A West Midlands YouTube Top 50: August 2015

Here's the sixth bi-yearly local acts video views chart: who's making YouTube waves?

I do this ranking every six months. The exercise is starting to build up some long-term analysis potential. There's some interesting straws in the wind. I think YouTube viewing numbers are increasing overall, based on a rough analysis of upwards trends for many on the chart. But there are some caveats...

The headline? Laura Mvula still rules – just. But I think that she's going to be overtaken on the next chart by another spectacularly talented Birmingham woman who plays by her own rules. You may not have heard of her yet. But you certainly will.

A West Midlands YouTube Top 50: February 2015

If you don't know already, you'll be amazed at what goes over BIG from our patch  

February 2015 is here, so here's this blog's six-monthly roundup of West Midlands artists, ranked by viewing numbers on YouTube. There's a couple of surprises, and a fistful of impressive new entrants. 

This is statto heaven, and you can pick out seriously interesting patterns if you compare results over the time I've done these charts: links to earlier rankings are at the bottom of the post. 

Winners, losers, runners and riders after the jump.

A West Midlands YouTube Top 50, as of August 2014

The 50 must viewed West Midlands acts; Laura Mvula is out on top. And look at all the death metal....

Every six months, I research the most-viewed numbers for local acts on YouTube. It's a weird kind of chart: at the bottom, people who have pulled in, seduced and nagged enough views to get past the cut-off point; at the top, BIG acts like The Editors and Laura Mvula. I've done this for long enough for some trends to emerge, although I would never lay claim to this being a comprehensive index of popularity. There's just too many wildcards. Scroll on down to the bottom of the post for caveats and analysis

But first, congratulations to the new leader....

Now, the basic rules...

• West Midlands acts, who are still involved locally, only. Tax exiles excluded.
• Proper videos only: smartphone and fan clips are out, official vids are in.
• The two most-viewed videos uploaded within the past three years are counted.
• Minimum total is 10,000. 
• No live videos unless specifically commissioned.
• Only one version of the song - no remixes.
• No videos of full albums ripped to YouTube with just one image to try to score ad revenue.

Now, here's the chart. 

More analysis afterwards, if you're interested...

