Industry news & advice blog

Plan B’s success as Best British Male Solo Artist points to a growing public appetite for the genre, which includes everything from rap and R‘n’B to garage, grime and even soul.

And, clutching his two gongs for Best British Breakthrough Act and Best British Single to his chest, Tinie Tempah is quickly establishing himself as an international prospect, snapping at the heels of huge US rap stars such as Jay Z and P Diddy.

Elsewhere, Jessie J won the critics’ choice while, from across the pond, Cee Lo Green (International Male Solo Artist) and Rihanna (International Female Solo Artist) picked up an award each.

None of them found their success overnight, forging their careers on the live circuit and developing a fan base as organically as in any other genre of music.

“It’s a bit of a first in the UK to get this much exposure,” says Pamela McCormick of Urban Development, an organisation that aims to support London’s new urban music talent. “Urban is not a niche business any more and it’s appealing to all ages.

“Performing live is the most important thing, particularly at a grass roots level. It’s the best way for an artiste to get revenue.”

On 16 April, Urban Development will host its third annual Industry Takeover event – a day of seminars and showcases aimed at educating people in the ways of the urban music industry.

The event, at 800-capacity Rich Mix in East London with admission priced at £10, will include performances by up-and-coming acts such as Tempa T, Yasmin, GFRSH and Roxxxan. Among the seminar topics will be putting on a live music show, with SJM Concerts’ Will Blake of SJM Concerts (promoter for Jessie J, N-Dubz and Tinchy Stryder) and William Morris Endeavour Entertainment agent Billy Wood (representing Tinie Tempah, Labrinth and Tinchy Stryder).

“The likes of Chipmunk and Tinie Tempah were in our world not so long ago and performing live,” adds McCormick. “More than ever there is that direct link between the work we do and those artistes who are becoming household names. Still it’s the most talented people and the most determined people who are becoming big.”


Hit the stage
Venues which often present urban artistes include London’s Ministry of Sound (1,600), Jazz Café (400) and Wired at Shoreditch House (150), Motion (1,450) in Bristol, The Plug (1,200) in Sheffield and Bournemouth’s Mr Kyps (350).

“With any artiste it’s important to be out there on stage entertaining. The more interest artistes get, the more promoters want to be putting them on the bills at showcases,” says Flodec’s Craig Cunningham, who manages hip hop act Adian Coker. “We’re seeing people like Wretch 32 and Tinie Tempah coming up on big bills.

“There is a lot of UK talent out there and it’s certainly on a par with the American artistes.”

Cunningham adds that urban acts are increasingly expanding on their live shows, replacing the traditional DJ set-up with a full band in some instances.

Zaid Joseph has promoted urban music acts for 14 years, operating at London venues such as Mass (400), Bar Vinyl (120) and Arch365 (120).

“Hip hop and grime are the best type of music to perform live because it’s very visual. I’ve got quite a lot of bands doing dubstep and breakbeat and I think it’s growing. The live side of it is still very important to their growth,” he says.

But, it seems urban acts from outside London fare worse on the live music scene.

“Anything grassroots or DIY in urban music is being passed over in the north-west – people are struggling to put on their nights,” says Paula Stewart, promotions manager at Liverpool’s The Masque, which has a 600-capacity main room and 350-capacity loft. “There are a lot of new hip hop acts and rappers here, it’s just that they haven’t got a platform.

“If you look at the charts all the music is urban. But when you take it to the live grassroots level, it’s very difficult to find,” adds Stewart, who says The Masque, which has hosted acts such as Roots Manuva and Brand New Heavies, looks to headliners like Sugarhill Gang, so local musicians can support established artistes.

“We concentrate on rap battles and live events because that’s the only way new artistes can start out, by getting an audience together.”

For more business news on the unsigned and emerging live sector see the NXT pages in LIVE UK issue 135.

LIVE UK is a subscription-only magazine with a 50% discount available for artistes, people managing and/or promoting unsigned acts and for operators of venues with a capacity of under 350.

For more information or a sample copy, call Fiona West on 020 7486 7007, [email protected], or go to www.liveuk.com

PLEASE NOTE: LIVE UK does not review music or performances.