Contemporary Music Panel Feedback - February 2009

ASSESSMENT REPORT

The Contemporary Music Panel met on the 20 March 2009 to assess the first round of grants applications for 2009.  Applications were considered in the categories of Commercial Development; Production; Touring; and Mentorship and Skills Development.  Applications were considered for projects commencing after 1 May 2009. 

Applications Received:  29

Applications Approved:  15

Success Rate: 52%

Total Requested: $302,323

Total Approved: $169,361

GENERAL COMMENTS

The Panel recommended 15 applications for funding across all categories totaling $169,361.  In terms of the total number of applications, this is a 52% success rate compared against the total request of 29 applications.

The Panel acknowledged the issues applicants may have had accessing assistance prior to the position of Contemporary Music Project Officer being filled. All enquiries by applicants were handled by other Project Officers within the Department, prior to the appointment of the new Officer. This may have caused problems for applicants receiving timely advice prior to the closing date of the round.

Following assessment of these applications, the Contemporary Music Panel offered the following advice to applicants:

• The March 2009 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.
• 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 understands the difficulty in receiving confirmation of shows from venues so far in advance for the purpose of the application process. If confirmation is not available at the time of submission, the Panel will accept correspondence between the applicant and the venue to establish the viability of shows and to gauge the readiness of the booking manager to have the band perform (email is acceptable). Where relevant, the Panel would like to see confirmation of support bands the applicant plans to tour and/or perform with (email confirmation is acceptable).  The Panel noted that it is good practice to have high profile bands with a developed and dedicated audience to perform alongside if touring on the east coast.

The Panel requires the applicants to 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 And Skills Development

The Panel was interested to see how the results of mentorship programmes and projects can be applied to the community / industry following the completion of the programme.

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 EPs are also not a priority for the Panel. It was also noted that the ‘shelf-life’ of a full-length album is seen as much longer than that of an EP and considered a better investment on behalf of the Panel.

Sale figures of previous recordings and proof of radio airplay should be included. The Panel would like to see confirmed distribution channels for the album and detailed marketing plans.

4. Commercial Development

With more established artists, the Panel felt it beneficial for them to provide a business plan under this category. This will assist the artist and, in turn the Panel, to understand the aspirations and direction which the artist envisages themselves moving towards and how the strategies they are considering to undertake fit within this framework. The Panel indicated that without a larger framework or design some artists appear to not have a clear indication as to where they are heading and therefore are unable to demonstrate the strategic nature of the opportunity.

5. Marketing

The Panel requested extensive marketing plans to indicate the channels and target audiences that will be used to market the activity. Include methods of promotion, attracting and retaining audience and making the most of identified market opportunities. The Panel wished to see better marketing opportunities and for more creative digital promotion.

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

6. Budget

The Panel felt that the general standard of budget keeping was lower than previous rounds. Accurate and comprehensive budgets would assist in making a more qualified assessment of the application.  The Panel reiterated that applicants should ensure that the budget is both realistic and accurate. 

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

7. Updating The Panel On Progress Of Funded Projects And Your Acquittal

It would be appreciated if successful applicants advised the Contemporary Music Project Officer of any changes to the project (for example, confirmation of / or changes to launch or tour dates).

Acquittals are required within 13 weeks of the completion of the funded activity.

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.
• Supporting the development of new websites is no longer a priority for the Contemporary Music Panel.
• The applicant must be clear in the application about which aspects of the activity are to be supported by DCA funds.
• The Panel expressed a desire to see that all mentees are paid during their mentorship period.
• 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 to.
• Be more creative and savvy with marketing plans.  The Panel is supportive of innovation and planning.  
• Be sure to support claims with evidence (for example: label interest, radio airplay, album sales)
• Include information and biographies about other key personnel named in the application (eg. manager, tour manager, producer, photographer, song plugger, session musicians)
• Please use the application and budget forms provided.