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Output Belfast 2020: Music Conference Roundup

 
By on Wednesday, 19th February 2020 at 11:00 am
 

For years, I had truly meant to visit Northern Ireland and specifically for Output Belfast. But it never quite worked out previously. Part of it had to do with the amount of previewing I would be doing here at TGTF for SXSW a month later, whether I was doing the work alone or with a team of TGTF writers. It somehow felt irresponsible to take a trip across the pond to attend this right before the global event of the year in Austin. And since I’m bandying around the word ‘irresponsible’ in this article, then there probably should be a mention here about the fact that I have thrown all caution to the wind to pursue a longtime dream of mine, and I feel like I had good fortune that Output Belfast would be the first event I covered as I take a giant step forward towards that dream.

Belfast, as some of my longtime friends from the city ‘warned’ me, is not a large city. For a girl of the suburbs, this is perfectly fine, and to be honest, the location made my first time attending Output a breeze and a pleasure. It is certainly a music town, with a series of interesting music shops, big and small. To have the opportunity to see both Tim Wheeler of Ash and local artist Arborist performing in two of them on the same Saturday afternoon is pretty neat. And even though the capital of Northern Ireland might be considered small by its own denizens, Output Belfast is a well-attended conference. So well attended that I was thwarted in getting into the opening keynotes sessions that began the proceedings on Thursday because it was already full up when I arrived. After consuming a consoling gluten-free flapjack from the MAC coffee bar, I settled into “A Biased History of Music in Advertising”, a talk by Josh Rabinowitz of Brooklyn Music Experience.

As we think about the ubiquity of advertising and syncs in today’s world, it’s easy to forget that around 35 to 40 years ago, sampling of music for the purpose of mass market advertising was just not a thing. From British Airways using a Beastie Boys’ clip without permission to the Beatles’ Apple Records siccing their lawyers on Nike for using ‘Revolution’ to sell fancy trainers, there was a time when music use and advertising did not go hand in hand and to the artist’s benefit. It should also be noted that sync placement has led to awareness of and increased popularity for an artist, probably best exemplified by Australian rockers Jet and their song ‘Are You Gonna Be My Girl’, used to great effect in an Apple iPod commercial that I can still hear playing in my head. Rabinowitz says there’s a reason why so many artists want in on an Apple music promotion, and it’s because Apple do a great job in highlighting the right kind of music that fits into their campaigns.

In next session “Music PR in the 24-Hour News Cycle”, we learned from several PRs about what it takes to keep artists ‘in’ within a crowded business that, like New York City, never really sleeps. I think one of the most interesting takeaways was from Bee Adamic of Liberty PR, who do press for Northern Irish artists ROE and Beauty Sleep. Adamic said that it was important to her and her colleagues that they truly understood an artist they represented and the image that they wanted to put out to the world. In an industry where image is king, I can see where trying to play up a certain image to target a particular demographic can lead to the detriment of the artist’s work, and where the artist may lose him/herself in a chase for what may be the Holy Grail of images to some Prs and management. If we talk about younger artists and emerging talent, they are the most vulnerable (if you will) and malleable to image pressure.

In contrast, the “PRS Foundation Presents: Funding Opportunities in Northern Ireland in 2020” session was interesting in that it had representatives from PPL (Davy Wales) and Arts Council NI (Jo Wright) talking about their roles in helping local artists secure much needed funding and why such funding is so important. Maybe I should stop being so surprised, but after years of attending various events like this, it is still gobsmacking to me that there’s quite a few bands who aren’t aware they are eligible to apply for grants to get them where they need to go. This is not to say that grants are for everyone: you must prove to the funders that you are at a certain level of your career and that you’ve thought through how you would use the funding if awarded it. But half the battle appears to understanding what is available and how to go about requesting help.

TGTF is familiar with artist manager Declan Legge, as he manages Jealous of the Birds (Naomi Hamilton), and I’ve watched Naomi and her band move from strength to strength over the years, playing some of their best shows ever at SXSW 2019. Legge made several very useful comments to the artist-heavy crowd, including truly considering what level of funding you actually need at your current level instead of asking for the moon and the stars.

For a brief time early on at my tenure at TGTF, I tried my hand at song syncing, submitting my pitches to briefs that came my way. It isn’t easy to get a song placement and there are many reasons, including the sheer volume of responses to a brief, finicky and fickle clients and the ability of clear a track for use. So when I heard there would be a live demonstration of how successful sync professionals in the music business work at Output Belfast, I definitely wanted to be there.

