ADE - Paul Hamill's Diary...

Post categories:

ATL | 14:47 UK time, Tuesday, 26 October 2010

ADE Banner


Amsterdam Dance Event celebrates it's 15th Anniversary this year and for five days Amsterdam became the focus of the international dance community who descended on the city for ADE's unique blend of conference meets festival.

Thousands of DJs, promoters, labels, producers, A&R guys from all over the world went to do business, increase their networks and check out some of the hundreds of shows and music industry panel event taking place.

ATL Dance Show presenter Paul Hamill (one half of renowned electronic duo Psycatron) was over for the event and thankfully remembered to send a few postcards back to home base about what was going on.


Read the rest of this entry

Phil Kieran In A Cocoon

Post categories:

Paul Hamill | 16:27 UK time, Tuesday, 19 May 2009

So Phil Kieran is about to release his long-awaited debut solo album on one of the world's biggest techno labels Cocoon Records this summer. Arguably one of the most important releases from an Irish electronic artist over the past few years, the album itself is set to feature notable contributions from Ros Moon Unit and Jack Hamill aka RL/VL among others.


Having only delivered the album to the label less than a fortnight ago, Phil was tasked with the assignment of performing it for the very first time, live at the legendary Cocoon club in Frankfurt on Friday night past. The usual route for this kind of album preview is to play it before a select handful of people in a tiny little club to give yourself the opportunity of making some final tweaks, just in case it doesn't pan out as expected, but Phil decided otherwise and had the added pressure of sharing the stage with Cocoon label boss and club owner Sven Vath, who thankfully appeared to be lapping it up.


Pulling together a set made up of entirely new material alongside a selection of his biggest tracks I Am A Monster, Skyhook and that Dancing Bears remix, it had all the trademarks of a classic Phil Kieran live set -  it was a little bit weird, a little bit twisted but ultimately tore the roof off.

I joined Phil in Frankfurt on Friday night armed only with a tiny little webcam, with the intention of capturing some of the reaction to his first live set in almost 10 years...

Flash plug-in required to view ATL video clips
in the BBC Embedded Media Player

Twitter To Become Musical Royalty?

Post categories:

Paul Hamill | 17:45 UK time, Friday, 1 May 2009

So Richie Hawtin has announced he's now using Twitter to broadcast real-time playlists from his live shows using a plug-in developed for the Traktor Digital DJ software. The detractors will render it nothing more than a gimmick, but when you think about it, this has the potential to completely revolutionize how the music industry and DJs work together in the future.

In every city, town, village around the world DJs are playing music in clubs and bars. For the most part they are playing other peoples records, whether it be chart music or obscure underground electronica.

If they play the new Snow Patrol single, Snow Patrol have to get paid for that play. If they play the new Boxcutter single, Boxcutter has to get paid also. While the majority of reputable venues pay a PRS licence each year to cover live music and music performed by DJs, the size of the fee is determined mainly by the size of their venue, but no real reporting of the music played at each venue takes place, so royalty distribution becomes a wishy-washy affair with very little in the way of robust data to go on and the bigger artists get the biggest slice, with very little filtering through to smaller acts.

In an ideal world, every DJ would compile a playlist at the end of each set and post that off to PRS who would then log the plays of each individual record and dish out some royalties accordingly. It's never really going to happen though is it? In radio land, every single track is logged and sent through, which is great if you are Snow Patrol, but not so great if you are Boxcutter who would have very limited radio exposure.

The majority of underground electronica never makes it on to the radio, that doesn't mean to say people aren't buying it or playing it, but if PRS don't know people are playing it then how will the artists collect their royalties? Boxcutter will be played in clubs all over the world, but in terms of royalties, he'll make very little from these plays as PRS have no record it.

This is where the Twitter/Traktor collaboration has the potential to do what has never been done before, by collecting rock-solid data on the tracks which are being playing in clubs and bars all over the world. Not only that, but they can be distributed more accurately than they have in the past which was very hit and miss. It makes sense that if Richie Hawtin plays a certain tune at a string of gigs to a collective audience of say 50000 people that the artist who made that track should be compensated in proportion to the amount of exposure he's had, conversely if Richie played the same track to only 50 people at a gig, the artist would still get paid, but a lot less.

How difficult can it now be for PRS to now set up a Twitter account and start following every DJ on the planet who is blogging their fully automated real-time tracklistings, process this data and pay out accordingly? When you think about it, Twitter have inadvertantly saved the likes of PRS the huge costs they would have incurred setting up their own bespoke system and have handed them the perfect application to allow for a fairer more robust means of doing business in the fure.

The best ideas are always the simple ones, and this one would appear to be as simple as it gets.

All posts in the category: Hamill

More from this blog...

Latest contributors

BBC © 2014 The BBC is not responsible for the content of external sites. Read more.

This page is best viewed in an up-to-date web browser with style sheets (CSS) enabled. While you will be able to view the content of this page in your current browser, you will not be able to get the full visual experience. Please consider upgrading your browser software or enabling style sheets (CSS) if you are able to do so.