Paradise Talks - Industry Insiders

In this episode live from The Ministry, SE London we talk about the excitement artists, events organisers, and venues have around mapping out killer schedules packed with incredible experiences across the next 18 months and beyond.

Joined by, Owen Kent, Head of Events at Raymond Gubbay, a division of Sony Music, Suzanne Bayliss, Festival Director at Vision Nine Group, Creative Director Nick Jekyll, and hosted by Paradise Talks and Soho Radio presenter, Emma Bartholomew.

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Today we’re having a power brief one-to-one with the founder of one of the most exciting and acclaimed non-alcoholic drinks brands on the market, Caleño. 

Caleño Drinks was born out of personal frustration. Founder Ellie Webb was on an alcohol-free night out with friends & felt uninspired by the alcohol-free drinks on offer, so decided it was time to bring some joy to not drinking. Fuelled by Latin positivity, Ellie set out to infuse the sun-drenched flavours of Colombia, her homeland, with her non-alcoholic spirits. 

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When you think of sexy brands or even products that would be sexy to sell, life insurance probably wouldn’t be high on the list.

Beyond being presumed dry or dull, there’s the taboo around the subject of death and a reluctance for us as consumers to face up to our own mortality and think about what happens to our loved ones after we’ve gone. So, today we’re looking forward to an open and candid chat with a guest who represents a life insurance brand that is so far from boring or corporate that it might just make you sit up and listen.

Banishing taboos, opening up the conversation around death and what happens to the people we love after we’re gone, and doing it all in the cleverest of irreverent and appealing ways is the brand, DeadHappy. Joining me to tell us how genius branding is done when it comes to the unspeakable, is DeadHappy’s Head of Brand, Eddy Edwards

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We’ve been living through a period of self-containment and, for many of us, self-reflection, so it’s no surprise that part of that reflection has been about what we feed ourselves, leading to more of us turning to healthier alternatives when looking for snacks and meals. The healthy-eating space is a competitive one where every brand needs to find its own niche and personality in order to appeal to engage its audience. Some do this by purely entertaining the crowd, but some put more thought into the well-being value of the message they drive via more educational brand content, mirroring the nourishing qualities of their products.

To discuss this ever-evolving, growing space within the consumer market are two women who have seen a need to provide more nourishing options and built their businesses and brands around that.

Bay Burdett, founder of Bay’s Kitchen, which produces award-winning Low FODMAP, Gluten-Free and Dairy-Free foods, most of which are Vegan too. The product range included sauces, soups, stocks and condiments. A long-term sufferer of IBS, Bay’s aims are to produce food and recipes that allow families to enjoy meals together, regardless of dietary restrictions, to take away the pain and discomfort many people experience due to the food they eat, while increasing awareness of the condition and removing the ‘taboo’ that surrounds IBS. Bay’s Kitchen is stocked widely, including at Amazon, Ocado & Morrisons.

Kate Percy - Kate has written three best selling cookbooks and established an award-winning range of healthy energy snacks, Kate Percy’s Go Bites, while spreading what she calls #Enerjoy; the joy of good energy, vitality and happiness through her brand, Kate Percy’s. Founded in 2008, Kate has been developing recipes and nutrition educational resources for a growing community of people and families; her #Cook5WithKate campaign challenges, inspires and supports families with the skills to cook at least 5 recipes from scratch. She has also developed healthy eating programmes for the BBC and Virgin Sport.

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To say that this has been a difficult or unprecedented year for the festival community would be a cliche understatement. It doesn’t come close to describing the stress or chaos that the pandemic has impacted on the sector. We’ve now moved into a period beyond a full year in which organisers, promoters, crews and artists alike are grappling with more uncertainty than we’ve ever encountered. As this podcast is brought to you by Paradise, the agency for entertaining brands, we can’t expect or pretend to solve the mountain of issues facing the festival sector as we record this episode, from the daily cancellations to debates around Covid passports and the lack of government-backed insurance, but what we can do is to explore the resourcefulness, creativity, innovation and bravery of those operating in the festival industry as they approach solutions around planning and maintaining the conversation with their audiences, keeping their brands relevant and alive, in these strange times. Through our conversation, we’ll ask, is it possible for festivals to plan, promote & keep their audiences engaged & hopeful on shifting sands?

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To mark International Women’s Day, we’re bringing you a special edition of Paradise Talks. We thought we’d celebrate this important day by chatting to some of the powerhouse women at the heart of Paradise.

Today we’ll talk about life and work for women in the creative industries, how the landscape has changed and is evolving and pay homage to some of the incredible creative women who’ve inspired us to get to where we are today, those paving the way for the creative women of tomorrow and how we can nurture and encourage that next generation of creative women...