What ensued over the hour was five of these folks, cans on ears, working furiously through wifi to come up with an appropriate track for an Orange Theory fitness club advert. The five people had different career backgrounds, and when we listened to their selections against the visual backdrop of the fitness club brief, it was just amazing to see how each of the selections worked and in their own way. It just goes to show that there are different approaches to placement: there is no set formula or ‘right way’ that works every time, which means us the listeners will continue to be surprised as new music and new adverts pop up.

The final conference session of Output Belfast occurred on Friday morning. Entitled the “Deezer Optimisation Session” with Adam Read of the streaming service, I learned quite a lot on what Deezer can do for artists. Perhaps because it was the first time I’ve really had someone explain to me how these services can help break an artist, but I was really impressed, especially with the stone-cold examples of how Deezer’s commitment in 2018 to leverage Lewis Capaldi and Sam Fender have led to their mega success in the UK and beyond. As an American, I am much more familiar with Spotify, though I may dip my toes into the Deezer pond and see if I may want to switch allegiances.

As is the case whenever industry professionals attend events like this, you never get to see everything and talk to everyone you want to. It was oft repeated by many who attended this year’s event that it could easily go into a second day next year to decrease the clashes and increase the knowledge sharing. Time will tell if Output will indeed expand. In any event, it was a job well done to the organisers, panelists and moderators, and sponsors, and Output Belfast proved definitely to be a worthy event to attend for artists, management or really anyone in the UK or Europe interested in learning some major keys into how to roll with the punches in this ever-evolving industry.

 

Preview: Output Belfast 2020 – The Conference

 
By on Monday, 20th January 2020 at 11:00 am
 

Last week, the full daytime schedule for the highly anticipated 2020 edition of Output Belfast was released. Taking place on the eve of Valentine’s Day, the daytime schedule for this annual event held in the capital of Northern Ireland is chock full of interesting speakers and useful sessions not just for those living in Northern Ireland, but for anyone involved in the music industry. I was kindly invited to this year’s proceedings, so I have come out of ‘retirement’ and am pleased to provide you the following outline on what I plan to sit in on while in attendance there.

The programming is bookended with two fantastic keynotes. The day will begin at 10 AM with The Music Industry in 2020 – Tracks, Trends, Opportunities, a three-person panel starring Paul Pacifico, Chief Executive of the Association of Independent Music (AIM); Beverley Whitrick, Strategic Director, Music Venues Trust; and Tom Kiehl, Acting Chief Executive of UK Music. Hang around for the whole day, because from 4 to 5 PM, things finish up with Blurred Lines – When Two Tunes Collide – Who Are You Going to Call?, the closing keynote led by musicologist Peter Oxendale and focussing on the big issue of music copyright infringement, plagiarism and litigation, which has become the one of the biggest elephants in the room in our industry since the dawn of the Internet.

The above paragraph should have convinced you that it’s worth it to stay at the MAC all day for Output. But what will you be doing in the intervening hours? In the 11.30 AM slot, you can learn about the key developments of music usage in the last 2 decades from former Director of Music at advertising firm Grey Josh Rabinowitz. This session, entitled A Biased History of Music in Advertising, will be hosted by Output Belfast’s own Mark Gordon. In the Irish Music Rights Association (IMRO) presentation How to Write a Hit moderated by Mary-Kate “May Kay” Geraghty (ex-Fight Like Apes), we’ll hear from Philip Magee, producer for two bands we love here at TGTF, Kodaline and The Script, and Ross Gautreau, A&R Director of Karma Artists. For some local flavour, attend Branded – Creating And So I Watch You From Afar’s Branding, which will see Rory Friers from the enduring Belfast instrumentalists and graphic designer Tim Farrell chat with Thomas Camblin of Rally. We will no doubt learn about that famous triangle that has become an important part of the band’s identity.

