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The ninth Planet Tree Music Festival kicks off tomorrow, running until 26th October in Hampstead, North London.


Founder and composer Lawrence Ball has curated the festival with the aim of creating an immersive experience for those wishing to connect to a higher sphere through deep engagement with classical music. Audiences are encouraged to lie down, meditate and experience the sound worlds presented, championing an alternative way of listening. The outdated rules employed in traditional concert halls are discarded in favour of a more accessible experience rooted in spirituality and relaxation. 

Similar in format to Max Richter’s sold-out ‘Sleep’, the 2017 Planet Tree Music Festival offers concert attendees the opportunity to lie down and relax into cosmic sound worlds, with a host of international musicians performing music specially written for this year’s programme.

 

The festival was opened by Terry Riley in 1996, establishing its ethos and reputation as one that showcases tonal, non-elitist contemporary music. The programme deals with the brighter side of contemporary classical music, featuring pieces by popular composers including Max Richter and Arvo Pärt.

Collaborator and performer James D’Angelo says: “The Planet Tree Music Festival has established a new forum for contemporary music that returns music to its spiritual roots and gets people in touch with their souls hungry for impressions of who and what they are… No composer could ask for anything more than the refined atmosphere that is the Planet Tree Music Festival.”

Tickets can be purchased on the door of each of the venues, namely the Rosslyn Hill Unitarian Chapel and All Hallows Church, Hampstead. Full concert details can be found here.

WildKat has, so far, secured coverage for Planet Tree Music Festival in PRS M Magazine, Culture Whisper, International Arts Manager, and local newspaper Camden New Journal. Stay tuned for more!

(Written on October 6, 2017 )

Mit dem 3. Oktober hätte sich die Staatsoper Unter den Linden für die Wiedereröffnung keinen geschichtsträchtigeren Tag aussuchen können. Aber warum auch nicht? Schließlich ist dieses Datum fest mit Berlin und dem Tag der Deutschen Einheit verbunden und steht somit symbolisch für frische Neuanfänge. Nun ist Berlin aber auch eine Stadt der nicht enden wollenden Baustellen und es ist kein großes Geheimnis, dass die Renovierungsarbeiten der Staatsoper länger als geplant dauern – stolze vier Jahre länger, um genau zu sein. Doch diese lang erwartete Wiedereröffnung bringt gleich zu Beginn einen kleinen Dämpfer mit sich: Das Opernhaus eröffnet, um sofort wieder zu schließen. Wer nun verwirrt ist, ist dies zurecht, weswegen inhaltliche Ordnung in diesem buchstäblichen Chaos angebracht ist.

Fangen wir am besten am Anfang an und holen Friedrich den Großen mit ins (musikalische) Boot. Berlins ältestes Opernhaus wurde vom Alten Fritz im Jahre 1740 an den Architekten von Knobelsdorf in Auftrag gegeben und am 7. Dezember 1742 vor seiner eigentlichen Fertigstellung eröffnet, um dann im Jahre 1743 komplett fertiggestellt zu werden. In seiner langen Geschichte wurde das Opernhaus bereits sieben Mal umgebaut und baustilistisch stets verändert. Durch den zweiten Weltkrieg fast vollständig zerstört, fand der letzte große Um- beziehungsweise Wiederaufbau in den 50’er Jahren durch den Architekten Richard Paulick statt. Dabei orientierte er sich stark an von Knobelsdorf ursprünglichem Design. Seitdem sind viele Dirigenten ins Berliner Opernland gezogen, weswegen nach der Jahrtausendwende Pläne für einen lang angebrachten Umbau des nach dem Krieg zusammengeflickten Gebäudes ins Visier genommen wurden. So sahen die ersten Baupläne von Klaus Roth beispielsweise eine komplette Umgestaltung des Zuschauerraumes vor, wogegen viele Künstler von nationaler und internationaler Größe mit Protest begegneten, da der Denkmalschutz des Gebäudes missachtet worden wäre. 2008 wurde der Bauauftrag letztendlich an das Architekturbüro HG Merz vergeben, welches sich mehr an der Linie Paulicks/von Knobelsdorfs orientieren sollte. Mit einem beauftragten Büro an der Hand konnten nun die Bauarbeiten im September 2010 beginnen. Theoretisch hätte die Staatsoper bereits ab 2013 wieder spielbereit sein sollen, doch aufgrund von Fehlplanungen und daraus resultierenden Pannen, ziehen sich die Arbeiten bis zum heutigen Tage hin. Wolfgang Brauer, Politiker und ehemaliges Mitglied des Untersuchungsausschusses “Staatsoper” beschreibt die Sanierungsarbeiten wie folgt:

