Ashely Hicklin
Ashley's debut album, Eskimos to Astronauts
OUT NOW
on Ferryhouse Productions
*Ashley was interviewed by Pete Briley for Tin Robot Records on 4th June 2010.
Tin Robot: Before signing with Ferryhouse, you had a publishing deal EMI Publishing, how did you attract the attention of such a prominent company?
Ashley Hicklin: We slowly started with local battle of the bands and then BBC Introducing decided they liked us and helped us make a live video. After 1000s of emails we found a really good management company, and they sent our BBC video to the head of EMI Europe. He loved it and we signed immediately. So it was little stepping stones...
TR: What are the benefits of publishing? Do you think that an unsigned artist or band should be looking into publishing deals before record deals?
AH: I'd say a good manager before a publishing deal or a record deal. For me personally, a publishing deal really helped because it enabled me to get involved with writing for other artists as well as being an artist myself. A publishing deal is also a great way to get a little financial help upfront, and a great way to meet other writers and producers around the world. Many record labels do 360 deals now and also want to own your publishing. I think this is a bit greedy, and a lot of record labels don't really understand or know what to do with publishing rights.
TR: What advice would you give an unsigned act?
AH: I'd say practice and make sure you are good is the first point! It's also important to think about what your USP is. Mine has always been having a quirky voice and a string quartet. It's good to have something different. Get a demo done, it doesn't have to be great quality, as long as you can listen to it and hear the talent. Setup a myspace, facebook youtube page etc. Organize some gigs in a big city and start emailing managers to come along. London is where most of the best managers are. Don't worry about getting a crowd, as long as the important managers are there. Once you have a good manager, they should work towards securing you deals. Most labels and publishers won't listen to a myspace unless it's been suggested by a respected manager in the business.
TR: You have been particularly successful in Europe, where your songs have topped charts across the continent, what do you think is the reason for your success there? Do you feel that Europe is a better market for new artists than the UK or America?
AH: I think I just used my brain when I left Uni. Most people from my music college moved to London, the big musical city where dreams are made. NOT! The truth is, there's so much talent in london from around the world, that I just wouldn't be heard. Too many musicians and not enough opportunities. So I used my head and moved to Germany - Native English songwriters and lyricists get a lot of work in none English speaking countries, because no-one understands the poetry of song texts like a native speaker. I used this to my advantage, got out of the UK and luckily had some big hits across Europe working on projects that needed native English songwriters. Most of the music on German radio is actually English, so it's a perfect place for me to be.
Cheers for that chat Ashley!
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