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WildKat PR is very happy to announce that Matt Brinkworth is our newest Account Manager to join the team in the London office.

Matt’s career within the Music PR industry has been as varied as his own personal tastes, working on projects that have ranged from electronic music giants such as Claptone and Axwell & Ingrosso to South Korea’s largest rock band YB, taking him from the front rows of London Fashion Week to the backstage of Reading Festival.

At WildKat, Matt will join the already talented team of London Account Managers, working closely with the Berlin and New York offices, bringing with him his unique brand of creative and engaging press relations.

Kathleen Alder, Founder and Director of WildKat PR commented:

“WildKat is known to push the boundaries in both our approach and our results for our clients. We are so excited to have Matt join us and his experience in mainstream and celebrity PR bring a whole new perspective to our team.”

Matt Brinkworth commented:

“When it came to looking for a new challenge to inspire me, after meeting with Founder Kathleen and Head of Creative Strategy & Marketing Olivia Brown, WildKat stood out immediately. The company’s culture and ethos of forward thinking, outside of the box, promotional campaigns coupled with the office’s organically exciting energy is in complete synergy with my own style. Add in the quality of their client roster and it was impossible to see myself joining anywhere else. I couldn’t be more excited to join a team that has already carved its own lane in this industry and contribute to that further with our clients.”

Very happy to have you on board!

(Written on October 31, 2016 )

The most recent addition to the WildKat PR client roster is none other than the highly innovative pianist, curator and commissioner Christina McMaster.

Her continually growing reputation for bold and vivacious performances has allowed to her to collaborate with a diverse mix of genres and artists, including violinist Lizzie Ball, rapper Tor Cesay, Director Richard Williams, actors from Central Saint Martin’s and a number of designers for London Fashion week.

Upon graduating with a first from the Royal Academy of Music, where she studied with Joanna MacGregor, Christina has continued to perform extensively in major venues across Europe including at the Southbank Centre, Kings Place and Aldeburgh Festival.  She is also a champion of new music, having worked with established composers such as Sir Harrison Birtwistle, Sir Peter Maxwell Davies, Tansy Davies and Stephen Montague as well as emerging composers – collaborating most recently with Freya Waley-Cohen and Richard Bullen.

Recently Christina founded Ensemble WOW, an organisation that is dedicated to promoting equality through unique and imaginative programming – a cause of which Christina is a strong supporter. They are very proud to be Listenpony’s ensemble in residence, with a concert coming up at The Rag Factory on 2nd March 2015. The concert will include a variety of works evoking music’s engagement with current affairs – war, rebellion and civil rights as well as the spirituality and solidarity that surround these powerful events.

Also in March, Christina will be heading to Barbados for the Holders Season where she will play an eclectic programme that captures the essence of the American Dream. She will be joined by violinist Lizzie Ball and they will play tracks from Christina’s upcoming album Pinks and Blues which is due to be released in May.

But before she jets off, you can see Christina performing Debussy, Ruth Crawford-Seeger, Charles Ives and Beethoven with the Derby Chamber Music Society on 20th February at 7:30pm.

For more information about Christina you can visit her website, Twitter or Facebook pages.

PIANIST CHRISTINA MCMASTER

 

(Written on January 30, 2015 )

It would seem that state-funded arts organisations are having a bit of a rough time at the moment. Subsequent to Harriet Harman‘s discontent at the lack of inclusion by state-funded organisations, Andrew Mellor of the New Statesman has also weighed in on the argument. This time it is the lack of appropriate advertising which the likes of the Royal Opera House and the English National Opera– “Ads range from totally unfathomable[…]to the borderline conceited”- are suffering for. According to Mellor “What opera needs is a new audience intake, people who aren’t on the mailing list and don’t have the CDs at home”. This is an opinion which indisputably chimes with all types of music, and whilst classical music is, well, classic, it is getting increasingly difficult for this genre to compete with rugged-looking, curly-haired, blue-eyed boy bands and the curvy, feminist, female soloists which dominate the popular music charts and whose faces we see plastered across newspapers, television and the internet 24 hours a day . Without infiltrating everyday life and being more accessible, Mellor is right, opera and classical music will succumb to exclusivity as a result of “ineffectual” and “inappropriate” advertising.

WildKat PR places particular emphasis on promoting clients through mainstream press, as well as music press, in order to generate interest from the general public. An extremely innovative team enabled Cellist Alban Gerhardt to embark on an interactive radio tour in summer 2010. He was the first classical musician to tour national mainstream radio stations, where listeners could phone in and suggest unusual places for Gerhardt to perform Bach Cello Suites. Eventual performance venues therefore included a protest rally, a student house, a supermarket isle, and even a maternity ward, to but name a few. As a result, there bloomed national and international press coverage, both in print and on television and videos of his tour went viral.

Another huge success was the launch of the “Classical Takeover” in 2012. WildKat was keen to bring the work of composer Max Richter to the attention of the general public. His work Recomposed: The Four Seasons has divided audiences and the industry but hit Number 1 in iTunes UK over the weekend after the Takeover. The idea was to approach stores and venues which could be ‘taken over’; in other words, the venue would donate a stereo, on which a movement of Richter’s ‘recomposition’ could be played. Several high profile venues took part including Hoss Intropia, and a Spanish boutique brand on Regent Street who even created and styled four outfits for each of the Four Seasons. The Takeover was launched at London Fashion Week when the finale of the Jonathan Saunders show was taken over by the Spring movement and ended with Takeovers of Apple stores in London and New York.

Finally, a true testimony to the power of mainstream advertising is in the case of violinist Daniel Hope. Hope was booked onto BBC Breakfast, which draws a daily audience of 1.5 million, in July 2013 to promote his album Spheres. By the next morning, Hope had rocketed to no.1 on iTunes UK and was also top ten in the classical music charts. WildKat had placed Hope in view of an inquisitive general public and had, once again, generated intense mainstream interest in a classical artist.

The way in which WildKat PR utilises the mainstream press is one of the things which makes us so unique. A team capable of thinking outside of the box (a box which classical music seems to be beating its arms and legs against with all its might) enables the general public to access classical music and to express an interest. Mellor is right, opera and classical music should not be something directed at the people who “are already on the mailing list”; instead more should be done to imagine creative ways in which to make it appeal to the general public. WildKat has been utilising the mainstream press creatively ever since it began in 2007 and continues to do so. Whilst the industry keeps TALKING about it, WildKat is busy DOING it. So perhaps others in the industry need to take a leaf out of our book: let’s bring classical music to people in a way that doesn’t scream “CLASSICAL MUSIC AND OPERA IS BORING AND OUTDATED AND ONLY FOR PEOPLE WHO WENT TO PRIVATE SCHOOLS” and perhaps Harriet Harman may be faced with an audience of a slightly different demographic the next time she goes to the Opera.

 

Opera Anna Nicole premieres at London’s Royal Opera House

Photo: BILL COOPER / THE ROYAL OPERA / EPA

Anna-Nicole-Opera_2910146b

(Written on June 13, 2014 )