Judging by the choc-a-bloc weekend of illuminating – and often entertaining – discussion and fiery debate on the issues facing the music industry that occurred within its walls, the Music Show Red Room was aptly named.

Upstairs in the RDS, overlooking the stands and the musical excitement of the floor below, it was the place to be if you wanted to hear some of the biggest names and most recognisable faces in the business wax lyrical on everything from live music, radio, production and dance to activism in music.
There was much informative discussion – but by weekend’s end, we’d also had a few memorable songs in the room as well. The Music Show-goers came in their droves, with seminars attracting lengthy queues and many people settling for a chance to watch it all unfold on the screens outside. It was that kind of weekend – packed with intensity and a desire to listen and learn.
As ever, the digital revolution featured frequently in debates, and the black shadow of illegal downloading weighed heavy over the two days. With that in mind, there were panels that took on a distinctly political hue. The Saturday launch of The Artists’ Charter set the tone with an impressive display of solidarity among Ireland’s leading musicians, including Barry Devlin of Horslips, Steve Wall and Bressie, who was impressively forthright. That and the visit from Minister Sherlock stood out in this respect (See Frontlines for more), whilst one shining, hopeful spot was the Sunday appearance and address from President Michael D. Higgins (see panel).
But it wasn’t all political – for the majority of the time, the focus was chiefly on the music.
On Saturday morning, things kicked off, fittingly, with two talks aimed squarely at the students in attendance. Roisin Dwyer led the inaugural discussion ‘So You Want To Write About Music?’, questioning such esteemed journos as Ronan McGreevy (Irish Times), Nick Kelly (Irish Independent), Shilpa Ganatra (Irish Star) and Hot Press’ writer-at-large Olaf Tyaransen, who inevitably provided the youth with the best anecdote of the talk, recalling his dealings with Courtney Love and the ‘Courtney And Kate Moss Lesbian Fling’ international headlines that stemmed from it.
Informative and entertaining, just how we like it. Olaf might not have bothered with third-level education but in today’s crowded market it can be invaluable in getting into the industry. That was what the next seminar focused on, bringing in representatives from centres of musical learning and excellence like Ballyfermot Rock School, Dún Laoghaire College of Further Education, BIMM Dublin and Limerick Institute of Technology.
As the clock struck noon, we had the launch of The Artists’ Charter, a global initiative that could really make a difference, before Minister Sean Sherlock stopped by to talk policies.
Official dealings complete, it was time for the dance panel.
Moderated by broadcaster and punk frontman John Robb, in-demand Irish DJ Mo Kelly, legendary production figures Arthur Baker and Jon Carter and emerging Irish rap sensation Lethal Dialect were on hand to discuss whether or not the genre is still a separate art. Baker in particular is an excellent yarn-spinner, and the crowd lapped up his stories and insights.
The live music panel buzzed from the start. As record sales fall and gigs continue to sell out left, right and centre, touring has become more and more important year on year. In many cases, it’s how many bands now earn their living. Naturally a panel named ‘Live Music Will Save Us All – Or Will It?’ drew some influential people.
Pop impresario and X Factor judge Louis Walsh was typically forthright in his views, making his by now almost annual argument that Irish artists don’t get enough indigenous radio airplay, labelling Jedward unself-consciously as a “commodity” and making a controversial claim about Kylie Minogue that provoked gasps from the audience. “She doesn’t even sing live anymore,” Louis insisted. He was more positive about Irish artists abroad (“they always seemed to charm people in the UK”), Ed Sheeran (“a classic example of learning his craft”) and Adele.
Seated alongside him was renowned promoter John Giddings, who contrarily argued that, for him, Adele is “not an artist” due to her reluctance to tour. The man behind recreating the legendary Isle of Wight Festival and a promoter for the likes of Madonna, The Rolling Stones and David Bowie, as well as agent for Westlife, the live arena is where he feels the real art happens. Unfortunately, he also revealed that we are unlikely to see Bowie conjure up some magic on a stage anytime soon, but he did let slip that bigger and bigger offers come their way with every passing year.