“Man räumte die Stühle raus und fing an mit der Baustelle. Ohne abgeschlossene Bauplanung, ohne solide Bauwerksanalyse, ohne solide Bestandsanalyse und das fiel dann natürlich auf die Füße. Man hatte die Vision entwickelt, dass man baubegleitend planen kann. Und das ist die eigentliche Katastrophe gewesen.” *

Bauarbeiten im Zuschauerraum, ©dpa

Doch bald sollen all die Fehlkalkulationen vergessen sein, wenn das Orchester unter Dirigent und Langzeitwegbegleiter Daniel Barenboim in die musikalische Heimat unter den Linden zurückkehrt. Besonders viel Wert wurde auf eine verbesserte Akustik im Zuschauerraum gelegt: So wurde beispielsweise für die 1.356 Sitzplätze ein dünneres Polster verwendet, damit der Klang nicht zu stark abgefedert wird. Zudem war Daniel Barenboim ein längerer Nachhall ein besonderes Anliegen. Der Zuschauerraum wurde durch die um fünf Meter angehobene Decke so konzipiert, dass nun ein Nachhall von 1,6 Sekunden statt ursprünglich 1,1 Sekunden gegeben sein soll. Außerdem soll auf mehr Beinfreiheit geachtet worden sein und dass man von jedem Platz aus einen guten Blick auf das Bühnengeschehen hat.

Allmählich zeichnet sich auch ein regeres Geschehen in der Staatsoper ab, wo sich seit dem 1. August die Mitarbeiter*innen aufhalten, die bis zum 3. Oktober noch den letzten Feinschliff anlegen. Feierlich eröffnen werden Schumanns “Faust-Szenen” das frisch herausgeputzte Opernhaus  bis zum 7. Oktober. Danach ist erstmal für weitere zwei Monate Schluss. Diesen Zeitraum wolle man zum Nachjustieren der Technik nutzen, nachdem man erste Erfahrungen im neuen, alten Theater gesammelt habe.

Zur endgültigen Normalität soll es schließlich am 7. Dezember kommen, wo der reguläre Spielbetrieb wieder aufgenommen wird auf den Tag genau zum 275. Jubiläum des Opernhauses. Fast so, als ob man von Anfang an auf diesen Tag hingearbeitet hätte.

Bald kann sich die Staatsoper ohne Baugerüst zeigen. ©Hufner

*Zitat aus: Arnt, Susanne: Berliner Staatsoper. Schwere Fehler bei der Sanierung, in: Deutschlandfunk Kultur. 22.06.2016.

 

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(Written on August 24, 2017 )

WildKat PR are thrilled to announce that we will be working with Cowbridge Music Festival (CMF)!

The festival, now in its eighth year, will once again take place in the bucolic village of Cowbridge, South Wales, and feature internationally-acclaimed artists and performers. The varied programme of concerts will include performances by The King’s Singers, Jamie Smith’s Mabon, Misha Mullov-Abbado, Veronika Eberle and the festival’s first ever Artist-in-Residence Llŷr Williams. Nicola Benedetti MBE retains her role as patron of CMF, having first performed an unforgettable solo concert in 2011.

The festival’s founders, Mary Elliot-Rose and Sam Edwards, have been welcoming musicians to CMF since 2010. They saw the town, with its picturesque churches and vibrant community, as the perfect setting to showcase the finest chamber, vocal and instrumental music.

CMF places significant emphasis on education and outreach, education and the community, with a range of programmes and accessible activities including an interactive concert for children aged 12 and under, schools’ samba workshops and CMF Chamber Music Seminar .

A full programme can be viewed here.

© CMF

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(Written on July 31, 2017 )

“Wellness”, “wellbeing”, “work-life balance” – these buzzwords have been entering the business world more regularly over the past few years. As we as a society begin to focus more on our health, our time, our personal development, so have the companies that we work for. Especially in PR companies and creative agencies, where working over-time is almost expected and in the arts where there are concerts, launches, and networking events to attend, it’s important to ensure that you are able to enjoy your personal life wherever possible.

