Network n' Chill is an events and promotion platform that creates inclusive safe space for people to network, meet musicians and music industry professionals from all backgrounds.
Future Network n' Chill events...
Network n' Chill
If you want to form a band or are looking for band members, come to Network n’ Chill on 28th of April at 5 pm. The goal is to create at least 3 bands on the day.
Target audience: Students who are in a band or are looking for band members.
Are you a metalhead who loves chatting to like minded metalheads? The Heavy Metal Sessions have been so successful that we are now having the event every Monday as we wanted to have more opportunities to chat with each other and a weekly catch-up about everyone's work. It's great to network and we are slowly growing as a community too!
It starts at 5PM and finishes when the conversation ends, If you feel addressed, come and join the mosh pit \m/ .
The MC's Lounge
In this month's MC's Lounge, we are having Kung Tut (Marwan Elbergamy) and Smash (Ashwin Seegobin) as guests who will listen to your track and give constructive feedback.
Join us on the 11th and 13th of May at 5pm - Bring your tracks, bars and music video for Industry A&R Feedback!
The first two episodes of Season 2 of the Met Blue Podcast are now available! During series 2 we'll be featuring guests such as Jon Dunn of Parallel Lines and Ben from Ben's Records. Let us know who you'd like us to interview next!
Contact us at: firstname.lastname@example.org
Check out the latest editions of the podcast here:
An update from Ieuan Sanders the Radio Society Lead
At the radio society we have exciting news for you! We’ve been recording episodes of ‘Track by Track’ and our very first video live session both of which will be released this month. All this is available over at the societies canvas page and Instagram.
We are also continuing our monthly playlist showcasing the best new releases of ACM students and alumni
As always get involved over at the Instagram and Facebook group, email us or send us a DM we’d love to hear from you. We hope you enjoy what we have in store for you this month.
A farewell interview with Business Lecturer Dave Cronen
Interviewed by Aaron Teague
From working in a record shop, to directing entire record labels, Dave Cronen has done it all. His Motto, “The harder I work, the luckier I get” will echo through our minds and hearts, as Dave begins his next chapter in life, Post-ACM.
Why are you leaving our community at ACM and what has your time here taught you?
I’ve been at ACM for four years; I think it’s time to move on and try and work on an idea that blends academia and the music industry, to give new entrance to the industry, more opportunities and support, especially mentorship. This will hopefully start later on this year and I sincerely hope to have a connection still with ACM and hopefully help some of the students who are entering the industry with the beginning of their journey.
Ironically, my time here has taught me how to run a business! I wasn’t really doing that well before, which is why I probably came into higher education. It’s made me have a better overview of the industry and things like blogs and websites like Music Business Worldwide and CMU, I didn’t really go anywhere near. I wasn’t really that active with the MMF either. I’ve also learnt a lot from my colleagues, fellow lecturers like Patrick, Rachel and Matt Russell - Previous lecturers as well: Mike McNally was a big inspiration to me. I’ve learnt a lot from the students as well; the way they approach things, the music that they’re listening to and everything In general really. I’ve learnt a lot about my career and about myself as well.
You're known for your emphasis on the importance of grassroots venues, small businesses and entrepreneurs in the industry; so we ask you, as the new music industry, how should we be asking people to treat us in 2021 and beyond?
The simple answer to that is to be treated on an equal basis and on the level playing field so that people aren’t judging you. I don’t like the way in the industry and sometimes in academia as well, when people look down on other people. My mantra while working at ACM has always been that I don’t teach students - it’s always been that I’ve worked with students: we’re colleagues together. I think that’s something that can be taken forward to the music industry.
One bit of advice, is that students know a lot more than they think they know when they’re put into an industry environment. Remember that, when you’re networking or attending MIDEM or The Great Escape, there’s a very good chance that you know more about the industry than some of the people that you’re talking to - so take confidence and hope from that.
Many of us know you for where you are now in your career, but how and when did it all start for you?
I left school in 1984 and I went straight into working at a record shop in Portsmouth for three years, which was the best fun of my life. We worked in a really cool record store and I got to learn a lot about music - and everything else! Fortunately, in 1987, Rough Trade came along and offered me a job doing telesales. I moved about a little bit for a while; I was meant to move to Norwich, I moved to the Midlands, then, as I worked my way up, I moved down to London to the Collier Street branch of Rough Trade, where from ‘87 through to ‘89 I became Key Accounts Manager and Sales Manager - I was the director of Rough Trade when it went bust in 1991. I left Rough Trade in ‘92 or ‘93 and started to do international distribution and licensing. I worked over in Brussels for a couple of years before moving back to the UK, where I worked for Grand Royal with The Beastie Boys. I worked in London, LA and New York for the band and travelled with them a lot on their Hello Nasty tour. When that came to and end I ran the label for them as well, then in 2003, I started my own management company called Trust management, which ran up until I started working at ACM in late 2017.
