Contemporary Music Panel Feedback - September 2008

Contemporary Music Panel
ASSESSMENT REPORT - October 2008

The Contemporary Music Panel met on the 23 October 2008 to assess the second round of grants for 2008.  Applications were considered under the categories of Commercial Development, Production, Touring and Mentorship & Skills Development. Applications were considered for projects commencing after 1 December 2008. 

GENERAL COMMENTS

The Panel recommended 24 applications for funding across all categories totalling $256,163.  In terms of the total number of applications, this is a 52% success rate compared against the total request of 46 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 2008 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. If you are using a Mac please ask the Project Officer for the correct application form.
The Panel stated that applicants should ALWAYS include a one page band/artist bio and never assume that the Panel knows their 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

TOURING

The panel would like to see confirmation of support bands the applicant plans to tour/perform with (confirmation via email is fine). 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, specialist or as they may be unfamiliar to the panel) and reasons why they were chosen - such as capacity, market group, regular touring venue or one off, promoter and include other acts that have performed there.

Reasons for touring other than we were just offered the gig/festival. Include previous success in this territory/market or indication of success by similar artists/acts, network building, interest from label/distribution etc.

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

MENTORSHIP & SKILLS DEVELOPMENT

The panel like to see that all mentee’s are payed during their mentorship period.
The panel also wants an explanation of how outcomes from mentorship programmes, especially those involving multiple participants, can be applied in the community following the programme.

PRODUCTION

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

The panel agreed to cap all full length recordings to a maximum request of $10,000 only.

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.

COMMERCIAL DEVELOPMENT

Websites are no longer a priority for the CM panel as creating a website has become so 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 etc. Some market groups, esp older and niche demographics still want web site interaction and artist contact without having to sign up to something or put their details on the web. Media want to be able to access high res pics and downloadable pdf bios, press releases etc.
 
However the panel noted that website quotes need to be realistic, free web mediums such as sonic bids, myspace etc and links to online sales should be utilised as much as possible in conjunction with an individual website and the website should not be the only means of promotion or web presence. The network of free promo is best used to drive traffic to your site and from there to your online sales links.
 

MARKETING

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

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

With marketing of new release give breakdown of previous sales figures - ie where and when they were sold - shop/stage/online to demonstrate understanding of and building on what has worked before.

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 bulk up with irrelevant items.

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

Previous investment of time or money from other parties could be referred to in explanation, but not a valid budget item.

UPDATES on funded projects and acquittals
Please send an email to the CM Project Officer outlining any changes to your project eg. launch or tour dates. Make sure you hand your acquittals in on time.

GENERAL ADVICE

The Panel noted that where an applicant wishes to record in a studio outside of WA 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 require DCA funding.
Mentorship and Skills Development Category – Rates of pay for both mentor and mentee must be included as well as an explanation or breakdown detailing what these rates are based on
Make sure all support material (press clippings, reviews, letters) is current.
If an application builds on previous DCAfunding, the application must demonstrate previous outcomes of DCA funding as well as how new opportunities will build on previous success.
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 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 launch.
Be sure to support claims with evidence (eg. 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.
The panel noted that film clips were no longer a priority under Commercial Development but would recommend once bands/artists get their song on high rotation on commercial radio or triple j that they come through the CM Quick Resposne panel