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With a panel of TV industry professionals, Paradise will be discussing whether we have or could ever reach saturation point with premium streaming services. Are we drowning in them or just indulgently spoilt for choice?

Guests in this series:

Jamie Hall - COO of the Scripted Division - Pulse Films

Tom Dods - Relationship Director, Tech, Media & Telecoms - Barclays

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Emma Bartholomew (Paradise), Paul Pacifico (AIM), Roy Lidstone (A&Gsync) will be discovering the goods, bads, successes & stresses in the music industry over the past 6 months. We’ll explore the new normal for artists, labels & sync teams, and get the experts’ take on how things look from here.

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Hi, I'm Riva Taylor. I'm a singer songwriter and a founder of a small independent label Imprint. I started my career many years ago and I started singing when I was seven on the Westend stage, but I got my first record deal when I was 12 and so this talk for Paradise London is going to revolve around giving some advice for young artists or people considering a breaking in on the music industry, things to consider and maybe some things to avoid. 

So number one, be outside the box. The beauty of the music industry is that you can be champion for being as different as possible. Don't be boxed. Don't be genre specific straddle genres and be your own thing. It's something that I have learnt in adulthood and I certainly wanted to, to find my own lane and my own path when I was younger and I felt the music I was performing then wasn't quite right for me. So yes, if you feel it deep down, go with your guts and, and be yourself. 

Number two. Team, now team is everything. Your team are as good as you, and you were as good as your team. If it doesn't gel, move on. If it does gel however big or small or experienced or not your team are, if it's the right magic combination, you can, you can grow and you can achieve together.

So, yes. If it feels right, then my advice is stick with the team, leave them if they're not answering the phone. Do not stay with them. Point three, take time to develop and find out exactly what it is that you are and hone the music style. I'm not saying you should take five years to develop an album like I have.

But it can take that long. And you know, meeting new people, developing a relationships and a close core of musicians around you. Is so important. And when you feel like you've got that sound right, go and test the market. You never know what could happen. And the most important thing is you're confident in that sound. 

Point four, make lots of noise. And I don't mean going to stand on the top of a mountain and scream. I mean, get involved in as many things as possible. Again, if they remain, if you remain true to yourself and, and your, your values as, as a brand, which we all are as musicians, why not meet as many people as possible? perform at as many venues as possible.

Write as many songs as you can, uh, if that's what you do constantly. Be working, be finessing, and be growing as an artist. Being an artist is all about development and you never know where these are different relationships, these different opportunities could lead you. It's all about the stars aligning at the end of the day.

I'm a firm believer in that. And lastly, point 5, be happy. I know that sounds really simple, but if you're not happy as a musician, it's too hard. It's too hard to not enjoy what you do. Yeah. You have to wake up every day and love what you do, and we'll find the joy, even if days are hard and, and the paychecks aren't coming.

And the longterm vision is so important and belief in yourself and that thought, they can you, yeah. Bring you joy. So yes. The happy music brings you joy. Well, I hope that's been a little helpful for some of you. If you're not in the music industry, maybe I've put you off, but thanks so much for listening. Bye.

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Hey, I'm Ruth. I work at Warner music. I head up TV, film and trailers there creatively in the Sync team and during lockdown, I am here chatting to you from my bedroom. So in essence, my job is to think of ways to get our artists music into as many opportunities as possible across each of those determinations, TV, film, and trailers.

I thought I'd start with why did I want to go into sync? I was always fascinated by the why and how that comes with music and why music becomes, you know, the way it is, comes to be the way it is. when I was at university, I studied a module called African American music. which totally blew my mind.

We were looking, we were looking at a time where, during the transatlantic slave trade around the late 19th century. America saw different types of music popping up all over the country. The question of how and why this was happening was really interesting to me. You know, one might expect to see a music trend spread gradually, almost in like an ordinary, ordinary fashion geographically across the country.

Whereas in this instance, different underground sound, early blues styles were popping up sporadically all over the place and why was that? I just was. I didn't, I didn't understand. turns out it was waterways was the secret. waterways were carrying and transporting stages, which meant musical styles and more popping up all over America.

So the how and why of classical pieces is also very interesting to me because you know, so much it was written for and influenced by the politics at the time and be involved. Now it's ring cycle or you know, Mendelssohn's emotive music in part, you know, from him being Jewish and he was under the German Nazi reign.

Or civilians, finlandia, I suppose this body aligns with the way a lot of pop culture and pop music contains discussions about current trends life. And politics, and of course the one genre pop music derives from, the other, which is classical. So I think to me it was always an attractive career option, because this world kind of allowed me to transfer those questions musically how and why into a career path. I like thinking about why that track. What is, what is it about that particular track for that precise moment? Is it the key tone instrumentation? lyric? Is it the size of artists that can come into place sometimes? You know, that thought process is really important to me.

