’re not called Fly By Night for nothing.

Post by Ciara Sheahan. I’m a self confessed indie rock n’roller. Live music addict, writer, blogger, festival veteran. Native to Dublin, my degree in Journalism is from The University of Sheffield. With a proven track record in business and a creative side that refuses to recede I’m firmly focused on my future in the music/creative industry.

Taylor Swift, Spotify and the digital music divide

07-Dec-2014 By admin Leave a Comment

Taylor Swift: Singer, songwriter, actress, model… warrior?

Her latest endeavors have many pegging her to be the latter as she wages a war against online music streaming service Spotify. She’s not the first artist to do so; Radiohead’s Thom Yorke voiced his opinion on the service over a year ago.

Swift, however, has drawn considerable attention lately by removing her entire catalog off the site, claiming it to be a thorn in the side of artists trying to make a living. Let’s wind back the clock in an attempt to understand the battle between Spotify and the artists that fail to love them.

Human beings have enjoyed music since our first ancestors hit a rock against their cave wall and figured out they liked the sound it made. It can be enjoyed alone while relaxing, communally with others during some sort of ritual or ceremony, and it livens up parties.

You hear it at the ball game and it’s blaring from the garage down the street; music is a powerful binding agent that has the ability to bring us together in even the worst of times. Lately, however, it has demonstrated the ability to tear us apart.

As technology continues on its rapidly trajectory forward, the way music is delivered to us has changed drastically. In the good old days, families would gather around the radio. Then LPs came along and everyone had a record collection. 8-tracks made a brief appearance, then cassette tapes, which gave way to the much more efficient compact disc and finally the birth of streaming music online.

Spotify is an evolved version of many streaming services that came before it. Users can listen to music whenever, and wherever, they want – for free. That means instead of paying for a hard copy (does anyone do that anymore – vinyl devotees, perhaps?) of Lorde’s Pure Heroine you can just download Spotify on your phone and listen for free.

Therein lies the problem; Swift feels she should be fairly compensated for her work. And while Spotify does generate revenue for participating artists – CEO Daniel Ek claims roughly 70% of money made is given back to artists, for a total around $2 billion – Swift and her supporters feel it isn’t enough.

Spotify claims it is progressive and fair because it delivers music to the fans and pays the artists, driving people away from Internet piracy. Its detractors state the compensation isn’t fair and they don’t need a middleman to deliver their art to the masses. So what’s a fan to do – pay for the album, or listen for free? The advantages to paying are clear – you can listen anywhere you want, without commercial interruption, and you know you’re supporting the artists you love.

On the other hand, money is hard to come by, and free is free. And if you can listen to your favorite band for free and know they’re still being paid for it, why not? At this point, artists opposed to Spotify seem to be in the minority. Artists like Ed Sheeran, Lana Del Ray and alt-J have embraced Spotify and used it to promote their music.

The multi-millionaires opposing it claim it is bad for new artists trying to make a living. In the meantime, those up-and-comers are thrilled to have people listen to their music regardless of the medium. This appears to be a battle that will wage on for some time, and while the listeners, with multiple ways to enjoy music, are clear winners, it remains to be seen whether artists –especially emerging ones – will benefit in the long run.

Post by Jack Stokes. Jack Stokes loves soft pretzels and the tranquility of spinning vinyl. He writes for Zu Audio, manufacturers of high-end audiophile equipment.