10.15am - 11.10am

To open the conference programme, this discussion covers the current state of the independent music sector in the UK. What are the strengths and weaknesses of the scene at the moment from the perspective of artists, managers, labels and promoters, and what are the key challenges we face in sustaining and growing a prosperous and equitable industry?  


2.15pm - 2.45pm

Un-Convention is delighted to be part of a new fellowship programme, funded by Creative Europe and working alongside MaMA (France), Nouvelle Prague (Czech Republic), Linecheck (Italy), MIL (Portugal) and European Music Day (Greece) to support innovative music professionals. This event in Manchester sees the launch of the first fellowship and we will be making a presentation about the project, the participants and how you can get involved in the future.


5.30pm - 6.15pm

NB - This talk takes place in the Bell Room


Martin Goldschmidt is Managing Director and founder of Cooking Vinyl and Chairman of the Cooking Vinyl Group. Thirty years after its inception in a council flat in Stockwell, Cooking Vinyl remains one of the original and best indie labels in the UK. Current roster includes Nina Nesbitt, Passenger, Fantastic Negrito, Billy Bragg, Lissie and Baby Metal.


Cooking Vinyl has always been a digital pioneer, being the first UK record label to get content into eMusic. Martin Goldschmidt is a board member of AIM/Impala & WIN and most recently, co-founder of the Palestine Music Expo. He was the founder of online distribution company, Uploader, and set up Essential Music & Marketing in 2003 with Mike Chadwick.  Previously Martin was involved in artist management (Michelle Shocked) and set up a booking agency which he sold to Rob Challice who is now a director of one of Europe’s largest agencies, Coda.


11.20am - 12.15am

We work in an industry with seemingly constant pressure, one where adulation and criticism can be a daily occurrence. Financial and emotional risk are almost a prerequisite for artists and those who seek to champion them, and moreover there is often little security, structure or sense of longevity to much of it. It can be a tough gig, and that’s not always easy to deal with. Fortunately, we are living in a time where people are increasingly open about how difficult it can be, both mentally and physically and on all sides of the equation, from artists and promoters to tour managers and venue owners. Here we consider the specific challenges the industry presents to our wellbeing, and how we can help ourselves and each other to better cope.


2.55pm - 3.50pm

Nathan McGough has a career in the music industry going back thirty-five years to his early days managing Factory band Kalima and the Bodines (signed to Creation by Alan McGee). He manoeuvred the career of Happy Mondays through their rise, their success, their notoriety, and the collapse of Factory Records As part of Red Light Management, he now works with White Lies, overseeing their tours, worldwide Festival shows, record releases; February 2019 sees the release of their fifth album, 'Five' Nathan will be interviewed onstage by writer/DJ Dave Haslam. He'll give us highlights, a few Happy Mondays stories no doubt, and reveal some lessons learned. His latest find is the Skinner Brothers; thirty-five years on, how has the industry and the role of a manager evolved?


1.10pm - 2.05pm

A look at one of the most vibrant and prosperous scenes in the UK at the moment, this panel discussion will examine the recent developments in Rap, Grime and Drill music and culture and explore who’s doing what, and where, and what is next for the scene and those working in it? Chaired by Hattie Collins, author of the seminal This Is Grime and long-time documenter of rap and grime in the UK.


4.00pm - 5.00pm

The DIY scene in 2019 is as vibrant as ever. Putting on shows, and putting out records, building fanbases and creating art on their own terms, a whole swathe of self-driven artists continue to blaze trails with the punk ethic. But in a time when the internet has enabled a generation to seize the means of production, and at the same time make attention the scarcest of commodities, how do modern artists find an audience?

Supported by

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