Case Study Interview: Mark Orr

Presenting the first of the complete case study interviews/questionnaires from the book Music Entrepreneurship…

For fully edited version and partnering analysis, please refer to full publication

Case study for The Music Industry Entrepreneur (Dumbreck / McPherson), Bloomsbury Publishing, 2014

Chapter 5 : Recorded Music

Case study subject: Mark Orr (response via email, 14^th May, 2014)

Mark Orr runs Lab Records in Manchester

Associated web sources :-

http://labrecs.com/

https://www.facebook.com/labrecords

http://labexposure.com/

http://en.wikipedia.org/wiki/Dave_Haslam

http://en.wikipedia.org/wiki/LAB_Records#Expansion (for general info only)

 

 

Case Studies – interview questions

 

1. Please give a short history of your experience / work within your sector of the music industries

 

My name is Mark Orr, I’m 26 years old and I founded and run a label called LAB Records out of Manchester, UK and New York. My first experiences in the music industry were putting on shows in the town I grew up, Blackpool when I was 18-19. Many of the bands we worked with in Blackpool were in need of a label and so it made sense for us to start pressing records and helping them out beyond irregular shows in the North West of England. One of the bands we worked were managed by Crown who at the time had the Sugababes who were the biggest band in the country at the time. It was through those Crown meetings that LAB came to the attention of Scott Brothman at Atlantic Records, New York, who ultimately invested in the label in 2009 and is my business partner to this day.

 

2. What do you consider to be your most significant achievement and why ?

 

Of course (it’s) difficult to name just one – ultimately I think it would be starting a business from scratch in my University dorm room and getting it to a point where our artists can play to thousands of people, sell tens of thousands of records and be played on radio and television all over the world. The fact that music we released is significant to kids that are now at the age I was when I really discovered the power and beauty of music is pretty damn cool.

 

3. Who / what inspired you ?

 

First of all it was my Uncle, who taught me about The Beatles and The Hollies and the birth of rock and roll. A little later, it was my first experiences of live music that definitely left a lasting impression. Gigs now that possibly seem laughably insignificant: seeing The Hollies (thanks, Uncle Paul) or Travis or Razorlight in Blackpool – at the time were unbelievably inspiring. There is a feeling unique to that live music setting and I still get it to this day.

 

4. Can you give an example of an entrepreneurial opportunity which you identified and were able to develop explaining key steps ?

 

After the label became a little established I partnered with our long-time design guy Duncan Howsley to form our creative division, LAB Exposure. (http://labexposure.com ). As well as creating all of our artists’ content in-house – from websites to music videos – we also create art for non-LAB signed artists. It was because we knew the market – and that good quality content could be created without spending thousands and thousands of pounds, that we were able to get this business off the ground.

 

5. What employment / experience did you have prior to working in music and how valuable was this ?

 

Not a whole lot ! I worked in the bar at a Student’s Union when the label was just getting started – it taught me a little about communication and customer service, which is important in any business.

 

6. What education / qualifications did you have prior to working in music and how valuable was this ?

 

I have A-levels in English and a degree in Journalism and English Literature: this is certainly most useful when it comes to the PR side of the business and shaping copy for print and online outlets, which is something I still do a lot of. I was also lucky enough to be taught by Dave Haslam (http://en.wikipedia.org/wiki/Dave_Haslam ) which gave me more of an understanding of the musical history of Manchester, and how significant a hub it is for musical entrepreneurs.

 

7. What does being a music entrepreneur mean to you ?

 

It means being truly independent: not being dictated to by a large corporation, simply being able to work with artists that you want to work with. Innovation and risk-taking are also important – not simply riding the coat-tails of major label successes.

 

8. What key developments do you expect to see in your sector of music in the next five years ?

 

I think streaming will gain an even larger market share to the detriment of digital downloads as we know them currently – and artists (and therefore labels) will start to depend on royalties from Spotify and YouTube streams as major streams of revenue.

 

9. If you could change / modify one aspect of your sector of music what would it be and why ?

 

Seems like an obvious one but if you could magically flick a switch and end illegal file-sharing, torrenting et al that would have to be it. Because our company has only ever existed in an internet age it would be fascinating to see what a difference it’d make to our industry if artists still sold in the quantities they did at the end of the 90’s, early 2000’s, whilst still having the internet as a discovery tool. Less bands would break up before their time, that’s for sure!

 

10. If you could change one professional decision you have made what would it be and why ?

 

I would work harder to reconcile the differences with my first business partner – his departure from the company was mutual but with hindsight I’d certainly do things differently.

 

11. What do you consider to be the most valuable attributes for a young entrepreneur wishing to enter the music industries ?

 

Ambition, drive, a great ear and love for music. Patience also – this is not the place for you if you wish to get rich quick!

 

12. What advice would you give to young entrepreneurs starting in music ?

 

There’s no substitute for hands-on experience. Of course books, college courses and seminars can give you a fantastic headstart – but until you get out there and make some mistakes yourself, you won’t truly get it. As above, make sure you love the music – because it’s probably the only thing that’ll push you to go further when you’re working 12 hour + days.