In the 12.40 PM ‘brown bag’ slot, two of the sessions focus squarely on the big bad “B” word of the music industry. Yes, folks, I mean business, and we’ve all heard the horror stories. In Music Industry Contract Essentials – Copyright and Monetising Your IP, lawyers Jonathan Tait (BTO Solicitors) and Pete Bott (Sound Advice Solicitors) will discuss contracts, copyright and music law with Score Draw Music’s Mary Johnston. While the the EU economic situation continues to be a tricky one with the uncertainty of the UK’s Brexit, there is some good news. The Creative Europe-presented Music Moves Europe – Accessing Funding will touch on the funding available to Northern Irish organisations and venues through the EU’s programme to support the cultural, creative and audiovisual sectors. This session will feature Rosie Le Garsmeur of Creative Europe Desk UK, Jess Partridge of In Stereo Group and Keychange and Paul Pacifico (AIM). NB: In the following time slot, there will be the similar but artist-directed Funding Opportunities in Northern Ireland in 2020, presented by PRS Foundation.

There’s more interesting sessions to be had post-lunch at Output Belfast. I had considered several times to start my own record label at TGTF, and the tips to come from The Joy of Running an Independent Label – How to Set Up and Grow Your Own would have come in handy. Rubyworks’ Ceri Dixon, Scruff of the Neck’s Mark Lippmann, and Pizza Pizza Records’ Joey Edwards will be sharing their own experiences in the trenches. And in a session I had never thought I’d see a music conference, there is a religion-themed talk in the form of Praise You – How Worship Music is Hitting the Mainstream. I was not aware that religious music had hit the mainstream, but Doug Ross of Stabal Music and singer/songwriters Lucy Grimble and Steph Macleod (singer/songwriter) will be convincing moderator Paul McNeilly of Fuel Events of this.

In the penultimate slot at 2.45 PM will be the How Did You Manage That? live podcast with Trevor Dietz, manager of Fontaines DC, introduced by Jane Stynes of Music Managers Forum and with moderators Ally McCrae of the BBC and Sophie Paluch of Pouch Music. As one of the most exciting exports from the island of Ireland in the last 12 months, I’m expecting this session to be filled to the gills. If you can’t get in, equally interesting and more likely helpful to an artist’s bottom line is the session entitled Anatomy of an Advertising Placement, where John McCallion (Music Supervisor at Warners Dublin), Dina Coughlan (Planet of Sound), Phil Jones (Park The Van Records and Manager of The Magic Numbers and Yeasayer), Francesca O’Connor (Champion Sound and Quiet Arch), and Mark Gordon (Score Draw Music and Output Belfast) will be put to the test live, given a brief for which they must place a track to the brief by the end of the session. In my early years as a music editor and journo, I tried my hand at some briefs like this. This sounds much easier than it really is. The session will be moderation by Josh Rabinowitz.

Sign up for this year’s edition of Output Belfast, the 13th of February, at the official website. There, you will also find the entire conference schedule. This daytime event will take place at the MAC, 10 Exchange Street, West, and the Oh Yeah Music Centre, 15-21 Gordon Street, Belfast. Information on the free music showcases are set to follow.

 

SXSW 2018: Tuesday morning brunch with Output Belfast and my first taste of this year’s music conference – 13th March 2018

 
By on Wednesday, 28th March 2018 at 11:00 am
 

Header photo: emcee and organiser Mark Gordon with Touts

Following my frenzied Monday night at SXSW 2018, I started off Tuesday at a slightly more relaxed pace, with my third visit to the Output Belfast Boat Party. The party consists of brunch on a boat, floating down the Colorado River, with entertainment provided by the some of the finest musicians Northern Ireland has to offer. While the brunch and the scenery are always pleasant for this affair, it’s really the high quality of the music that draws me in every year, and Output Belfast didn’t disappoint in 2018.

Lost Brothers internal 2

Following brief speeches by organiser and emcee Mark Gordon of Score Draw Music and Lord Mayor of Belfast Nuala MacAllister, the music began with folk duo The Lost Brothers, who had a hand in organising the inaugural Northern Irish boat party back in 2015. They were back in Austin this year with an excellent new record in tow, titled ‘Halfway Towards a Healing’. You can read editor Mary’s review of the album through here.The album was recorded in my adopted hometown of Tucson, and the distinct southwestern desert flavour of the new songs, along with The Lost Brothers’ yearning vocal harmonies, actually made me feel a bit homesick. Midway through their set, the Lost Brothers were joined by Austin musician Ragtime Willie, who had also appeared here back in 2015 and who added the bright tone color of resonator guitar to the muted sonic mix.