Act	Video 1	Video 2	views
Laura Mvula	Green Garden	That's Alright	3,430,303
Oceans Ate Alaska	Clocks	To Catch A Flame	3,382,885
Editors	A Ton Of Love	Formaldehyde	2,718,723
George Barnett	Swimming Pools	Where The Devil Sleeps	1,692,727
Peace	Wraith	Bloodshake	1,453,203
Swim Deep	Honey	King City	1,415,754
Lady Leshurr	Look At Me Now	F64	1,036,487
The Enemy	Like A Dancer	Saturday	682,505
Napalm Death	The Wolf I Feed	Breed To Breathe	554,960
UB40	Blue Eyes Cryin' In the Rain	-	506,326
Robert Plant	Rainbow	Promo for Lullaby and the Ceaseless Roar album	490,817
Electric Swing Circus	Penniless Optimist	Everybody Wants To Be A Cat	425,283
The Twang	We're A Crowd	Mainline	210,817
Anaal Nakraath	Forging Towards The Sunset	Todos Sono Humanos	201,473
Dexys	Incapable Of Love	Nowhere Is Home	158,533
Templeton Pek	Wake Me Up	What Are You Waiting For	144,720
Jaws	Toucan Surf	Surround You	129,905
Mahalia	Let The World See The Light	Goldrush (with Ed Sheeran)	98,134
No Americana	Washed Out Summer	Wax Poetic	95,834
Troumaca	Lady Colour	Layou	93,191
Scott Matthews	Myself Again	Virginia (Guild Lounge)	75,282
Soweto Kinch	Help	A People With No Past	71,739
Superfood	Superfood	Bubbles	68,880
Claire Maguire	Paper Thin	Whenever You Want It	52,607
The Wonderstuff	Planet Earth	Oh No!	45,047
Musgraves	Last Of Me	So Sophia	43,651
Midnight Bonfires	Lights Out	Exhale	43,243
The Traps	Calypso	The Honeydrip	39,560
Destroyers	Hole In The Universe	-	37,042
God Damn	Heavy Money	I'm a Lazer, You're a Radar	29,402
Hanging Doll	Carnival Of Sin	Sacred and Profane	26,774
Rebecca Downes	Basement Of My Heart	When I'm Bad	26,449
Mistys Big Adventure	Aggression	-	25,001
Goodnight Lenin	Wenceslas Square	Record Store Day '14 promo	22,858
Malik MD7	I Bear My Soul	Skooled By	21,326
ADO	Power	Waterfall	19,339
1 Eye	Mr Bailiff	-	18,830
Stone Foundation	That's The Way I Want To Live My Life	To Find The Spirit	18,290
Broken Witt Rebels	Call Out The Sun	All Worn out	18,189
Ali Campbell and Radio Riddler	Purple Rain	-	18,176
Dumb	Dive	Retina	17,495
Erica Nockalls	Cut Them Out	Manikin	17,056
Boat To Row	Tightrope	Grassmarket	16,116
DC Fontana	Abbesses	Pentagram Man	16,067
Old Dance School	Swifts and Martins	Chasing The Light album promo	14,874
Bluebeat Arkestra	The Chillr	Ghosts	13,663
Victories At Sea	Future Gold	Stay Positive	13,112
Xova	9 Lives	Just Want To Be Famous	12,810
Brothers Groove	Treat 'em Mean	My Guitar	12,279
Friendly Fire Band	One Drop it Like It's Hot (Sam Redmore mix)	Welcome to Holland	11,340
Don't take this too seriously... Now, I realise that, chart rankings aside, this is major geek territory. But it's also very interesting. The chart itself should be taken with an industrial-grade pinch of salt. Why? Well, because YouTube counts aren't precise; I've seen figures go DOWN in a six month period. And the mechanism is generous to those with the tools and the chops and the money to make snappy videos. Don't let the 'accessible to all' vibe fool you: YouTube works best when you've got a slick package to push.  So people who don't play that game lose out by this metric. Soweto Kinch has two 'straight' videos in the chart, but he's also all over YouTube doing some fine rap battles, cut live and raw. But there's so many of them that the impact is diluted. YouTube can be hyped. Dig around, and you'll find outfits who will give you views for cash. I don't think that applies too much at this level, but it just might be present here or there. Look at the top, and there's evidence aplenty of big record company support.  Except that George Barnett doesn't have that support, and he's up there, and with a rotating repertoire at that. Everybody else mainly leans on their same two biggest videos. So don't let them tell you it can't be done.  Trends and patterns Putting the four series of rankings together over the two years (February 2013, August 2013, and February 2014) you can start to spot some rough trends. A lot of bands - not all - seem to surge forward, and then... run out of steam. That's sad, but inevitable. Others sit on the chart until their videos get past the three-year cut off point, and they have nothing to replace it with.  It's also fascinating to see how some underground genres have big followings: Look at the string of death metal and black metal bands. Equally fascinating is how loyalty can apply - or not apply - to older acts with fresh videos. There's UB40 and Robert Plant doing very nicely, thank you. Dig around and you'll spot others who aren't doing so well.  Progress? Finally, two more geeky charts, looking at how acts have prospered, both in terms of increased numbers and increases by percentage, Here's the top 15 winners for each:
Percentage increase Number of views increase UB40 95.42% Laura Mvula 613,046 Mahalia 60.73% Editors 596,451 Dumb 41.20% Oceans Ate Alaska 455,242 Superfood 41.15% George Barnett 374,687 God Damn 38.03% UB40 247,233 Jaws 34.85% Swim Deep 238,246 Brothers Groove 29.28% Peace 142,765 George Barnett 28.43% Lady Leshurr 69,264 Editors 28.10% Electric Swing Circus 56,334 Laura Mvula 21.76% Mahalia 37,079 Broken Witt Rebels 20.99% The Enemy 34,947 Swim Deep 20.23% Jaws 33,570 Troumaca 17.59% Superfood 20,082 ADO 15.69% Dexys 18,910 Oceans Ate Alaska 15.55% Troumaca 13,937
And if for some reason I'm missed anyone out.... yikes! My bad. Drop me a note through the blog contact page, and I will fix things.  You want more? See more music business posts
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A local YouTube chart: February 2014

This time last year, the Official Chart company decided not to use YouTube data when compiling the UK charts. Maybe we'd get a bit more metal if they did.

Mvula: big numbers after a big year. But not #1

I do this chart every six months. Again, there's a new leader of the pack, with big numbers. Some people are doing really well - either under their own steam, or with the help of a big marketing push, at both ends of the chart. It's fascinating stuff. Well, I think so.  

