Contemporary Music Panel Feedback - October 2007

ASSESSMENT REPORT

The Contemporary Music Panel met on the 12 October 2007 to assess the second round of grants for 2007.  Applications were considered under the categories of Commercial Development; Production; Touring; and Mentorship and Skills Development.  Applications were considered for projects commencing after 1 December 2007. 

Applications Approved: 28

Success Rate: 55%

Total Requested: $664,005

Total Approved: $347,149

The Panel recommended 28 applications for funding across all categories totalling $347,149.  In terms of the total number of applications, this is a 55% success rate compared against the total request of 51 applications.

• Following assessment of these applications, the Contemporary Music Panel offered the following advice to applicants:
  The Panel commended the high standard of applications.
• The October 2007 Panel continued to set itself the task of funding the full request of successful applications as opposed to reducing amounts in order to fund more applications.  It should be noted that such a process implies a need for all applicants to approach their application with rigour, ensuring that every element of their application is in place and paying close attention to the detail, particularly in relation to budgets and budget notes. 
• The Panel noted its support for regional and Indigenous music initiatives and welcomes applications in both areas.
• The Panel encouraged a greater degree of innovation across all applications and encouraged applicants to consider applying for funding for new initiatives that could not otherwise take place.
• The Panel requested that all applications be submitted on a DCA application form and on the DCA budget template. 
• The Panel stated that applicants should ALWAYS include a one page band and/or artist biography and never assume that the Panel is familiar with an applicant’s work.
• If the applicant has received previous DCA funding for a project, then they must demonstrate the outcomes as well as how new opportunities will build on previous success.
• Applicants should continue to maintain a business focus to their applications and ensure that the activity has undergone thorough planning and appropriate consultation prior to lodging the application.

PANEL COMMENTS

1. TOURING

The panel would like to see confirmation of support bands the applicant plans to tour and/or perform with (email confirmation is acceptable).  It’s good to have high profile bands with a developed and dedicated audience to perform alongside if touring on the east coast.

Try to include details about venues (especially if they are regional or specialist), as members of the Panel may be unfamiliar with your chosen venues.  Also include with your application reasons why theses venues were chosen – for instance, audience capacity, target market group/s, is it a venue you regularly tour to or is this a one off performance or has it been selected on the advice of a promoter and include other acts that have performed there.

Demonstrate the reasons for touring other than the gig or festival was simply on offer to you.  Include previous success in this territory and/or market, or an indication of success by similar artists/acts, network building or interest from label/distribution.

When touring to international markets, distribution of your product should be secured prior to commencement of touring.

2. MENTORSHIP & SKILLS DEVELOPMENT

The Panel expressed a desire to see that all mentee’s are payed during their mentorship period.

The Panel also wants an explanation of how outcomes from mentorship programmes and projects, especially those involving multiple participants, can be applied in the community and/or the industry following the programme’s completion.

3. PRODUCTION

Production is a low priority for the Panel.  The applicant needs to clearly demonstrate demand for a new recording.

The Panel commented that EP’s are almost redundant and not a priority for the Panel (singles or full length album is better).

Make sure you include sales figures of previous recordings and proof of radio airplay. The panel want to see confirmed distribution channels for the album and detailed marketing plans.

4. COMMERCIAL DEVELOPMENT

Supporting the development of new websites is no longer a priority for the Contemporary Music Panel, as creating a website has become relatively cheap and easy.  The Panel did comment that artist websites are still important however, because artists are able to give them a much more professional and 'branded' look than free options such as myspace.  Some market groups, especially older and niche demographics, still want website interaction and artist contact without having to sign up to a list or else place their details on the web.

Media want to be able to access high resolution images and downloadable PDF biographies, press releases and similar pieces of information.

However, at the same time, the Panel noted that website quotes do need to be realistic.  The Panel also stated free website mediums (sonic bids and myspace) with links to online sales ports should be utilised as much as possible in conjunction with an individual website.  A website should not be the only means of promotion or web presence for a band/artist.  The network of free promotion is best used to drive traffic to your site and from there to your online sales links.

5. MARKETING

Include all the free ways you plan to promote your tour/album as well as paid methods.

Advertising is only a small part of an overall marketing plan – embrace the digital medium (myspace, you tube and/or online distribution), plus street team activity, radio and print editorial, email or post mailing lists, gig guides, web postings, webzines and in particular promotion to niche market groups.

With marketing of a new release, provide a breakdown of previous sales figures – for instance, where and when they were sold (shop and/or stage and/or online) to demonstrate understanding of, and capitalising on what has worked before.

6. BUDGET

The Panel reiterated that applicants should ensure that the budget is both realistic and accurate.  In particular, applicants should not inflate the in-kind or self-contribution in the budget or else ‘bulk it up’ with irrelevant items.

If budget includes any promo/gig costs for CD launch and/or touring, then earned income from door takings and sales of CD’s and merchandise should  be included.

Previous investment of time or money by other parties could be referred to as context to the application (notes to your budget), but such is not considered to be a valid budget item.

7. UPDATING THE PANEL ON PROGRESS OF FUNDED PROJECTS AND YOUR ACQUITTAL

Should your project be successful in its bid for funding, please send an email to the Contemporary Music Project Officer at DCA outlining any changes to your project (for instance, confirmation of or changes to launch or tour dates).

And, of course, make sure you hand your acquittals in on time (13 weeks after the competition of your project).

RECAP ON PANEL FEEDBACK FROM PREVIOUS ROUNDS

• The Panel noted that where an applicant wishes to record in a studio outside of Western Australia, a clear justification of the reasons why should be included in the application.
• The applicant must be clear in the application about which aspects of the activity are to be supported by DCA funds.
• Mentorship and Skills Development Category – The rates of pay for both the mentor and mentee must be included, as well as an explanation or breakdown detailing how these rates have been calculated.
• Make sure all support material (press clippings, reviews and letters) is current.
• If an application builds on previous DCA funding, the application must demonstrate previous outcomes of DCA funding as well as how new opportunities will build on previous successes.
• Letters of support are different from letters of confirmation and commitment. Most applications require both letters of support and letters of confirmation or commitment.
• Applicants should clearly label all support material.
• Choose only three tracks for the panel to listen too.
• Be more creative and savvy with marketing plans.  The Panel are supportive of innovation and planning.  
• Include all anticipated earned income – if the application is for production, include CD sales from the launch event.
• Be sure to support claims with evidence (for instance, label interest, radio airplay, album sales)
• Include information and biographies about other key personnel named in the application (eg. Photographer, song plugger, session musicians)
• Use clear and professional language in the application.