Joshua Burnside internal

After a brief stage break, 2017 Northern Irish Music Prize winner Joshua Burnside began his set. As our Adam McCourt reported in his review of the prize-winning album ‘Ephrata’, “the album seems to serve a pivotal point in Burnside’s career, transitioning him from indie folk to a strand of alt-folk that incorporates world music, found sounds, synths and subtle experimentations with techno.” Burnside’s eclectic sound was more rock oriented than I expected in this live performance, where he was accompanied by a brilliant band comprised of drums, bass, and trumpet alongside his own electric guitar.

Touts internal

Lest we in the audience be lulled to sleep as our boat ride drifted from morning into afternoon, the final act on the docket seemed deliberately designed to recharge and revitalise our senses. Derry punk-rock outfit Touts gave off a sullen demeanor that disguised their raw, frenetic energy, and they made more much more exuberant noise than might be expected on a polite brunch cruise. These lads are young and still relatively new on the scene, but in terms of unfiltered potential, I’d put them high on the list of acts to watch from SXSW 2018. Touts also appeared on the BBC Introducing showcase at Latitude 30 on Tuesday night; you can watch part of that performance just below.

After disembarking from the boat, Mary and I parted ways (you can read her Tuesday afternoon recap here), and I headed to the convention center to catch my first conference session of the week. In The Horseshoe: The Roots of Canadian Rock n’ Roll, author David McPherson shared his thoughts on celebrated Toronto music venue The Horseshoe, drawing from his recent book on the topic, titled ‘The Legendary Horseshoe Tavern: A Complete History’.

David McPherson

McPherson was joined by Horseshoe owner and concert promoter Jeff Cohen, who talked about the challenges of maintaining a high quality music venue in an age when so many mid-size venues, notably New York’s CBGB and The Bottom Line, have been forced to shut down. Cohen emphasised his focus on two main factors: his customers and the artists they come to see. Patrons are consistently drawn in by food, drink and the opportunity to interact with other music-loving patrons, while the artists are rewarded with a quality performance opportunity, including full crowds to play for each night. From the sounds of things, the Horseshoe is likely to be a mainstay in the Toronto live music scene for many years to come. If you find yourself in southeastern Canada for whatever reason, it might be worth your time to check the Horseshoe’s schedule of events–chances are one of your new favourite bands will be gracing its stage.

 

SXSW 2017: Tuesday morning and afternoon spent with Irish artists and an exceptional English band – 14th March 2017

 
By on Wednesday, 5th April 2017 at 5:00 pm
 

The Tuesday morning of SXSW 2017 found me out the door early, headed across the Colorado River to the Hyatt Regency Boat Dock, which the launching point for the Output Belfast Boat Party. The Boat Party, a collaborative event among several agencies including Generator NI and the Belfast City Council, is quickly becoming a Convergence tradition at SXSW, popular among attendees from across the Interactive, Film, and Music categories.

I was lucky to get onboard, as the boat quickly reached capacity. I had only just made my way to the upper deck when I was approached by one of the morning’s performers, electronic musician Ryan Vail. I recognised him from his press photos and felt a momentary panic, worried that I would be expected to say something intelligent about electronic music and drawing a complete blank. Fortunately, Vail was knowledgeable enough for both of us, and he kept the conversation afloat until the official festivities began.

Guy internal

The morning’s distinguished emcees included our friends Mark Gordon of Generator NI and Belfast city Alderman Guy Spence (pictured above), as well as Help Musicians UK CEO Richard Robinson. All three were cordial but brief in their remarks, wanting, like the rest of us, to get straight to the music performances. Vail took the stage, such as it was, first. Balancing his sensitive electronic equipment on the gently rocking riverboat was something of a challenge, but Vail managed it beautifully, setting a soft and mellow sonic atmosphere for the rest of the show.

Ryan Vail internal

Alt-rocker Jealous of the Birds (pictured in header above) returned to Austin this year after a successful debut at SXSW 2016, this time with her full band accompanying her. For this brief semi-acoustic riverboat set, she was joined only by keyboard player, Hannah McConnell who also provided lovely backing vocals. I found myself whistling along to the now familiar ‘Goji Berry Sunset’ and hanging intently on the literary-leaning lyrics of ‘Tonight I Feel Like Kafka’. You can check out another SXSW 2017 performance of both tracks, courtesy of NPR, right here.

