Organising and hosting an live music event involves knowing and understanding legal duties, as suggested by Health and Safety Executive (n.d), a primary of information from a branch of the UK Government website. Gov.UK (2015), another reliable primary source, supports the fact that knowledge of legalities is valuable within event organisation, stating that a live music venue may need licences and venues under certain conditions. I will be exploring these legalities and these conditions within this document.
Insurances used within Live Events
Public Liability insurance ensures the event organiser is covered in the case of a consumer at the event gets injured through no fault of their own. Health and Safety Executive (n.d), a reliable primary source from Gov.uk, advices that Public Liability Insurance “covers you for claims made against you by members of the public or other businesses”.
Employer Liability insurance ensures the event organiser is covered in the case of an employee or a volunteer being injured through no fault of their own. Health and Safety Executive (n.d), a primary source of information from the Gov.UK website, also suggests that any claim of illness or injury whilst working, that they believe is the employers fault, can be made.
Cancellation Insurance insurance ensures that in the case of the venue cancelling or event cancellation due to unforeseen circumstances, such as freak weather or abandonment of the show, the event manager can get their money back they spent on hiring the venue amongst other expenditures that may arise from cancellation, as suggested by Hamilton.D. (2011, n.p). This source is a blog and being a secondary source, may not be as reliable. Therefore, I have cross checked this information with Eventbrite Blog (2017, n.p), this is a primary source of information as it is a written interview with Hiscox Event Assured, who have dealt with event insurances for over 30 years.
Property Cover insurance, as Hiscox Event Assured states within an Eventbrite Blog Interview (2017, n.p), “covers any equipment they bring in”, this means that all equipment within the venue is covered against loss, damage and theft.
Hiscox Event Assured also states within the Eventbrite Blog that extra insurances may be needed depending on potential hazards, such as a “Kidnap and Ransom policy” Eventbrite (2017, n.p).
An Entertainment Licence
An entertainment licence is not needed if:
“it takes place between 8AM and 11PM; and it takes place at an alcohol on-licensed premises; and the audience is no more than 500 people”
As stated the the reliable, primary source of information, GOV.UK (2015, n.p). This means that a small live gig that is on an alcohol licenced premises that ends before 11pm is not required to have a licence, anything outside of this criteria will mean that an Entertainment Licence is needed.
A Premise License
A premise license is needed if you are serving alcohol, serving food from between 11pm and 5am or are putting on any of the following events: dance, recorded music, all boxing and wrestling events, film showing, theatre, live music and indoor sporting events. There are no exceptions to this license. This criteria has been suggested by GOV.UK (n.d,n.p), a highly reliable source because it is the UK Government’s website, and therefore contains important legal information on all matters.
Copyright
As suggested by GOV.UK (n.d, n.p), copyright of the creators work lasts for the lifetime of the artists as well as 70 years after the death of the artist, the owner of the copyright has exclusive rights to use the work in however way they see fit, the owner of the copyright also has the right to charge for the use of the work they own the copyright to. To be able to use copyrighted work, you must get permission from the owner of the copyright, most copyright owners will go through a Collective Management Organisation (CMO). A CMO will ensure that the copyright owner will get paid when people are using the copyrighted work in public through a licence. The main two CMOs in the UK is PRS and PPL. If you want to use any works that are protected by copyright you MUST get permission from the owner or go through a CMO, if any copyright laws are infringed or broken, it can lead to huge expenses such as legal fees, compensation and fines. The source of this information is highly reliable as it is from the official Government website.
CMOs
The CMOs will ask publishing companies to give them the right to licence performing rights to various songs, the CMO will them collect fees on behalf of the publisher and divide the money up and them them a share, as suggested by Passman.D. (2014), a secondary source of information. As this source is a secondary source and may not be as reliable as a primary source of information, as well as being the 8th edition of a book over being the latest edition, I have decided to cross check this information with a primary source of information. PPL (n.d, n.p) defines PRS and PPL as the following:
“PPL and PRS for Music both license the use of music and collect royalties for the music industry”,
This means that both sources are accurate in what the CMOs functions are, to collect money on behalf of the owner/publisher of the music being played in situations which require a licence e.g. a live music venue.
Although similar in function, PRS and PPL have different people and situations they represent, this is the description PPL (n.d,n.p), a primary source, gives:
“each represents different rightsholders and have separate licences, terms and conditions.”,
This means that the licences are held by a different person and the different companies have different rules, regulations and procedures that they have to go by. However, as of 2018, PRS for Music and PPL have come together to form PPL PRS Ltd and a licence, which covers both aspects of a PRS and PPL licences, called TheMusicLicence. PPL PRS (2018).
PPL collect royalties and fees for “the use of recorded music on behalf of record companies and performers” PPL PRS (2018), this means that PPL deal with recorded music that has been played live or broadcasted.
PRS for Music have members that join for the PRS and the MCPS licences. PRS for Music deals with the collection and distribution of “musical compositions and lyrics on behalf of songwriters, composers and publishers.” PRS PPL (2018). This means that PRS for Music deals with the compositional and musical rights rather than the recording rights of a song.
I have made the following table to show what PRS, MCPS and PPL licences involve. I have sources this information from PRS (n.d,n.p), PPL (n.d,n.p) and PRS PPL Ltd (n.d,n.p), these are all primary sources and are reliable as the information is coming from a direct link to all companies.
R
Conclusion
In conclusion, I have broadened and deepened my knowledge on different licences, insurances and copyright protection. I have successfully secured and understanding of PRS, PPL, MCPS and TheMusicLicense, this understanding of the above will help me when I am deciding which licenses I may need when organising a live event. Being able to understand the different conditions in which various licences are needed will help me to ensure I am holding an event within legal parameters, as well as ensuring I am maintaining a good level of health and safety within the venue and surrounding area.
Skills needed within applying legalities to organising an event includes organisation to be able to plan, apply and implement appropriate permits, insurances and licences. Communication skills are also important, written skills are important when applying for the appropriate permits, insurances or licences. Spoken communication skills are important to be able to liaise with the venue about licences, insurances and permits they may or may not have.
Comparing myself to the skills that I would need above, I believe that my current skill set is suitable to carry out these tasks. I have the organisational skills and written skills needed to be able to respond and act upon the legal needs of a live music event. The continuity of spoken communication e.g. following up venues and keeping open communication is a weak area for me, to ensure that this does hinder me within more practical elements, I will keep on reading over my plan and ensure that I am knowledgeable of the deadline that I must complete collaborative tasks by.
Reference Bibliography
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Alice's FMP 