By the way, this isn't perfect - it can't be. YouTube numbers, like many Google reckonings, can wander about a bit. Not every genre - like rap battles - fits the criteria. And Ruby Turner would place impressively high if her showcase TV slots with Jools Holland were included – but these are live fan captures, not commissioned videos. 

We don't live in a perfect world. Two charts follow the break: the basic totals, and a breakdown of who's made the most progress in the past six months. Numbers were collected in the week just gone. And if I've missed you out, I'm really sorry. Yell at me in the email box at top right, or drop me a snarky comment, and I'll fix things. 

Looking back over 2013

Good to meet, sorry to part, look who's done great... all that 2013 stuff

Everyone's doing reviews this week. The newspapers and telly are full of epic people who did epic things. Lots of grand stuff.  

This stuff isn’t grand, but it's great. It’s about creative talent at its newest, freshest and purest. That's more important, in my view.

So, here's part 2. Part 1 is here. Some striking, amusing, enchanting, and saddening things from 2013. And some things I’d like to see, and things which will happen next year. Of course, I’ve missed things.  

If our paths have crossed this year, and I haven’t listed you, please don’t take umbrage. You can't squeeze 60+ posts into one. I want to hear about your best of 2013 too - do, please, leave comments. 

West Midlands Acts on Video - who's watching?

YouTube views for local acts totted up, ranked and compared with the February numbers. There's some surprises...

Who the hell are are these guys? Read on...

Six months ago, just out of curiosity, I researched local acts on video, ranking by most-viewed. It was an interesting exercise, showing how different genres pull in some terrific figures. Six months on, here's a slightly refined repeat exercise. 

No such chart is perfect. With apologies to those artists I missed out on six months ago, I've cast the net wider, although this makes ranking some stuff difficult - do Rap Battles count? I've excluded these - but they might make an interesting sub-chart in their own right. I've also charted the increase in views over the past six months, which gives a rough indication of how an act may be progressing. In one case this has led to a spectacular and probably unrepeatable increase in viewing numbers. The new chart is after the jump.

Abbey Road studios; a session for national radio. A new name for some, but not for regular readers.

This blog doesn't normally cover the same artist twice in three months, but if the circumstances are exceptional, it's worth breaking that rule. Like now.  

Today’s a bit special. Bright, cold, the sun burning through the mist, promising.  I’m in London, not the West Midlands, for a good reason that connects very sweetly with this blog. It’s horribly early. I’m waiting for the caffeine to kick in.

There’s a live recording session about to take place, at Abbey Road. That’s the Abbey Road: the recording studios, with the pedestrian crossing and the 80 years of music megastar history. One of the UK’s very top studios, it’s no longer a discreet working complex set off from a genteel Camden street. The Beatles saw to that. Now, the front wall is covered with tourist graffiti, and there’s a webcam on that crossing. In fact, as I walk up, there’s a tourist snapping his mate on that crossing, and royally pissing off the rush hour traffic as he does.

George Barnett and team – Team GB – are smiley and bright. He’s here, with band the 9th Wave, to record a session, for Absolute Radio. Now, just consider: a session for a national broadcaster – one of the majors - is a hell of a feather in your cap when you’re 19 and still unsigned. I hate that expression, by the way.

George Barnett. 19 years old. Unsigned. 120,000 YouTube views in 14 days

A strategy to consider: build your online profile first. Do it systematically. Then think about going on the road. It can work splendidly. So... how to approach it?

A giant leap of faith....

A year or so ago, Richard Shakespeare, affable photographer of this parish, and featured here, had a lot on his plate. Stepping stress levels up even further by taking on the management of an unproven but hugely talented 18 year old - George Barnett -  wasn’t on the agenda. So, of course, that's exactly what he did. Team GB was formed.

It seems to have gone well. Actually, that's an understatement. It's gone pretty explosively well, and it's happening right now. This week, YouTube views for George Barnett’s latest video - embedded further down in this post - clicked briskly past 118,000 and change. To do this in about two weeks is quite an achievement. After all, many people produce fabulous videos which then struggle to hit 10,000 views or less. And they take months to get there.

It's another part of the great online marketing myth: that anyone can put their stuff out there, sit back... and watch it explode. Know what? That almost never happens. Content is key, certainly, but selling that content is essential too. So hitting six figures from a standing start is  impressive, the result of a year’s worth of intensive effort, on-line and off. So how did Richard and Team GB do it? Answers after the jump.