Ciaran Lavery internal

Final performer Ciaran Lavery opened with an a capella take on ‘Let Bad In’ that had me in tears before he had even completed the full song, which made it a bit difficult to take photos. He acknowledged that his songs aren’t exactly upbeat “dance numbers”, but his richly-textured vocals and stark acoustic arrangements felt pleasantly warm and inviting in the early afternoon Texas sunshine.

After the boat party was complete, I took a few minutes to sit down with the three featured artists for this impromptu interview, then I headed quickly back downtown for another interview with a band from the Republic of Ireland, Dublin’s Picture This. I was few minutes late to reach them, but fortunately they were gracious enough to wait, and band members Jimmy Rainsford and Ryan Hennessy gave this fascinating introductory soundbite. They exuded confidence and swagger, which immediately struck me as unusual, but in a positive way, very different from the self-deprecating humility of so many artists I meet. I wouldn’t have the chance to hear Picture This play live until the Thursday afternoon of SXSW, but needless to say, my curiosity was piqued.

From there, it was back to the Radisson for me, where I had arranged an interview with Reading quartet Sundara Karma. They were fresh on the SXSW scene, having only arrived in Austin hours before, but they were chomping at the bit to immerse themselves in the experience. In contrast to Picture This, Sundara Karma seemed genuinely unaffected by the hype surrounding their SXSW appearance. Click here to listen back to my poolside chat with band members Oscar Pollock and Haydn Evans.

AS Fanning internal wide

Interviews complete for the afternoon, my next stop was at the Convention Center Next Stage, where I met Mary to catch Irish singer/songwriter A.S. Fanning. Later in the week, (in this interview) Fanning would describe the Convention Center vibe as more like a lecture hall than a proper gig, and I have to agree with his sentiment. The large stage and open seating area was almost too spacious for Fanning’s dark, intimate songwriting, but his captivating lyrics and resonant baritone vocals very quickly minimised the emotional distance between himself and his audience.

AS Fanning internal tall

Keep following TGTF’s continuing coverage of SXSW 2017 in the coming days for more on all of the excellent artists featured here: Ryan Vail on the grand piano at St. David’s Bethell Hall, A.S. Fanning and Picture This at Thursday’s Full Irish Breakfast, Ciaran Lavery at the Output Belfast day show, Sundara Karma at Stubb’s BBQ, and Jealous of the Birds on Saturday’s Music for Listeners showcase at El Sapo.

 

SXSW 2017 Interview: Ciaran Lavery, Jealous of the Birds, and Ryan Vail

 
By on Monday, 27th March 2017 at 1:00 pm
 

On the Tuesday morning of SXSW 2017, Output Belfast and Generator NI, along with the Belfast City Council, the Northern Ireland Department of Communities and Invest Northern Ireland, hosted The Boat Party 2017, a riverboat cruise and artist showcase set on Austin’s scenic Colorado River. The Northern Irish riverboat party has become something of an annual tradition since it began back at SXSW 2015, with two such shows in the same week. (If you missed it, you can read TGTF’s coverage of those events here and here.)

This year’s riverboat showcase featured brief live sets from three Northern Irish artists, singer/songwriter Ciaran Lavery, folk rocker Jealous of the Birds (aka Naomi Hamilton) and electronic musician and composer Ryan Vail. After the sunny riverboat cruise was complete, I took the opportunity to sit on the shady back patio of the Hyatt Regency Austin with all three artists to have a chat about the diversity of music coming out of Northern Ireland, the varying trajectories of their individual careers, and their experiences in Austin at SXSW. I’d never done an interview quite like this one, with several musicians all at once. But as you can hear below, the discussion moved along freely and easily, not at all unlike the placid flow of the Colorado River in the background behind us.

Many thanks to Ciaran, Naomi, and Ryan for agreeing to this impromptu roundtable discussion. Stay tuned to TGTF for further coverage of each of these artists at SXSW 2017.

Ryan Vail at Output Belfast Boat Party 2017

Jealous of the Birds at Output Belfast Boat Party 2017

Ciaran Lavery at Output Belfast Boat Party 2017

 

Output Belfast 2017 Music Conference and Showcase Roundup (Part 2)

 
By on Tuesday, 28th February 2017 at 2:00 pm
 

To read the first half of my roundup on Output Belfast 2017, click here.

