Nigel A Campbell
Published:
Wednesday, December 31, 2014
In my 2012, year-end review, I noted that 2013 onwards would be bumper years as policy changes would be implemented by the government to fast track the diversification of the economy to include the creative industries. That was done in parts, but the effectiveness of the promised diversification still proved to be moribund in 2014. Low album production numbers, few international tours by local artistes despite some lifting of restrictions and diminished intellectual property rights exploitation, either paint a picture of stasis or serve to reframe the context in which we make music in the world.
The Trade and Investment minister’s boast was that his ministry is going to “strengthen it (the creative industries sector) by putting some commercial sense and commercial acumen into developing the sector with people who have succeeded in those areas…who have been there, who have done that.” His “super” boards have seen a number of defections, desertions and resignations. The effectiveness of these boards is challenged by having unstaffed state companies run by an executive board. They have not made positive returns on investment in the short term and have not put in place the policies that are supposed to move the sector forward.
Creative Industries
The role of the new CreativeTT to be facilitator rather than financier—to stimulate the business and export development of local creative industry to make money—was reversed: it’s sponsorship of Machel Montano’s performance at Rotterdam’s Zomercarnaval in July seemed like an expensive gamble to place banners and posters in front of Dutch eyes. The private sector instead saw and heard Montano’s competitive rival Bunji Garlin and RCA signed him for distribution in the largest music marketplace.
A misstep in identifying creative capital? The European distribution of the music of Montano has not been solidified by any agency of note. In February, the Arts and Multiculturalism ministry promised that its Trinbago Interactive Music Expo would place local talent in front of movers and shakers in the European music marketplace. To date, no artiste has claimed success: either our talent is not worthy or the gesture of the grand strategic project is yet to gain traction.At the end of 2013, soca artistes Bunji Garlin, Montano and KMC attracted some European labels.
One year later, collaborations with DJ collectives fronted by Trinidadian DJs like Jillionaire (Christopher Leacock) of Major Lazer and Lazabeam (Keshav Chandradathsingh) of Jus Now, had summer festivals alight and enhanced the role of the remixer in the music mix. Bunji, in his new role of “paladin of soca,” along with his wife Fay Ann Lyons have bent the soca sound on its ear by utilising electronic dance music (EDM) producers to produce market ready music that makes foreigners wine.
Major Lazer, Jus Now, iM4RiO, Richie Beretta, DJ Crown Prince and Lemy Currey have attempted to move soca closer to an idea of mainstream global success. For every policymaker’s promise yet unfulfilled by a clueless bureaucracy, there have been small victories. Patrick Manning’s Philharmonic Orchestra to be peopled by “foreign musicians” has become a local reality via the Ministry of the Arts, with Minister Lincoln Douglas saying, “After only 20 rehearsal sessions, T&T can boast a professional, skilled, National Philharmonic Orchestra,” further developing its repertoire in 2014 with a premiere public performance at Queens Hall in August.”
Nationals of all hues with strident but diminishing imperfection made a case for the expansion of the role of musicians in stimulating interest and awareness of a specific aspect of the performing arts. UTT became another proving ground for a new cabal of musicians and composers showcased in end-of-academic-year recitals and during an International Symposium on Concert Music from the Caribbean in November.
MUSIC PRODUCTION
Critical to any overview of music in 2014 however has to be a review of product. Despite an almost universal abandonment of individual CD production or digital compilation for commercial exploitation, soca artistes are producing quantities of new music every year to varying popularity. The local digital sales platform TrinidadTunes.com shifted its focus from acquisition to streaming with the introduction of WE Music app. Competitive app Chune by young developer Kern Elliott continued its role of showcasing “underground music artistes.”
Of further significance was the rise of the young promoter attempting to mainstream “underground” music: Yvan Mendoza (True Talk, No Lie), Gerry Anthony (New Fire), Jeanelle Frontin (ESCAPE Series) all had series of themed shows that allowed for the showcasing of newer talent. Public accolade and response was muted in some shows, but their determination points to a mindset that acknowledges the pitfalls of the local music industry and the moxie of the creative entrepreneur that is needed to bride the gap between wishful thinking and positive financial returns for music.
MINORITY MUSIC
A case study for the fragmentation of the music landscape here in these islands is Tobago-born soca artist K.Kay (Kevon Joseph). An artist and hit maker in Tobago with 25 releases there, he is yet to find favour in Trinidad or on what can be considered national stations. This business savvy artist has agreements with US-based Fox Fuse for distribution, CD Baby for aggregation and a synchronisation deal with Sugo Music.
Determined as he is, his tunes Wine Up on Me, remixed in 2014, and the recent Let Loose have very limited YouTube views, and even less radio airplay. Tobago seems like a different country as far as recognition and access to markets here in Trinidad is concerned. A case of blind indifference or naive notions of stardom may be made by some. I note that there are many artists who add to the landscape of local music. The intention of increasing local content quotas on broadcast media, stymied still after many years, may make room for these artists.
Jazz artists hold a place of special importance in my view of local music, and the continuing production of only a handful of commercially released albums—Chantal Esdelle & Moyenne, Clifford Charles, the Ming-produced TriniJazz Project, Theron Shaw, Pedro Lezama—does not create significant impact for industry growth but acts as a statistical indicator and marketing tool for a buying public of live music as well.
The concert and festival scene saw increased numbers at shows, increased events showcasing Caribbean jazz artistes (the return of Shades of Vaughnette, an All Star tribute to Raplh MacDonald, Eat Drink Jazz), and an increase of ticket prices for the Tobago Jazz Experience coupled with the “concept of the fence.” The near-completion of the multi-seat Shaw Park Entertainment Complex may ease the logistical problems that the over-subscribed beach location exhibited in April 2015. Despite these factors, jazz artistes still validly complain about the burden the small economies of scale here has on their careers. That cabal of musicians must continue the symbiotic relationship with its audience here.
Non-festival recorded music output of genres outside of soca/calypso/carnival music have small numbers that should make the case for some focused marketing and funding enhancement. Incremental increases in local value added of our music product should be tallied to make a case to policy makers that the existing music “industry” does not read from the same textbook as the wider global marketplace.
Some new innovation at year end should stimulate thinking persons and smart artists. It was announced that CWC signed a deal with music streaming site Deezer for Caribbean music on its platform. A boon for artists thinking commercially. 2015 can only make sense for a new music economy if we continue to create excellence, engage commercially, and reckon that government forays into commercialising the creative industries will be imperfect. The struggle continues, but we all are enjoying it as the music plays on.
Click http://bit.ly/2014ttmusic to read an expanded version of this column.
Entertainment
In 2014, Machel Montano collaborated with European DJ collectives Major Lazer and Jus Now and also won the Soul Train Award for International Performance.