![]() Paul Jones, who manages recent NME coverstars Shame commented: “I was a Melody Maker reader, however once It went under the NME was the only weekly music bible left, it was an institution and it’s sad that’s it’s gone.If you’re new to music notation software, Sibelius First might be the best one to start with, mainly because it’s one of the easiest to use. ![]() Watson praised titles including So Young and DIY as having “cropped up trying to occupy the ground that NME ceded when its core values changed so radically.” “Certainly there was very little chance of God Speed! You Black Emperor getting that much-coveted second cover when they started giving the mag away.” “The direction of the title shifted hugely with it becoming a free sheet,” he added. Mike Watson, who manages artists including The Magic Gang through Flat Cap Music, described the print edition’s closure as “tragic though not surprising.” I must admit it wasn’t really covering the music I love and became a bit to reverential for my liking, but I still read it every week and will sorely miss it.” Linkin added: “In the last few years it had to change, which it did quite radically. It was a dream come true for me to work with the NME and get covers with The Libertines, The Lemonheads and The Strokes.” “It was a fantastic to get to know the journalists, some of whom have gone on to be best-selling authors, run labels or are still editing magazines. ![]() “Although I never was a writer I got into PR, mainly because of the inkies,” he added. Features back then were long and in-depth, and it was great breeding ground for writers, these days where do journalists go to do their apprenticeships? “Getting the coupon out of the NME to send off for the amazing Clash Capitol Radio EP, now that was the way to do it,” he told Music Week. “The Sex Pistols even namechecked it. He reminisced about the paper’s impact in the 1970s. It was a dream come true for me to work with the NME and get covers with The Libertines, The Lemonheads and The StrokesĬloud PR’s Tony Linkin, press officer for The Libertines and many of their offshoot bands, has enjoyed a long relationship with NME. Perhaps they don’t have quite as much clout as they used to, but NME is a brand that has international reach, so getting their seal of approval on an artist is still a bonus.” It had so much influence: they had the power to make or break an act. Lee added: “At the height of its pre-internet glory days, and as one of few music outlets in existence, coverage in NME was hugely important to an album campaign. Read continued: “You’d struggle to find an artist who’s success could solely be attributed to NME, but the support of the magazine, the website and associated events like the NME Awards, still had a very important role to play alongside other media in helping develop and break an artist.”Īnnette Lee, head of press at 4AD, said the move online is “sensible” and highlighted the contribution of “all the lovely writers and NME staffers past and present who kept the magazine going.” There’s not yet enough in breadth and depth - especially in the UK - that replaces what good print music media delivers for the reader and the artist.” ![]() There are, of course, other print media and there have been numerous brilliant online music media outlets founded and developed in recent years, but I think there’s stillroom for more. Inside/Out PR co-director Adrian Read said: “I think it will, in the short term at least, leave a big gap in an artist's promotional campaign. “For so many young artists who got their first festival break at The Great Escape, appearing in NME was a sign that they were about to make it big, so from that point of view it’s undeniable that the music industry is losing a huge touchstone,” said Rory Bett, CEO Mama Festivals & VP Live Nation Europe. Now, other industry and media figures have spoken out on how the music business will cope without the NME. ![]() In the latest issue of Music Week, leading PRs from labels and independent publicity companies give their reaction to the loss of the once iconic music magazine.Ĭatch up on that story – which features MBC PR’s Barbara Charone, Warner Music’s Andy Prevezer, Rich Dawes of DawBell, Stay Golden PR founder Jodie Banaszkiewicz, Transgressive Records’ Toby Langley and Secretly Group publicist Michelle Kambasha – here. One week on from the final print edition of NME, the music industry is still assessing the impact of the sudden loss of a major media platform for both established artists and new bands. ![]()
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