And then the question is how can we make that happen? And, you know, we want to serve as our artists that absolutely best way we can. So we will always try to make opportunities happen for them. What I like about sync is that it lends is that music lends itself to almost any circumstance or scenario, you know, so be it on a BBC sports promo or a highlights reel or a drama promo and a montage of a film developing a character in a TV series you know, and the importance of, you know, the immediacy of attract in an  advert because they've got to convey a message in 30 seconds.

But it's exciting that in every single instance the music plays an integral role, in each of those instances to evoke a particular emotion or further enhance the scene or character or theme, et cetera. also broadly speaking, more often than not, it's precisely all about the music, which is something that I think is really refreshing for the music industry.

And I think, you know, sync is a very kind of pure stranded industry in that sense. Of course there are exceptions, but often it's not necessarily about the stats or the streaming numbers, radio plays. But it's more, does this mood lyric tone, instrumental work creatively for this moment? So I think that's, that's quite a fun thing about Sync, I think my job can be broken down into maybe like three areas.

I'd say having a broad knowledge of music generally is very important, obviously. knowing the catalog. So Warner's rep at this point is obviously very important. but also being able to talk and connect with people.  you know, talking with clients, being helpful, being quick, responsive, open to ideas and suggestions and, you know, just making as many opportunities happen as possible.

If I'm not thinking of, and if I'm not thinking about a direct sync. You know, what about the artists featuring the show? Or is there a soundtrack opportunity or is there a podcast accompanying this release, you know, like, or is there going to be a playlist and how can we make sure our artists there as well?

Like it's bigger often, I think, than just the, just the Sync in some respects. I guess in some ways we're an extension of the marketing teams because we are trying to place artists in front of new jump demographics and new audiences that might not have heard the music before. and we all know some awesome films where I remember particular tracks playing in those massive moments.

be it pulp fiction, Johnny B, good or. Screw it, Maisie Peeters, breaking our nation's heart in Love Island. It happens. and it's wonderful every time it does when you can remember those moments, because of the music.  so in that sense, I also think we're influencers, as a sync team because we can drive a track or artist forward that we believe will connect in a particular show.

And often that does work. I was also going to talk about what's exciting about music industry right now, broadly, but slightly in relation to sync. So because of the boom of streaming services and this generations and ours, let's face it, kind of expectation of, you know, instant gratification.

I think bingeing new series, and having so many television opportunities is, is crazy exciting. It kind of feels the TV space feels a little bit limitless, like right now. What's it like to have Netflix, Amazon prime, Apple TV, Brit box, sky originals, Disney pass, Hulu. It is going on. It's only gonna get bigger.

I think it's kind of fair, fair game for anyone to go for it in the Sync space at the moment. Cause there is that much appetite. Throughout history, music has always been, integral to the current climate and cultural movements. And I think that's still really true today. So, you know, we're seeing new media spaces make TikTok that didn't even globally exist three years ago, and they're now breaking artists all over the world, which is insane.

Shout out to Simba Rover because that is doing bits then, to TikTok . Yeah. We're seeing a massively massive cultural movement, literally where the consumer now has power, as well as no longer a passive listening consumer, but a creatively involved individual that's actively using music and being in the driver's seat for creating content, which sorts those artists like to know.

And also, because literally anyone can create music from home. Like now, and I've read this DSPs, more than ever, music is being released each week. So from a sync perspective, what excites me is the opportunity kind of feels limitless to getting our artists featuring on platforms like television shows and this being a key way to cutting through the noise.

Of course, I love servicing and supporting our well-known repertoire. but the job gets really exciting when an emerging artist gets a big moment and a Sync can really turn the dial on a campaign. TV shows, now more than ever, kind of do, have a cultural hugely cultural kind of moment. And they keep trending.

And this hype Baton is kind of being passed on once the next, often charts stay quite static and change gradually, but literally, like from one week to the next, you've got one TV show taking the spotlight from another. Along with that means that the music does as well. So therefore, I think the most important part of my job is kind of making sure that I'm in those conversations and being equipped with the music from the labels to ensure that our artists, you know, are in those conversations to get to get those moments for them.

Final thought was like a top tip right now for anyone that's kind of writing music for sync. I'd say basically write music that is optimistic and feel good. Because when we eventually come out of lockdown and the world goes to back to where the normal, is going to be adverts and every promo alike is gonna want that kind of messaging of, you know, feel good.

It's only up from here. We're ready. Here we go. Anything's possible. And yeah, we can't use Lizzo good as hell for everything. So. Yeah. Thank you.

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