Pushing it forward: The Musgraves and George Barnett And The Ninth Wave take different paths

Two local bands have scored terrific national airplay this year. Here's how they did it. 

The Musgraves (top) and George Barnett

A while back, after a particularly good month of action, I wrote about national airplay figures for local acts. Lots of great bands got BBC network love, including The Musgraves, favoured in daytime shows by Radio 2. More recently, another West Midlands outfit, George Barnett And The Ninth Wave, has scored significant action at Radio 1.

It set me thinking. It would be lovely to be able to draw up some sort of ‘success index’ that suits and reflects the web-based environment bands work in these days: a concrete way to show the creative and economic potential of our local music scene. Some sort of yardstick would be very useful. But, this being the web, there’s no structure, and there are tons of places to track, legal and otherwise. I’m sure something reasonably effective could be cooked up though, and if anyone’s up for developing it with me, let’s talk. 

Back on topic. In the spring, I dug into YouTube views for a while. Strange patterns: some wonderful bands, who I have all the time in the world for, have racked up relatively small numbers, while others, like George Barnett, can boast six-figure views for their material from a standing start this year. 

Clearly some people are doing something right. But what, exactly, are they doing to get these results? I got in touch with Matthew Bennett, who leads  The Musgraves, and manager Eamonn England of Redhouse Management. I also talked with Rich Shakespeare, who has managed George Barnett And The Ninth Wave for less than a year, to see what buttons they pushed. Two different approaches, both with measurable success. Of course The Musgraves are a little further down the road...

Some common threads emerged, despite the fact that both bands operate very differently. There’s evident determination and focus. There’s a sense of detachment and strategy, and an informed take on how the music industry works. And BBC Introducing has played a significant role in both bands’ progress.   

You’ve scored a lot of very gratifying national airplay action recently. How? Did you use a plugger, or just send your stuff in? Or are there any direct contacts you have?

Matthew Bennett, The Musgraves: It’s taken a long time to get to that stage. I suppose the first thing we did, after doing demos, was to get a management company on board. Our drummer sent a CD off to some industry people in London, and after a few weeks we got a call back.

Eamonn England, The Musgraves Management : The Musgraves sent us a demo CD. It was pretty raw but there were some good ideas and we felt that with development we could achieve something together.

A very early 2011 The Musgraves home-produced video

Matthew Bennett: The company got involved and helped us develop our sound and live show and we began to get gigs before going back in to the studio to start work on an album. Via our management we signed our publishing to Imagem Music on the back of the songs we recorded towards our album. Through this deal we were able to fund an EP release and get a marketing team on board. Initially it was a regional focus and we managed to step up a level before going national. Tom Robinson on 6Music gave us some BBC Introducing spot plays and we then began working with a national marketing team and released an independent single through Lookout Mountain Records. It went crazy then!

Rich Shakespeare: We didn’t use a plugger. One has, very kindly, offered to work for us for free, temporarily, but it’s us (myself and George) who spend most of our day researching people to contact, and making that contact. It’s all about linking up with people. Lots of research. I went to a BBC Introducing live night in Hereford
- they had recorded George at a festival in Worcester, and updated Andrew Marston. He put one of George’s songs forward for Radio 1. It went to a committee, and they picked it ahead of many others. We’ve also had a lot of help and advice from a major label, who seem to want to nurture us and show some early commitment.

It’s great to get that sort of reaction. Some people seem to get it effortlessly, while others plug away for years and years. 

MB: We managed to secure a great national radio plugger and Graham Norton got behind us and began playing our single on Radio 2. 

 The video of the single that went national...

We were then invited on to his BBC 1 show, the first unsigned band to do so. Then we got on the Radio 2 playlist. Really happy now it’s all happening. We’re playing bigger shows now, we have more radio play, and more TV is coming together. It’s difficult but we want music to be our full time job and we’re getting closer.  

RS. It’s all about effort. You have to be really focused. Everything you do has to push it forward.

What about novelty value? Lots of media people like to be the first to spot something – which is of course terribly unfair, but it is human nature…

MB: You’re only going to be new once. You’ve got to keep it fresh from there on, almost re-inventing yourself. It’s up to the artist to develop, to produce new stuff.