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WildKat began to explore techniques to reward colleagues and staff back in 2011, when Kat brought her yoga instructor into the office. We began having weekly classes for 1 hour on a Wednesday afternoon. Berlin’s Victoria Mattinson says, “Taking an hour out to do yoga is a really effective way of clearing the mind and stretching out.  I always come back to my desk feeling refreshed and with new ideas.”

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In 2014, we also cemented the annual WildKat ski trip for the team who have been in the company for over 1 year. This is the perfect retreat for our colleagues to relax and unwind (off the slopes, of course!), spend time with the full global team, and try some new experiences together. London’s Victoria Cappelletti went on her first trip this year, explaining, “The annual WildKat PR ski trip is a great way to get to know the members of the team better and actually become friends, so that we are all like a little family. It totally lines up with the general company mood, ethic and atmosphere, giving people the opportunity to have fun and discuss topics beyond work.”

walking-wildkat-pr-ski-trip

Our perks continued to build in 2015, when Sweden began to initiate 6-hour working days to create a balance between work and personal life, Kat decided to trial the scheme in our Berlin office. We were quite skeptical at first that 2 hours would make a huge difference to our work-life balance, and that it wouldn’t compromise our work, but we were ready for the challenge. After a transitional phase, our Berlin team was working more efficiently – so much that our clients did not notice! – completing tasks and moving on without procrastination, feeling more happy and healthy at work, and also attending more events out-of-hours without free time or energy being compromised.  You can read our full feedback here.

However, one journalist asked: if we love our jobs why would we want to work less? Although this was not the point of our experiment, the hardest aspect was the need to be constantly productive. There was less time to read articles and be active on social media – two activities which are crucial to PR. We also lost out on occasional small talk, which does help to break up the day. Therefore, from now on, instead of a full-blown overhaul of our working day, every employee has ten six-hour days per month at their disposal.

Last year, we decided that we would fully integrate our perks into WildKat’s ethos and policy. Our in-house design team at Classical Music Design created a poster for us, that would have a central place in our office and would remind us that being happy in our lives and at work will allow us to live a more balanced life.

wildkat-pr-perks-poster-work-life

Kat explains, “I felt that my staff deserve the best that my company could possibly offer. I divided the benefits up into monetary, educational, and well-being. Mostly, I am weary that money is a big deciding factor so of course we wanted to increase perks and financial rewards but actually focusing on well-being and one’s own personal development is a hot topic that almost comes equal to financial gain. 

“We want to feel valued on many levels and that our development is encouraged along the way so I wanted to offer training funds, 6 hour working days, yoga sessions, sabbatical, etc. Rewarding my staff doesn’t always have to cost the company a lot but it does mean that the teams are better balanced. Quite frankly, the older I get, the more I think that time is the most valuable commodity, so I want to enhance my staff’s time when at work but also give them more off time out of the office.” 

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Director of the Berlin office, Carolin Denz, was one of the first to utilise her training fund, purchasing a few books on leadership and communication: “As the Berlin team has grown a lot and we all know how important it is to build up a great and solid working team, we are always focusing on improving the team spirit and motivation. I began to learn some tips and advice from a few books about different ways to lead groups, so we can build on it with individual and more intense workshops during 2017. The books give an insight into how groups of different characters and opinions work, how to lead them best and motivate them to build up the team we need for our campaigns – creative thinking, responsibility and being a good team-player.”

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As well as the “official” #WildKatPerks, we still encourage our team to network in the industry, and step into the wider world to gain knowledge and make introductions on behalf of the company. For example, Junior Account Manager & Office Manager James Hardie attended #ABO17. He said, “I was very excited to have the chance to attend the Association of British Orchestras conference in Bournemouth, especially at such an early stage in my career.  The focus this year was Disruption, and I had the privilege of listening to some of the industry’s leading figures, including Hannah Kendall, Mel Larsen, James Murphy, and Chi-Chi Nwanoku talk about what this meant to them.  A strong feeling of community pervaded every session, and it was heartening to be surrounded by so many like-minded people, all of whom want to see classical music engage with new and diverse audiences.”

As civil servants face curbs on office ‘cake culture’, here at WildKat we know that everything works well in moderation and with plenty of balance. Are you considering some new perks for your company? How do you manage to balance work and life as a freelance? Feel free to send us your thoughts at @WildKatPR or comment below!

