I work across the following areas of management:

• offers & engagements
• memberships
• payments
• private hires (Rory is still leading on public promotions)
• as an ongoing project, developing the Red & Black Arts Network (online database)

I realise that the issue of memberships requires some clarification, and it is worth being clear on this.

Everyone copied in on my email is a first member of this production (I'm currently tying up loose ends with a couple of members), having signed the release in April. I'm sorry that it is taken so long to provide membership certificates.

As we are not technically acting as an employer, we cannot use membership 'contracts' as such. This is why we are using 'certificates' as they are effectively casual, written agreements, which, unlike engagements (contracted on a freelance basis), are not contractually binding, i.e., they work in the same way as offers, where you are free to choose.

In theory, they outline my parameters / expectations which will hopefully be useful and informative. In practice, you are all busy freelancers, some of you working with multiple productions, so it is also an opportunity for you to stipulate your own preferences regarding your availability and / or membership within this particular production. 

I will continue to send and contract offers and engagements, so any availability and / or membership issues must go through me. For certain members, I need to know in advance any unavailability for periods of 14 days or more.

Rory will continue to produce engagements (subsequent to a gig confirmation) including devising arrangements / programmes, organising rehearsals and acting as an on-the-day liaison, as well as doing auditions, but in terms of bookings, I am responsible for all O&E.

Meanwhile, T&C (supplier) can be found here: www.redandblackmusic.co.uk/suppliers.html

My email address: redandblackevents@icloud.com

Let me know if you have any questions.

I look forward to meeting you soon.

Thanks,

Jo

​In July 2013, Jo was involved in a dispute with a female vocalist who was refusing to participate in an engagement she had contractually agreed to attend. The vocalist in question, who had put herself forward for the band initially, decided to leave the band as a result, although agreed to participate in her remaining contracted engagements.

This case study explores how an unverifiable breach of artist contract can have knock on effects and create an unhappy client situation, and, in the worst case scenario, a potential implied breach (as explained by Musicians Union).
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1. In April 2013, Alejandro suggested that this could be an opportunity to invite Chikako to see the gig. Chikako came to see the gig and booked the band on the strength of their performance.
2. In July 2013, Alejandro withdrew from an engagement. Because his acceptance of the engagement was quoted verbally and not confirmed in writing, the company were unable to evidence a breach of contract and enforce the contract, which resulted in a negative client situation.
3. Henceforth, a policy was put in place that all communications must be made in writing.​