RS: Not a problem. George is pretty much a chameleon. He changes. If you look at the artists who’ve lasted a long time, they change and evolve. 

and he’s still only 18...

RS: Yes. I’m also using my experience of seeing people I’ve worked with in the past. The best survive, adapt and grow. That’s my model, I guess. 

What is fascinating to me, Rich, is that this is your first managerial role...

RS: But I’ve done tour managing, and been around the industry, so that’s given me a grounding. George asked me to be his manager. 

What about building a fanbase? What sort of tricks would you recommend?

MB: Twitter, YouTube and Facebook really do work. Before, you could play a show and not be able to follow it up. Now, all the fans are there at your fingertips; you can interact with them, and it makes that relationship go further. They feel more involved; we can get information out quicker. Everyone in the band interacts with the fans online and we make a real effort to be as personal as possible, to keep it ‘real’. When a band starts out, the internet is a really good tool for promo and interaction. We make our own videos and really get the fans involved in what we do. 

RS: Difficult. So many ways. We decided we were going to build ours online, at least at first. That’s why the videos are of decent quality. The idea is to keep it fresh and keep it interesting, so that more people watch these videos.  Lone Rose was the first one – it’s only been out for months and it’s got 120,000 views on YouTube. If you compare that to other bands on the same level, we’re doing well.  

Huge viewing figures...after using Pirate Bay

Interestingly, when you go to that Youtube page and scroll down the comments, free downloads via the Pirate Bay get a mention. A strategic decision? I saw you plugged this offer on Facebook as well. 

RS: The Pirate Bay offered a great promo opportunity after liking ‘College Kids’. We had a 3 day front page promo there that went worldwide. Then we decided to allow free downloads. In return many people decided to go back and pay for the album via iTunes/Amazon or Bandcamp, which worked out perfectly for us.   The fans talk to us through all the usual social media sites. We talk right back, but with respect. It’s about perception.

Can we talk finances? Are you making any money? Did you expect to?

MB: We’re making a little money. Not too much. We’re in the middle stage, where we know things are growing. We sold 3500 copies of our debut single but that doesn’t really equate to income, what with recoupment etc. Our management and publisher have been very supportive and there is a third party financer involved too now.

How does that work? 

Eamonn England: There are lots of 'new model' deals going on within the music industry at the moment. Through our production company, which The Musgraves are signed to, we have managed to secure a marketing and distribution deal which lets us release The Musgraves debut album on our own label. This enables us to keep everything in house and provide them with a far better and fairer return from sales than a major record deal would.

RS: We’re not making any money at the moment. George has sold a little over 1000 albums in a few months. We only had 100 cds made up - we’ve ordered a thousand now. The others were online, so we haven’t had to do too much. He’s used that money to reinvest in better equipment. It’s probably costing us more than we’re getting. 

Is there a grand plan? What is your timescale to push on further?

MB: All we’re focused on is the album right now – it should be out in September along with another single and the promo campaign is starting to kick in now. We’re planning a few videos and cover videos too to keep things moving online. We’re touring the UK in October, and then another single in 2013. 

RS: 2013 is starting to be mapped out. We’re probably planning on getting another album out by March. The plan is to make sure there’s enough material to do another album six months after the last one.  George is constantly writing. We’re planning on a video every two to three months, so that keeps going. We’re also doing 30 second video adverts for major gigs…and that helps the sales.

It looks like you’ve had a charmed life…

MB: (Laughs) We’ve done gigs where there’s no-one there; 400 miles and nobody’s at the gig…Three or four years of that….

RS: I think it’s just… knowledge. As a photographer, you pick up all this knowledge. You’re studying and watching all the time, and you meet so many people. You link with more people as a photographer than you do as a musician, and you move through more genres of music.. 

Who has/have been particularly helpful?

MB: Arthur Tapp from The Catapult Club who promotes at the Birmingham Ballroom. It’s important to get a promoter that believes in you at the start, and he’s been there right from the beginning. When you’re just starting, mostly they (the promoters) are bothered about are how many people you’re going to bring to a show but with Arthur, it’s more about building something. Graham Norton has also made a huge difference.

RS: Too many to mention!

Links
The Musgraves
George Barnett

Don’t you point that thing at me, pal. Snapper supreme Richard Shakespeare shares some thoughts.

Music Photographers: in the pit, hanging off the balcony, vilified by tour managers. A key part of the industry. 