Clearly not a man to be outshone, Dubliner Tom Kenny, one of the most respected lighting designers around, was also present to tell us about being caught in the crossfire of Beyoncé and Lady Gaga’s VMA competitiveness last year (lucky sod), lighting Adele at the same ceremony and her ties to Dublin, as well as his experiences as creative consultant for The Who’s mammoth half-time Super Bowl show back in 2010.
There was a bit of drama during the questions from the floor, with a midlands promoter accusing Louis Walsh of hogging the airwaves with his bands, an accusation that seemed very odd given Walsh’s consistent complaints over the past few years that his artists get little or no support from Irish radio. Caroline Downey Desmond, meanwhile, was definitive in dismissing any suggestion that the secondary ticketing market was operated here by promoters. “That doesn’t happen in Ireland,” she said very directly, in response to a question.
Record producers have been among the most distinguished visitors to The Music Show over the years and 2012 was no exception. Chief amongst them were Steve Levine, the current Chairman of the Music Producers’ Guild, who regaled us all with tales of first recording The Clash and Ben Hillier, who has worked with Depeche Mode, Blur and Elbow as well as Cathy Davey and Villagers. “I embrace technology,” Levine said, “and always have done.” For his part, Hillier decried the fact that nowadays there is “too much digital editing in studios” – simply, as he put it, to aid “lazy indie bands” who don’t put the effort in to get it right. He also argued that, “all the producer does is take responsibility for finishing the record.” It was a hugely informative, sometimes technical but always entertaining discuussion.
Sunday opened in grander fashion, with an address from the President and a discussion on ‘Activism In Music’. One of the reliable crowd-pullers at The Music Show is a panel on radio, and this year the title was relatively provocative: ‘Irish Radio Stations Have No Obligation to Play Irish Music. Discuss’.
“I would love to be the guy who finds the next U2,” said Mark Cunning, assistant programme director and head of music for iRadio. “I would love to be the guy to find the next ‘Teenage Kicks’.
“We have to play Rihanna,” he added. “I would much rather play Bipolar Empire and The Kanyu Tree.”
Phantom 105.2’s Michelle Doherty gave a strong account of the station’s commitment to Irish music and, as ever, Ian Wilson of RTÉ 2fm delivered his message straight, arguing against the post-colonial inferiority complex implicit in the extent to which Irish media – including radio stations and pointedly NOT excluding RTÉ – constantly look to the UK for their lead.
The penultimate panel dealt with the impact of music in film and TV. Ken McHugh of Autamata and I’m Your Vinyl gave the artists’ perspective, while James Hyman spoke of his groundbreaking days at the frontier of MTV’s dance coverage as well as his current work as a Music Consultant for numerous high-profile films. Shinawill’s Larry Bass – the man behind TV3’s The Apprentice and RTE’s The Voice Of Ireland – took some hard questions from the floor, but dealt with them matter-of-factly, explaining the raison d’etre of commercial television. “I make bums-on-seats TV,” he said. “I don’t care about critics. I care about ratings.”
Differing opinions and contentious issues still swirling around in the head, the perfect way to cap off the weekend in The Red Room was to return to the songs themselves, which everyone surely agrees is the most important thing. There was a packed house again, and dozens watching the monitors outside, as Brian Kennedy led those assembled in an a cappella version of ‘You Raise Me Up’ before its writer Brendan Graham discussed the art form, in a presentation he had humorously dubbed “Effin Songs”. Ultimately, he made the point that inspiration is a precious thing and that, where the great songs are concerned, he doesn’t so much write the song as it seeks him out. A performance by Eimear Quinn, backed by Robbie Overson, of another of his songs was followed by a wide-ranging discussion on what it is that makes a song great.
There was a very high level of eloquence on show across the panel, with Eddi Reader – a wonderful force of nature – showing what a brilliant communicator she is, Brian Kennedy speaking with great intelligence about what he looks for in a song, Eimear Quinn offering some heartfelt comments, and Thomas Walsh mixing the banter and the insights in equal measure to impressive effect.
All in all, as events at the panels over the weekend confirmed, it’s good to talk. Anyone who spent any time at all in The Red Room over the two days will have gone away a lot wiser. As it indeed should be...