(Written on January 31, 2017 )

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 )

WildKat PR is delighted to share news of our continuing collaboration with pianist Sunwook Kim.

Sunwook Kim is a South Korean pianist living in London. He came to international recognition aged just eighteen, when he won the prestigious Leeds International Piano Competition in 2006, becoming the youngest winner for 40 years. Since then, he has established a reputation as one of the finest pianists of his generation, appearing as a concerto soloist in the subscription series of some of the world’s leading orchestras, including the London Symphony Orchestra (John Eliot Gardiner, Daniel Harding), Berlin Radio Symphony Orchestra (Marek Janowski), and Tokyo Philharmonic.  

wildkat-pr-sunwook-kim

WildKat PR has worked with label Accentus Music for over 5 years. Earlier in 2016, we were asked to promote Sunwook’s second solo album (Franck & Brahms), released on Accentus Music, which was praised for its ‘pristine clarity’ and ‘emotional resonance’ (Gramophone, March 17, 2016). We also launched his Facebook page, and continue to manage his social media channels.  

This time around, we are looking forward to promoting Sunwook’s upcoming solo recital in London’s Wigmore Hall on Tuesday 25th October.  His erudite approach to programming will be reflected in works by Mozart, Schubert and Beethoven, charting artistic creativity in Vienna from the arrival of Mozart to the death of Schubert.

At the moment Sunwook is on tour in Japan and South Korea, and prior to his Wigmore recital will perform Tchaikovsky’s 1st Piano Concerto with the Bournemouth Symphony. Keep up to date with all of Sunwook’s news through his Facebook, Twitter, and website.

(Written on September 5, 2016 )

Classical news

In our classical music news today: lots of firsts as Esa-Pekka Salonen takes up first position of artist-in-association at Finnish National Opera and Ballet, and Sound festival announces John De Simone as inaugural composer-in-residence. Also, Lionel Bringuier will leave Zurich Tonhalle at the end of 2017/2018 season.

Classical Music Magazine

Finnish National Opera and Ballet appoints Salonen as artist-in-association

Finnish National Opera and Ballet (FNOB) has appointed Esa-Pekka Salonen as its first artist-in-association. He will assume the newly created, five-year position with the 2016/17 season.

Sound festival announces inaugural composer-in-residence

John De Simone has been announced as Sound’s first composer-in-residence. The Scottish-Italian composer, who is director of Ensemble Thing, will create new work for the 2016, 2017 and 2018 festivals, beginning with a piece that will be premiered in a concert alongside Louis Andriessen’s De Staat.

Neue Zürcher Zeitung

Der Vertrag von Lionel Bringuier als Chefdirigent des Zürcher Tonhalle-Orchesters wird nicht verlängert. Was hinter dieser seit längerem erwarteten Entscheidung steckt.

Music Week

MCPS and PRS for Music back library music awards relaunch

The annual Library Music Awards has today relaunched as the Production Music Awards, in association with MCPS Production Music.

Broadwayworld

Simon Rattle to Conduct St. Thomas Choir of Men & Boys in Concert, 9/18

Sir Simon Rattle will conduct The Saint Thomas Choir of Men and Boys and Orchestra of St. Luke’s in a special benefit concert to include Gabriel Fauré’s Requiem, The Lark Ascending by Ralph Vaughn Williams and Edward Elgar’s Serenade for Strings on Sunday, September 18.

Die Zeit

Wie geht noch mal das “Magnificat”?

Daniel Barenboim startet seinen eigenen YouTube-Kanal.

Süddeutsche Zeitung

Traumberuf Musiker

Junge, talentierte Schüler bekommen in Hallbergmoos eine besondere Förderung. Initiiert hat dieses Programm der Pianist, Komponist und Pädagoge Vladimir Genin.

Der Tagesspiegel

Abenteuerreisen ins Altbekannte

Zum 17. Mal startet „Young Euro Classic“ in Berlin. Bei dem Festival überwindet Musik tatsächlich Grenzen – aber anders als in Sonntagsreden.

Die Welt

Ohne Schuhe auf der Jagd nach der Jugend

Die klassische Musik braucht Nachwuchs. Das Publikum wird immer älter. Neue Formate werden gesucht. In Berlin wurden zwei Modelle getestet. So richtig funktionieren sie allerdings beide nicht

El Mundo

Las grandes orquestas toman la partitura de la Quincena

Como para coger impulso, la Quincena Musical de San Sebastián se coge unos días de descanso coincidiendo con la Semana Grande.

