The Cadre + 10 February 1998

Money behind the music A fan's point of view

The East Coast Music

\ wards have become a major

event inthe industry. Massive

media attention, a nationally

vadcasted gala, and ex-

tended showcases have made

ne of the top music festivals

1 Canada. But not everyone

happy with what they’ve pecome.

Robert Cohn, founder of

e organization, quit over the weekend in disgust. He was juoted as saying that the event would be better off “self-de- structing” and starting from ‘cratch. At different times juring the weekend, dozens of the reporters present com- sinedattiealiies, Homyecol :pproach that this year’s event had taken.

At times, I wasn’t terri- bly impressed myself.

It was very hard to get a press pass to cover the awards. When the media coordinator found out that I represented a

mall-town univeristy, she ba- ically brushed us off, being more concerned with “dailies. | was often asked to give prec- edence to larger, national newspapers, even though they had very little to do with get- ting the ‘stars’ recognized in the first place.

More than once I found myself more concerned with running around, trying tocatch some big name, instead of sit- ting back and listening to the music the event was designed to celebrate. What brought me back down to Earth was a commemnapiont hed wie yeees lady from Pictou, Nova ia.

Heidi Campbell is the member of a newly-formed alternative band called 5 to 9. | met her after she snuck in to another ‘let’ s-get-the-media- drunk-so-they-feel-loved’ re- ception. Word-for-word, here is what she had to say. If any of you are hopeful musicians, take notes.

“I believe that alot of the industry that is here in Halifax right now have lost sight of the most important thing — that the players are here to show- those guys out there, sweating it out on the stage,

are really excited to see scouts and industry people interested in watching them. The fact that nobody is jammin to the tunes, or getting into the music makes me feel sad.

You know, if alot of the people who aren’t going to be picked up saw people getting into the tunes or enjoying their shows, they’d probably keep on going. If they come here and people aren’t into the mu- sic itself, it can be a real let down and a set back.

Sure, money has a lot to do with the ECMAs. It’s an expensive show to put on, and

the industry ledon’t want tosign people who are goin to lose money on their label. But at the same time, if you ask everybody here why they chose to pursue their career, they would tell you its for the love of the music. In the end, though, the musicians seem to forget that when it comes down to thealmighty dollar. Hopefully, some of these bands will make it and get the money, but I don’t think that’s why any of these bands get involved in the first place.

Last night I was at a bar and talking to a few of the industry people. | went up to them and said ‘You are all standing here with you hands across your chests. In a cou- ple of , I'm going to be one of you. I may not make alot of money, and I may not be famous, but I’m going to have alot of fun. You're in Halifax! This is a great city to party! You don’t come and stand here against the wall. | don’t care how big you are,

ou gotta have fun. it has to be or love of what you are doing, or it’s not worth itat all.’

Take Sarah MacLachlan, forexample. She ee really ed up to her, be- cause she started out as a Halifax girl who was mis- guided and now she’s doing really well for herself. | un- derstand that she's in Japan, and on tour; but if it wasn’t for the fans that liked her in her hometown, and if it wasn’t for people like me who bought her

first album saying ‘Listen, you gotta hear this song,’ she wouldn’t have had the success she has now.

I think that alot of people forget that. She should have played a solo gig at the Metro Centre or somewhere close where her fans could have seen it. It would what, cost her $100,000 to take the time off. It sounds like alot of money, but it’s really a small propor- tion of her income for the tour. It’s especially small when you realize she wouldn't have any if it wasn’t for us.

It’s a Maritime thing. This is about East Coast mu- sic. We're not in L.A. We're not supposed to shmooze and suck up to people. We're sup- posed to have fun. This is about the people who listen to he music and the people who play the music. There’s so many things already out there for the ‘big names.” It's the people who need the recogni- tion who should be focused in the showcase. And who shares ee. All the little people who don’t get to come to these events, who have to sneak in past the doorman like me.

Here’s one. I met a guy the other night who was in- volved with the group Sand- box, and was really impressed with himself. I'm sure he’s

at what he does, but that

thing I hear about Sandbox on the news was how much in debt they were after making two hit singles and a pretty good album.

The fact that there in debt, and that people have been tak- ing advantage of small bands like them that aren't used to making any money atall makes me upset. Industry people shouldn't be so eager to take money from people. It shouldnt cost forty Sobers to go see a live show. It’s not about buying a CD, that’s not what music is about. It’s about individuals who them- selves, with music, to an audi- ence who wants to listen and appreciate them. That's where music all started.”

Well said, Heidi. And i Sarah ever comes home, I'll let her know you're pissed.

Natalie MacMaster and Bonhomme LeBlanc

— —

“Flip Flop, and Fly”-Blues’till I die

Heidi Campbell- Sto9