Festivals, Festivals, Fes-ti-vals!
EDITOR’S NOTE: As of October 2016 Ria Timkin is no longer working with Jelli Records Ltd. The article was written in March 2016 and remains part of “The Secret Plan Of Ria Timkin” series, as well as part of Ria’s journey as a young aspiring musician.
Last time we established that managers play a key role in the development of an artist’s career. You might have a different opinion on this matter, but you cannot deny that most famous musicians signed their deals and got recognition as a result of the hard work of their team along with their manager. In my previous article I told you the story of how I met my manager and got involved in Jelli Records’. Now it’s time to uncover how my time with Jelli Records developed thereafter.
After that meeting with Steve Parkhouse, the director of Jelli Records, where almost as if at confession I listed all my plans, goals, thoughts and assumptions regarding my music, I started my work with the team of the record label. At that point there was no discussion about signing a contract. All I had was a probation term for a few months. If I did well, then we might return to the new artist development deal negotiation. Nevertheless, even such an offer seemed like a stroke of luck to me!
Jelli Records is highly involved in the music life of the city. The team has been helping organise huge festivals within Bristol and further afield for quite some time already! They cooperate with a few local radio stations and even with the Musicians’ Union (UK). Not long ago they established their own International Songwriters Association.
Step by step I became a familiar face at Jelli Records and an avid fan of anything they produced. I finally got a chance to play an acoustic gig for singer-songwriters that I previously had to miss due to school commitments. I played as an opening act for a few artists including Funkinsteins and Katey Brooks. Slowly the Jelli Records teammates became my friends and I started going to events regardless of whether I played or not. I would come and support musicians or help out selling merchandise and CDs. It felt like a community and I was happy to be a part of it! Friendly attitudes and constant support are some of the many attributes that make Jelli Records so special.
As time went on, I got more and more performances of my own. I became the host of the Jelli Records Open Mic at The Bristol Fringe – the same open mic, where everything started! I visited a local radio station called Bradley Stoke Radio a few times, and then was aired on a few other local radio shows. Suddenly, summer 2015 was upon me.
A normal person associates summer with sea, sunny weather, lots of fun and relaxation. When a musician hears the word “summer”, he or she thinks of one thing and one thing only: Festivals. And there is no better time than that! If you are lucky with the weather, you would be singing in the sunshine from an open air stage to a great crowd, happy and colourfully dressed. Flowers in your hair, sunglasses and a pint of cider – three essentials of any festival! But remember we’re in England so please, don’t forget two sweaters, a raincoat, and wellington boots! Don’t worry about the atmosphere though: the weather never affects the crowds’ enthusiasm! Therefore, if the sound works, and the stage hasn’t yet been flooded, you will have a great show!
Taking into account that I had never been to a festival in my life before I went to play at my very first one in Uttoxeter, I did exceptionally well that summer! I considered myself very lucky to be able to play at such big festivals as Bristol Harbour Festival, Bristol International Balloon Fiesta and Acoustic Festival of Britain. Not because of the popularity of those events or even the number of people who heard my music there. But because of the artists who played there! All the musicians who took part in these festivals were incredibly talented. Watching them and learning from them was a huge privilege! During that summer I noticeably enhanced my guitar technique, got into new electro sound and became so much more comfortable on stage. It felt like I spent those three months driving from one educational summer camp to another. First of all, I definitely found out about new musicians that I had never heard of before. I was introduced to the music of wonderful British artists of the 80s, such as Paul Carrack, Show of Hands, Big Country, and Hazel O-Connor. However, it was the yet-to-be-known, rising musicians, who became my greatest teachers! Kizzy Crawford and her surreal voice accompanied by the double bass; Funke and the Two Tone Baby – a one-man band that could make anyone dance; The Mersey Belles and their brilliant ukulele covers in the best style of 50s; and Dan Owen, who is just about to go on tour with one of my most favourite musicians Birdy.
I absolutely recommend having a closer look at these young rising stars, because there is every chance that it’s their songs that will be played on every radio station in a year or two!
Overall, the summer of 2015 was incredibly successful in so many ways! I grew up as a musician and was slowly making my way up the ladder– two of the goals I had set for myself. Steve was convinced that my intentions regarding music were serious, and my music career was indeed my priority. Therefore, in autumn 2015 the company officially gave me the go ahead. The lawyers started preparing the contract, and I was over the moon! Unfortunately, very soon after that, reality hit: my path to becoming a star was somewhat impeded by a huge barrier that I couldn’t overcome. The name to that barrier was “immigration policy of the United Kingdom”. Please, don’t get me wrong! I had always been familiar with the fact that the visa regime in the UK is incredibly strict! Moreover, I knew that it would take a lot of effort to get permission to work in the music business professionally. But now, I had an official offer from a creditable organisation! Surely, it all would work out now, right? Sadly, it wasn’t that simple!
Rock Vector, N11 (31) 22.03.2016
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