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Photo Credit: Benjamin Ealovega

Twitter

Help Musicians UK @HelpMusiciansUK Great to see the intro of the #NightTube, can only help the night time economy & access to music venues.

Ed Vaizey @EdVaizey New culture secretary to promote #diversity in #arts http://www.m-magazine.co.uk/news/new-culture-secretary-promote-diversity-arts/ … @M_magazinePRS

Darren Henley ‏@HENLEYDARREN New blog by our @ace_national Strategy Director @richardrussell1 on encouraging news for arts & culture post #Brexit http://www.artscouncil.org.uk/blog/post-brexit-funding-%E2%80%93-encouraging-news-arts-and-culture-sector

(Written on August 19, 2016 )

WildKat PR is excited to welcome Berlin-based record label Neue Meister.

Neue Meister was created by Edel and presents some of the most important composers of the modern day: the old masters of tomorrow. Introducing the new generation of composers, who represent a breath of fresh air for the classical music sector by combining the classical tradition with new musical influences.

neuemeister

Neue Meister‘s roster includes artists such as Sven Helbig, Arash SafaianJohannes MotschmannTamar Halperin and Christian Jost as well as festivals Castelbuono in Italy and Womad Festival in the United Kingdom. WildKat PR will handle the PR for Neue Meister in the United Kingdom and the USA.

Keep up to date with news from Neue Meister through their websiteTwitter, Facebook, and, as always, through the WildKat PR blog, and look out for upcoming releases.

(Written on July 29, 2016 )

We are looking for an Account Manager to join WildKat PR in London, as a member of the team is moving to the Berlin office!

Do you think you would be suitable for this position? Have a read through our job description below.

WildKat PR

WildKat PR is a game-changer in the classical music industry. We adamantly believe in changing the status quo of our industry, embracing creative values both on- and offline.

WildKat PR is the only classical music PR agency to spread worldwide, having established ourselves in London, Berlin and New York. We are deeply devoted to seeking out and using online platforms to reach and engage substantial new audiences, producing all-encompassing, bespoke, international PR campaigns that are data-driven.

Job Description

WildKat PR is offering an exceptional opportunity for a motivated, intelligent, creative individual to join our London team. Working with the Director, Head of Press, and fellow Account Managers on creative PR campaigns across the classical music and cultural industries, they will be expected to quickly establish and build strong working relationships with press to generate media coverage for our clients.

Key duties

As an Account Manager your role will be:

– To manage your set of clients and work with them to help achieve their PR goals. This includes: gaining press, attracting new audiences, helping to improve their brand, organising events
– To think creatively about how you (and your colleagues) approach campaigns. You will be asked to continually make new connections and approach your work in innovative ways. You will be expected to challenge how we, and the industry, are doing things
– To integrate digital media into campaigns. This means exploring new technology and developing ways to include it in client campaigns
– To take a leading role in the development and execution of unique, creative campaigns to promote your clients and the company
– To write copy in relation to your clients’ needs, including: fact sheets, bios, blogposts, newsletters, brochures
– To liaise with journalists to generate and secure media coverage for clients
– To organise client events, as needed. This includes: concerts, VIP receptions, industry networking events
– To attend all relevant artists’ events (which regularly occur outside of office hours) including meetings and performances
– To network within the industry to build your reputation and that of the company
– To oversee the work of others when required, and to be willing to grow into a more senior role

Opportunities of working with WildKat PR:

– Friendly, open plan office
– Chance to do diverse things within the role and expand your skillset quickly
– Gain wider industry experience, not just PR
– Supportive colleagues and management welcoming your fresh ideas
– Personalised creative skills training and coaching
– Collaboration with mainstream brands and projects
– Opportunities for travel
– Sociable atmosphere
– Staff benefits, which include annual ski trip, Friday drinks, office yoga, opportunity for sabbatical and 6 hour working days

Person Specification

Essential

– At least one year’s relevant experience in PR
– Interest in classical music, culture and the arts
– Proven administrative and organisational skills
– Excellent verbal and written communication skills
– Ability to take initiative and responsibility when working alone
– Confidence and ability to manage multiple projects simultaneously
– Ability to work as part of a team
– Ability to remain calm when working under pressure and to manage conflicting deadlines
– High degree of accuracy and attention to detail
– A strong interest in online media
– Self-motivated
– Good standard of computer literacy (Word, Excel, WordPress)