I posted a year or so back (interviewing Bob Marley) about how useless and in the way a DJ is when he’s backstage at a gig. The only people who really should be backstage are those people who have a job to do. The rest is glory-hunting.

Photographers, for the most part, tread a delicate line. They may be have been invited to document the gig. They may be there to further their own careers. But sometimes they just need to go where they really shouldn’t, just to get that special shot. It calls for tact, diplomacy and sometimes a lot of brass neck.

Leominster-based Richard Shakespeare runs the wonderfully named Shakeypix, and has long and generously let me grab his work for this blog. I’ve watched him at work for the last two years or so. No spring chicken, he, but a great snapper. At gigs, he's everywhere - turning himself into a pretzel in the pit, upstage, downstage, in the balcony... smiling, deep in concentration, watching everyone and everything. I talked to him about the job. 

Why photography? 

"I’ve always had a love of image and form. I tend to see everything through a frame. My parents gave me a box brownie for Christmas. I was 8. Then I had a Prinz 110 from Dixons, bought with paper round money. It was nice and compact, but the quality was rather poor. At 15 I went on a course, one afternoon a week, at the local photography college. I picked up a 35mm SLR for the first time. I loved the old darkroom developing process. It went on from there." 

George Barnett and The Ninth Wave at the Yardbird, February 2012

The last time I watched Richard working, he was cheerfully squeezing himself through the crowd at a packed Birmingham boozer as his new charge George Barnett (of which more below) played a debut gig in the area. He was all smiles – a large, uninhibited, jovial presence, firing off shots of the crowd, the band, their friends and family. 

You don't make yourself invisible. Others do. What's your approach? 

"I see no point in being invisible. My clients tend to respond well to this. With a name like mine it's very hard not to be noticed. If a client wanted it otherwise I’d adapt."

When you went full-time, what kit did you buy? 

"It was in 2007. I decided to go with Canon or Nikon digital. The final decision was based on a pro snapper who used Nikon, but told me he wished he’d gone with Canon. So I soon found myself armed with 4 pro Canon DSLR's and a large selection of L lenses. For live work I travel light, packing all I need into a small sling style bag. A full blown shoot requires a serious number of bags, lenses, lights etc. This is where assistants come in – there’s always someone willing to give me a hand." 

Mendi Singh with Alternative Dubstep Orchestra, Mostly Jazz 2011

Studio work or live in the field?

"I don't have a studio. It’s too tame. And too costly. I’ve got all the kit I need to set up a studio anywhere, and locations are so much more interesting. Many bands send me their rough ideas and backdrops. I then go out and source locations to suit. Birmingham bands like to come here (Herefordshire) as it’s so different to the usual Digbeth/urban backdrop. Plus we all enjoy a meal and great banter in my kitchen afterwards." 

You shoot lots of stuff for the love of it. How can you make it pay? 

"Good question, it's not all about the money for me. I can work my prices to fit budgets. I used to do some live work for free to find new clients. That’s how I built up long term relationships. Being trusted is everything to me – that’s how you get the money shots that others miss.

Paul Murphy, Songwriters Cafe, Summer 2011

"! always look for the real person, not someone who’s aware of a camera in their space. I’ve been known to pull faces at someone onstage or dish out the odd insult when face to face in order to get a reaction. But I always follow it with a smile and a thank you." 

It’s a crowded field. Is there a sense of community or a sense of competition?

"It’s competitive, but I try not to enter that game. Each photographer will have their own style. Most UK music photographers have a lot of respect for each other. We share space and time: we’ll all chat before entering a pit, then whoever has the best spot will get their shots and move to give others a chance. I find that just a few London based snappers let the side down and fail to understand that mentality." 

Mark Magoo Robinson, Leftfoot 10th Anniversary Special

You have long-term relationships with bands like the Destroyers, the Misers and Goodnight Lenin. How does that work?

"There are many bands I’ve built up an understanding with. I’m rather lucky to have made so many musical friends.

"Goodnight Lenin came to me about 3 years ago. I was recommended by a mutual promoter friend. They were in the planning stages. The budget was tiny. I drove to Edgbaston and did an all-day shoot for the cost that just about covered the petrol. We all got on like a house on fire. About 3 months later they had their first live show, and I was invited along. At this point I had no idea what kind of sound they had. I loved the music and the rest is history. I have now become the band archivist and been at their sides for nearly every gig."

