Photo Credit: Megan Roe
Course Studied: BA (Hons) Music (Business)
Year of Graduation: 2018
Top Career Highlights:
- Having a job that doesn't feel like work
- Recording, editing and mixing music for artists including Sigala
- Setting up a string of successful businesses, with more in the pipeline
With two ventures and a wealth of experience under his belt, Callum is no stranger to the realities of life in the music industry. A former student on our Music Business degree, he draws on the knowledge gained in music law, artist development and business management during his studies on a daily basis.
Here, Callum discusses his time spent in Leeds and London and provides commentary on some of the major current opportunities for the sector.
When did you first encounter music/when did your interest in the music industry begin?
I was hard to get off to sleep as a baby apparently. My parents tell me the only thing that would work was a Barry White cassette tape, and from there on I guess music was always a part of my life.
My dad was a pub musician so there were always instruments in the house, namely guitars and keyboards, and I went on to play both.
Were you a musician by background/did you grow up studying music?
Yes, and I still am, although it has taken a bit of a backseat in recent years.
I still write, record and compose music, however until the businesses are more established, I have to dedicate more time towards them then my own music sadly.
Tell us a little bit more about your ventures– Blackjack Group and A Publishing Company. What prompted you to set up both businesses? Did you identify a specific gap in the market or opportunity?
It’s tricky, yes but at the same time a massive no.
Blackjack was formed out of a frustration more than anything. I tried to intern with companies both in Leeds and London with very limited luck. Most said I lacked experience and this proved to be a big stumbling block. In the end I just said “stuff it” and began to do it myself. And around that time Blackjack was born. Since then, Blackjack has managed producers, composers and session musicians. So to call us a straight artist management company is a bit tough, but at our core that's what we started out doing. In terms of finding an opportunity, it was more a case of creating our own. But since we have become further assured as a company we have definitely seen our current market trend towards a developmental label service outfit. What this means is essentially taking exciting acts with raw talent and, vitally a great work ethic/drive, and honing their skills and outward facing portfolios towards the level smaller/independent labels will seriously look at. But that's not all we do at present, we are currently expanding and looking to build a team in order to manage prospective studio facilities in Central London, which we are all super excited about,
During my time down in London, I stumbled across a great world of publishing and with the help of my mentors started up APC. A Publishing Company essentially looks after the groups vested interests in publishing and royalties. However, a great friend and mentor of mine with his years of experience in the field, swears by Blockchain based royalty solutions. Without getting too technical, it allows for those who have a percentage of a song to 'lock in' their percentage in a way that's unchangeable without everyone else's say so. This then takes away that murky side of publishing with lengthy court battles for royalty rights. With our current Blockchain solutions, we are able to process streaming royalties with about a weeks delay from stream to payment split between all parties. It's far from ready for the wider world though, so we are looking at exploring this as a viable option in our long term future.
Could you comment a little bit on your experiences within publishing, sync and royalties?
Certainly. It’s a very, very competitive world, but with the rise of new media, particularly those on demand services (Netflix, Amazon etc.) there’s SO much content out there. Most of them need theme and/or background music and that’s where a lot of my time is spent.
Alongside that, APC serves as a royalty distribution service for the folks I work with. Using a clever bit of kit we designed, as soon as money gets paid to APC everyone gets paid the next day with their allocated percentage. Nice and simple for us all and lets us all get on with our jobs.
You’ve spent some considerable time at Tileyard Studios. How was your time down in London?
Tileyard and the Tileyard Group have been supportive and, quite honestly, life-changing. The folks I get to meet, work with and now call my friends are some of the best people I’ve met. There’s a real community feel down at Tileyard, and just being yourself and chatting to folks who are always up to help you out is so vital. (If anyone’s down that way, come find me and say hi!).
What key skills do you need to work in the music industry?
The key ones for me would be determination, willingness to learn from (and admit your) mistakes, approachability and kindness. A LOT of the work behind the scenes does go unnoticed. Particularly in a management/agent role, you’re usually the last to get praise and the first to get blamed. Just keep working at it, day by day, little by little and the rewards start to show sooner than you think.
How did your experiences of studying at Leeds Conservatoire prepare you for a career in the wider industry?
I have no doubt that without Leeds Conservatoire I would not be where I am today. Leeds Conservatoire became a real think tank for me towards the end of my course. Living with course mates and constantly creating, honing and dissecting business ideas meant that when I came out into the real world, what I had had been turned apart so often it was almost ready. Almost. Not only that but the lecturers on the Music Business course from start to finish were excellent. The knowledge gained in music law, artistic development and business management I still use on a daily basis.
What attracted you to the Music Business degree programme at Leeds Conservatoire?
The tutors more than anything.
During my interview I sat down with the former course leader and ran through the modules, who was teaching them, and their experience.
I found no other course that matched this and it was only a few weeks later I had signed up to move into Joey Stones!
Did you get involved in any opportunities outside of your studies whilst you were in Leeds?
Countless.
The real learning happened outside the classroom, so I threw myself at as much as I could. Events, record labels, management, tours, sound teching - you name it, I probably did it.
What do you see as the major current opportunities for the music industry?
There’s so much!
The music industry has never been more of an open community than now. There’s opportunities everywhere. If you apply yourself, try and do it a little bit differently and work hard, study hard and work harder again, the world is your oyster.
If I had to pick one particular section? I’m torn between festivals and publishing.
What advice would you give someone who wants to study Music Business at Leeds Conservatoire?
Make sure it’s right for you, there’s a lot of hard work ahead, but if you really want to work in the music industry, this is the prime ground to teach you the ropes.
If you do study at Leeds Conservatoire, work hard, make friends, party a little (but not too much!) and read the books! (they don’t come recommended for nothing!). Throw yourself at projects, get involved in as much as you can handle and if it doesn’t work out, take a lesson from it and move on. Take plenty of notes, ask every question (no question is a dumb one) and chat with the lecturers.
Finally, enjoy it. Leeds is a great city, with great folks and great music. Three years might feel like a long time, but it FLIES by.