Desirable

– Fluency in another language

To apply, please send your CV and covering letter to olivia@wildkatpr.com with the subject title ‘WildKat PR Account Manager application’ by 5pm on 11th November 2016

Salary: Competitive – dependent upon experience

 

(Written on July 28, 2016 )

The UK voted yesterday in a historic referendum and made the decision to leave the European Union by 51.9%. Not only is the country still hugely divided in opinion, but the immediate reaction came with the pound dropping to its lowest level against the dollar since 1985, followed by Prime Minister David Cameron announcing his resignation earlier this morning.

What implication does Brexit have on the arts industry?

There is one thing that is certain at this time: the outcome and impact of Brexit is unknown.  We have summarised several key points from industry experts (as long as we’ve not “had enough” of them yet) and industry professionals, so that we can begin to evaluate the effect on the arts & culture industry as we begin to move forward.

The Association of British Orchestras released their statement earlier today. They noted that the “prospects for the nation’s public finances are worrying, and may affect the implementation of Orchestra Tax Relief, which has not as yet received Royal Assent, and lead to further reductions in public funding for the arts and local authorities.” As well as finances, the ABO also highlight the problems that could be caused by restrictions to freedom of movement across Europe’s borders, which is an incredibly important issue for many orchestras, ensembles and even solo musicians.

Will UK acts require a visa for each country they want to perform in and, in return, will European acts be able to tour through Britain as they did before? Rob Hallett, CEO of Robomagic states: “Anyone who has ever tried to go from the EU into Russia to perform will be having nightmares about six-hour border crossings with additional, expensive days off between shows in order to allow for possible delays.” (Music Week). As well as touring and performing restrictions, there will be serious implications for copyright protection throughout Europe (Billboard). BPI’s Geoff Taylor previously stated that as the music business is founded on copyright, copyright rules are fundamental to its future success.

Arts and culture businesses will feel the consequences amongst their employees, as they often have a high percentage of European staff. Universal Music and Beggars Group has previously stood up to encourage the remain in the EU and warned that “a victory for Brexit would be economically, politically, socially and culturally disastrous – for all of us” (Music Business Worldwide).

Here at WildKat PR, we are a truly international company. We have offices in London, Berlin and New York. Our team is made up of people from the UK, France, Germany, Spain, Canada and the US. Our clients are based all across the world. We are very lucky to enjoy the perks of European travel and a multi-national community. As with many other businesses in the arts & culture industry, we are anxious to hear what will come from this result.

The UK arts & culture industry has responded in the same way as most, with hope yet concerns for the future:

“Referendum result – Royal College of Music remains committed to our global community of talented students and staff” – The Royal College of Music

“We are very, very good at adapting and surviving. I am absolutely convinced that the British music scene will put its best foot forward and come out of this in the best possible state. But that’s not the same thing as saying, ‘It’s all fine for everyone’.” – Stephen Maddock, City of Birmingham Symphony Orchestra

“Within the UK, we will play our part in helping to bridge divides within and between the nations and regions of the country.”  John Kampfner, Creative Industries Federation

“The worst outcome for our members will be additional uncertainty, bureaucracy and expense, allied to a worsening of their financial viability. The ABO’s next step is to build on our existing good relations with the government and engage positively with whichever Ministers take responsibility from here on, to ensure the best possible outcome for our members.” Association of British Orchestras

Not only the music industry will be affected by Brexit; the entertainment industry is heavily reliant on funds from the EU. Hit series Game Of Thrones relies, amongst others, on an injection of money from the EU’s European Regional Development Fund, which is designed to stimulate economic growth across the EU (The Guardian). With these funds cut off, hundreds of jobs created by the series in Northern Ireland are in danger. Game Of Thrones is, of course, only the most popular of a wide range of projects that have until now received funding from the EU in order to keep them running.

With the decision made, the United Kingdom will now face major changes with an unpredictable outcome.

What are the biggest positives and challenges that Brexit will bring? Comment below or tweet your thoughts to @WildKatPR.

Tweets

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Via @ClassicFM

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Via The Stage

(Written on June 24, 2016 )