Goodnight Lenin on tour, March 2012

 "The snapper role was then combined with that of tour manager last year, which sadly has had to go. I love those boys like the sons I never had - I have two daughters. The deal is all about budget. As a band’s kitty grows then my fee will reflect their situation. This way we can grow and reach our goals together. To be taken on tour by a band opens lots of great opportunities to get exclusive one off’s. These days I would rather do that than shoot the actual show, although I do both." 

What about big contracts? 

"I’m not sure that I want large contracts. They can end up being a chain around your neck. I worked with Florence And The Machine, shooting a number of the early shows while they were on the rise. They have always been good to me, and I love them dearly, but now for me the machine is the industry, not the band, which saddens me."

"To be honest, when you’ve got to jump through hoops to get a photo pass, I just can’t be bothered. I’d rather just move on. But I have picked up some interesting work off the back of the music work. Last Summer I did a shoot for Echo Falls the wine company, who wanted product placement at the Isle Of Wight Festival. Life is never dull!" 

Can we talk about your health? Say no and I won't. But to me it's part of the story. 

"Sure. I have always been healthy. Last summer, with 16 festivals covered and two still to go, I got a life-changing shock. My age must have kicked in and sent my body a warning message. I had a stroke, which left me on a hospital ward for a week, followed by months of recovery and reflection. Many of my industry friends like Goodnight Lenin, The Misers, Jo Hamilton with Jon Cotton and fellow photographer Wayne Fox with Sara paid me regular hospital and home visits. My dear friend Tiffy B (she's worked with Lady Gaga and CeeLo Green) even dropped in after coming off tour with Tricky. So many people sent cards and Facebook messages. But it was clear that I’d have to change my working life." 

But you’re back. Now tell me why you decided to go manage a band. At your age and all.

"As I recovered from my illness, I was weak and rusty - I’d gone a month without picking up a camera. I couldn’t drive for 6 weeks. I was not well enough to travel far from Herefordshire; Birmingham was too far. I looked around for a local artist and offered a free shoot to keep my hand in.

"The artist I found was the then 17 year old George Barnett, a former Young Drummer Of The Year. George invited me to a gig at The Bull in Ludlow, not far from my home - my first gig in ages. Yes, it was a pub gig; yes, it was not the best venue, and, yes, there were not hundreds people there, but WOW … he blew me away." 

"A big talent, right under my nose. A week or so later we arranged a photo shoot with George and his band The Ninth Wave. The first set of photos were in the bag. After a few more meetings George asked me if I would consider being his manager. A couple of days of days later, I decided to take him up on his offer. Since that time my world has moved to its next phase. I still take photographs, and recently went around the UK with Goodnight Lenin with Beth Jeans Houghton as support. My tour managing is on hold, whilst I concentrate on my new role of developing a very special talent, and I’m sure in years to come he will be a National treasure. The debut George Barnett album 17 Days (here's the bandcamp link) was released on 12th March 2012." 

What about favourite shots and subjects? 

"So many! My most well known shot is a live one of Florence taken at Shepherds Bush Empire. The London tog’s were all squashed into the pit with not even room to pass each other.

I had snapped most of the tour and had sorted out with the lighting guy to give me more light in the first song, as we were only able to shoot the first 3 songs. Lighting on Flo had been very dark. Not wanting to enter the pit scrum I decided to sit on the side of the stage, and so took my shots from a different angle to the others. It wasn’t until I got home I realised that the money shot was in the bag. So that was a bit special.

"I have a lovely one of Carl Barat (Libertines/Dirty Pretty Things) taken in the green room after a London showcase that hangs in my home. Carl said he couldn’t see it being a good shot, but after looking at the result he soon changed his mind." 

"An early Tinie Tempah taken in his Rainbow dressing room is another favourite."

"I also love an unusual snap of Robert Plant (see this at the top of this post), taken backstage at the Mostly Jazz festival last summer.

"Robert had just flown in from the USA and was very tired, but he still had enough fun left in him to pick up a jug of flowers and hold it up whilst gesturing with one finger that there is only one Plant."  

"Roisin Murphy (ex Moloko) will always have wallspace in my home, but my favourite shot of her was taken on Moloko’s final tour, by my daughter Laura with a happy snaps camera and shows Roisin jumping on my back."

Links: 
Shakeypix
George Barnett website  

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