What made you make the transition to becoming an artist manager? Did you get it right first time?
It was actually on the advice of Mike D from The Beastie Boys when I stopped working at Grand Royal. He recommended that I go into management because every time we had a label meeting, I took the side of the band more than the label, so he said it was a natural path for me. I took that bit of advice onboard and thought it was sound advice.
No. I didn’t get it right thirteen years later, let alone the first time. Like everyone, I made mistakes; worked with some great bands, worked with some bands that it didn’t really work out for but I learnt from it. I had a lot of success, worked hard, travelled a lot and got to meet amazing people all around the world - but it was the hunger to work hard and learn all the time that drove me on the management side.
The first band I managed, I managed for a year and it didn’t really go anywhere - but very soon, we got an Ivor Novello Award winner artist, called Ian Archer, who’d just won the Ivor for Snow Patrol, which is when our management company started to get on people’s radar.
We all know you as Dave Cronen, our beloved Mentor, Colleague and Friend, But what are some of the other roles you have held in the industry over the years? Is there a favourite?
Behind the counter at the record shop is definitely one of the greatest roles I’ve had - refusing to sell Lionel Ritchie albums to people was good.
Label manager for Grand Royal was really good fun. I was the international manager for a company called PIAS in Brussels and I did a lot of licensing around the world for that which I really enjoyed.
I’ve really enjoyed management too. Working at Rough Trade was also amazing because we were having number one singles and albums: I was a cocky 21/22 year old at the time, going into war trying to get 100,000 records shipped for a KLF single.
I’ve been very fortunate to have many roles and I’ve enjoyed them all but at some point, when you stop learning, you just want to move on and learn something else.
What was it like managing Johnny Marr? Did your working relationship with him influence your love of the Manchester Band era in any sense?
I always liked the ‘Manc’ scene, even before I was working with Johnny. It was great managing Johnny. We were friends for a long time and then, unfortunately, his (then) current manager got diagnosed with a terminal illness. His name was Joe Moss. Joe was the guy who inspired Johnny to go and knock on Morrissey's door to start The Smiths up, so Joe was a legend, so to work with him up until his death was an honour. It was a privilege to work with him.
Working with Johnny after Joe's death was an honour too - it was hard work but it was really good fun. I think we achieved a lot. We had a couple of top ten albums, travelled the world… Johnny wrote a biography (Set The Boy Free) that I worked with him on; we had to do the press and promo for it all around the world. I learnt a lot from Johnny. Some of my ideas made it through, though, I’ve always said that I represent artists rather than manage them, so I never really went to Johnny with many ideas but the ones that I did: we did a Record Store Day cover of Depeche modes - I Feel You which was my idea, the live album Adrenalin Baby was my idea… many, many, many years ago I planted the seed of doing a biography which eventually came together when I was working with him. I also persuaded Johnny to do the Queen Is Dead Box-set, which was the first time that unreleased Smiths material had come together. That was done on a run in December 2016.
I’ve always loved Manchester bands. Anything on Factory Records… some more obscure ones as well. We used to work with the Inspiral Carpets, New Fast Automatic Daffodils… we nearly signed Doves to Grand Royal, and Doves are one of my favourite bands of all time.
With an impressive career, spanning several decades, yet always remaining relevant, what is something you have noticed that always remains a constant key to success, across the ever-changing landscape that is the Music Industry?
A really good work ethic. Focusing. Have fun - but focus all the time. You see that with a lot of musicians. I used to divide musicians into two sides: one being the people who were there for the rock and roll and the ego… the other side, we used to call them ‘Lifers’... where, someone like Johnny, someone like Tim Wheeler from Ash, Ian Archer… when they get up in the morning, as soon as they’re up, they’re doing something musical; whether they’re writing a song or producing, or working on an idea - and it’s having that business ethic and work ethic of sticking to it.
That’s the one consistent I’ve seen across the years and I think it’s a really important thing.
