Employment agencies find work for work-seekers who are employed and paid by employers. This is often called ‘permanent employment’ because once the worker has been taken on, they’re an employee of the company they’re working for. However, different rules apply to entertainment and modelling.
Employment businesses engages a work-seeker under a contract who then works under the supervision of someone else. This is normally called ‘temporary agency work’ or ‘temping’.
Workers under these arrangements are paid by the business instead of the company they’re supplied to.
Employment agencies and businesses (HMRC)
Unfortunately, we’re not yet in a position where we can produce videos. This is due to the various legal and financial factors involved of hiring musicians and venues. We’ve seen it occur in the past that musicians and venues breach agreements, and it is more difficult to ensure that the video is of the required standard when there are so many risks at stake. However, we do plan to produce videos for all artists eventually once we have the necessary legal protections/insurances in place (but we’d rather ensure that the videos are a true representation of our quality rather than producing ones that don’t adequately reflect the lineup).
Apologies for the inconvenience caused. Please be assured we are on the case with this!
Delfina Strike #2
Delfina Strike #3
Empower the individual
Event Cancellation - 17/01/2016 - Soul Photos
Gap Studios West
Work Rate Studio
How to say “basically, we need/want to pay 100% in full to show that we’re committed to you and you’ve got to accept this payment as proof you’re going not going to bottle” without a serviceman walking away.
We’ve dealt with Giovanni before (see communications below); he seems non-committal and wouldn’t accept our booking before on the grounds that they would not cancel or not show up — even when we offered a “loaded” fee! Maybe there isn’t a way and we’ve just got to accept their terms… How would you get around this one?
What is Risk Factor?
A musician asked us why we don't produce music videos. The response was simple: "it's too much of a risk." After qualifying that statement by explaining the various logistical intricacies and recounting the horror stories of recent photo shoots and financial damages, the musician responded:
"But you trust us to turn up to gigs, don't you?"
To which the response was:
"Yes, because it's not my money on the table."
The bride booked a band of musicians to perform at her wedding and as far as she's concerned, she's getting a 6-piece lineup consisting of female lead vocals, male backing vocals doubling saxophone and flute, piano, bass, kit and congas. That's what was stipulated in the contract. That's what we've delivered. The bride doesn't know the musicians personally and she's not concerned about who is in the lineup. So, the "risk factor" decreases. What if it's a question of producing excellent promotional video material for an agent/promoter who wants to see the exact lineup as advertised in the publicity? What if it's a financial investment that's significantly closer to the creative vision of the investor? The "risk factor" increases. It's the dynamic between that closeness, that "trueness to form" aspect, vs. the value of the investment, which determines the "risk factor".
The term "risk factor" essentially equates to the amount of financial risk shouldered by a hirer/engager (whether it be an agent, promoter, manager, label or any other role that involves the hire/engagement of human personnel): in terms of how an arrangement/agreement is challenged by outside circumstances. It's a term we've adopted from promoters who book artists to perform at venues, a term used to gauge and quantify to which the artist makes back the venue hire/HR costs on attendance and ticket sales. In this context, it means musicians and technicians attending an event at an agreed time/place and delivering a service that they agreed to deliver. In this particular case, it means producing high-quality, sustainable promotional video material that justifies the venue hire/HR costs invested by the label.
Empower the individual
What a nightmare!
A case study in how not to book a band. Since it is fairly lengthy and drawn out, the threads have been broken down to highlight each stage of the negotiations. Below is a breakdown of the 18 negotiation email threads. Click on each heading in the contents to quickly jump to a stage. Please note since some threads happened simultaneously, these are arranged on separate tabs to present this more clearly and chronologically. Please also note that the spelling has been corrected in some cases, but typos have been left in for effect.
On 16 Mar 2017, at 13:08, Anne Louise wrote:
On 24 Mar 2017, at 14:03, Anne Louise wrote:
From: Anne Louise
Diáspora recently approached Charlie Wright's Music Venue about the possibility of putting on a Latin night. The venue representative signed a contract but backed out when we tried to pay the deposit, saying that the venue is having new stage and lights fitted on our dates, and they will not be able to have any live music held over that weekend.
Subsequently, we noticed that the venue was actually promoting live music over that weekend. Upon enquiry, it became obvious that the venue had lied. Not only that, but the venue tried to backtrack and compounded their lie by claiming that the music policy changed at around the same time as the proposed "maintenance" weekend. Convenient. Next thing we knew they'd found another band for their Latin night.
Read & Blog
Red & Black Music was set up in 2012 to stop musicians cancelling.
A category naming and shaming unreliable musicians to watch out for.
A category reporting unscrupulous venues and traders.
A category exploring the issues faced working via agents and promoters.
Event Diary #1
Event Diary #2
Productions vs. Bands
Unresolved Queries 1
Unresolved Queries 2