Between the daytime seminars and the evening gigs was the perfect time to grab a bite, and head over to the Oh Yeah Centre for a drink and a chat. Networking is key at these events, so why not spark up some conversations and elaborate further on some of the points made throughout the day The speakers were done for the day, the bands were getting ready for the evening shows and everyone else had time to kill. If you found yourself at a loose end, you could have popped to a little room to the left of the front door to the Oh Yeah to catch a stripped back set from Beauty Sleep ahead of their gig at The Dirty Onion.

At 8 PM, the evening’s events kicked off, and with some truly amazing acts. Ryan Vail was one of the first to showcase his fantastic new bespoke live, audiovisual show, which he created in partner with Plume Studios, AVA Festival and Generator NI. Enclosed in what looked like a cage of coloured vertical lights, Vail stood alone on a backlit stage, casting a dark and ambient silhouette across the venue like a physical representation of Vail’s heavy and intricate music. A huge overhead screen projecting real-time outdoor scenes of forests and skies Plume Studios shot themselves, altogether creating an incredible performance made possible by a great network of contacts only found at Output.

The great thing about Output is the wide variety of eclectic artists they book each year. If Ryan Vail lighting up the MAC isn’t your thing, you could also catch theatre pop artist Sullivan & Gold at the Black Box Café, “decent folk” singer/songwriter Robyn G Shiels upstairs at the Duke of York, or indie rockers Junk Drawer at Voodoo. At any given time, there was always an incredible selection of artists to choose from, including some of this year’s SXSW artists New Portals, Silences and Jealous of the Birds. Belfast’s own Robocobra Quartet, another SXSW 2017 showcasing band, landed a play of their song ‘Correct’ on Daniel P. Carter’s rock show the following Sunday night, off the back of their show in at Output.

[youtube]https://www.youtube.com/watch?v=N-SfI3WC0iA[/youtube]

In the midst of running from venue to venue, trying to catch as many bands as possible, I managed to score some personal highlights, dark, electronic pop outfit Hiva Oa being one. They took the stage following Junk Drawer’s grungy, fuzz-infested rock and gave all that they had. Hiva Oa produced a huge sound consisting of tight drum grooves, experimental synths and melodic vocal melodies, which presented a interesting blend of electronica, hip-hop and alt indie that kept the crowd moving from start to finish. The band left their first single ‘A Great Height’ until the end of their set, which was close to shaking Voodoo to bits. Chris McCorry’s heavily distorted synth entered like an approaching stampede, before Christine Tubridy’s pounding drum groove acted like a pacemaker that could set everyone’s hearts to the same beat. Unfortunately, it was harder to make out Stephen Houlihan’s topline; however, as he swayed and stumbled around the stage, it all made for an equally engaging aesthetic performance.

Joshua Burnside was another highlight of the evening. I had caught him 2 weeks previously in Derry. when he played with a full band. His stripped-back set in Black Box Café was equally as astonishing, if not more as when I first seen him. Burnside beautifully serenaded a room filled with people with just his guitar and the exceptional Rachel Boyd on violin. Aside from the cheers between songs, the place was silent, which only added to the fragile atmosphere Burnside created with his songs. One song in particular that I felt hit home to a lot of people that night was the recent, unscheduled release of the politically-orientated ‘Red and White Blues’. Although it is a political song, it speaks from a deeper place relating to Burnside’s own upbringing and family history, with the idea that politics – particularly Irish right- and left-wing politics – is adversely affecting the way some people think and their freedom of speech and abstract thinking. When he performed this track at Output, he had complete attention of his audience, as if the whole conference’s attendees stopped to hear his words and melody. As he strummed the last chord, the room once again erupted in awe and approval. No matter what your views are, it is a beautiful song.

[youtube]https://www.youtube.com/watch?v=r14gjSvy8ZI[/youtube]

As it was my first year attending Output, I admit it was a little overwhelming. From the minute, you enter the MAC for registration, there is an awareness of being surrounded by top industry professionals. However, once I understood that everyone was there for the same reasons, mainly to network and grow their relationships within the industry, I felt a true sense of community. It helped that the importance of relationships and support in the community was often touched upon in many of the seminars, and in Bob Lefsetz’ case forced onto many of the attendees this year. For musicians/bands, PR and management companies, producers and even a few academics, Output Belfast is without a doubt the perfect place to be for anyone involved in the Northern Irish music industry.

Editor Mary Chang contributed to this report.

 
 
 

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