I say this a lot, but the mantra “the harder I work, the luckier I get”, really rings true in my own career and in a lot of peoples careers.
What's next for you post-ACM?
I’m managing again. So, I’m managing Wesley Gonzalez, who’s signed to Moshi Moshi Records, I’m managing Mush, who are signed to Memphis Industries - and I’ve just recently started, with my partner Claire, managing a band called The Bug Club from Welsh-Wales in Cardiff, who are signed to Bingo Records.
So, I’m managing three bands - but the main thing is the mentoring company that I’m trying to set up, which will be called The Joe Moss Agency, as part of Joes Legacy. As I said, he was the guy who persuaded Johnny to knock on Morrissey's door - and he managed The Smiths for most of their turbulent career. So the company is in honour of him, really - and it’s to mentor young managers coming through to the industry.
The reason I mentioned Joe in it is because I don’t want it to be ‘London-centric’; I want to mentor people from all over the country.
The Joe Moss Agency is something I’ll be launching hopefully around September time.
On behalf of everyone at ACM and Metropolis Blue, we all will sincerely miss having you around. The energy, wisdom, and humour you bring to any situation always captivates, motivates, and keeps us on track when things get rough. To all of us, is there anything you'd like to say, as an ending note?
I’ve loved it.
I’ll be working with Met-Blue people up until the end of the academic year and I love that.
Some people dip in and out, some people are there week-in-week-out - and I love that. I think that Metropolis Blue is a really, really great tool for ACM to have. On my request, Kainne has gracefully allowed me to continue with Met-Blue until the end of the year - because I think we’ve got something really special going here. We’ve got a functional record label, where we’ve got two releases out plenty more on the way. We’ve got engagement teams, students having weekly meetings, talking about marketing and branding, A&R and everything that comes with it - and I love that and I’m proud to be a part of that.
We’ve had a few attempts of Metropolis Blue and at first we didn’t get it right - but now, I think we’ve really got it right. I think Jamie Hayes is key to this because he’s held it all together. He’s extremely diligent and his communication is excellent.
I’d like to say thank you to all the students. The students have kept me here at ACM over the past four years. The interaction with them: the ones that I teach on the business pathway, the ones that I’ve met from other pathways through Metropolis Blue, networking events or through tutorials - I’ve thoroughly enjoyed it. People don’t realise how inspired I’ve been from the students, so I just want to make that clear.
Anyone who gets to read this, whether it’s Kainne (who I’ve got a lot of respect for and who has always looked after me for the four years that I’ve been here), my colleagues, lecturers and to all the students alike, I can’t thank them all enough for everything that they’ve done to support me.
I got dumped into my first three-hour lecture, with no preparation in January 2017 and I’ve come on a lot, to the point where I’ve been able to do lectures in front of 250 students in the Electric Theatre. I’ve learnt a lot. I’ve had to try and teach myself how to be a good lecturer - and I think I have been a good lecturer. I think I could have been a lot better if it hadn’t been for COVID - but I’ve thoroughly enjoyed it.
April's Student Council Representative Interview with Paulo Camaddo
Tell us a bit about yourself?
I'm Paulo, a second year music business student, senior rep and I run a student events project called Network n' Chill.
Tell us more about your career ambitions and what you’ve got going on alongside your studies
You never know, but I want Network n' Chill to be an events company that will allow me to earn money and live out of music. I would also like to provide financial support to artists, friends and people who have helped me along the way.
Alongside my studies, I run Network n’ Chill and manage 3 artist: Ruby Robinson, Morgane Matteuzzi and Sound Junkeyz.
Why did you join the student council and what does it mean to you?
I joined the student council because I wanted to meet new people and know what was going on in ACM. I also wanted to know more about the other pathways and their realities. Every student voice deserves to be listened to, heard and taken into consideration. I think it's an important role that the council should do and strive for. To me that is very important"
Would you like to have your new release reviewed or featured?
We are aiming to review several new releases every month! These will be non-biased and honest reviews aiming to be constructive, and critical whilst also celebrating the talent ACM has to offer and giving you the opportunity to promote to a wider audience.
If you’re interested, please send a link to your track and a short bio to the email below and we’ll get back to you!
The next issue of The Student Newsletter will be available on the 28th of May!
We really appreciate your feedback, let us know what you think! and if you have an ideas or would like to be featured get in touch at:
Or let us know through the google form attached:
Thank you so much for reading! - The Student Council Newsletter Team
Written and Edited by: Olivia McQuillan