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Dear John

Gospel singing - UK or America

First published 7th July 2005

Question:
I've been singing gospel music in my church since I was a kid and for a long time people have been telling me I should start singing professionally. I'd like to give it a try but I realise that, unlike in America, there isn't a big gospel music industry in the UK and it certainly doesn't seem to receive the investment or marketing it gets in the USA. I have nothing against secular music but I really want to work in the gospel field. Do you think that it is possible to do so in Britain or do I need to pack my bags for the Promised Land across the Atlantic?

Answer:
It seems to me that your gospel music dilemma will ring a bell with any performer who is planning to make a living in a niche market, be it jazz, country, blues or swing.

In my experience there are two responses UK-based performers can make to the American dominance of these markets. The first is to give it all up as an insurmountable task, and the second is to slavishly copy American styles of performance and marketing. I'm not a big fan of either approach. I hasten to add that this is not because I think there is anything wrong with US styles of performance or marketing approaches, it's just that they usually work best for American performers and tend to be more effective in the States, or in countries which are culturally very similar.

As George Bernard Shaw observed, despite superficial similarities, Britain and America are very much two countries "divided by a common language" and the frequent failed attempts to produce UK versions of hit US sitcoms, or market successful UK bands across the Atlantic prove that this adage is just as true in showbusiness as it is in other areas of life.

I'm sure it would be a very interesting experience to try to make it in the US but as a small fish in an even bigger pond you might not find it as easy as it seems. And even if that is your ultimate goal, putting your time in over here will certainly make you a better proposition when you do appear in front of American audiences.

While UK performers and niche labels may not have the resources of their US counterparts, one thing you can learn from the American approach is the importance of strategy. Marcia Dixon, probably Britain's foremost gospel music expert agrees. "In my experience, the UK gospel scene, while not as big as in America, is very much alive and well. Not only that but it is possible for Christian and gospel artists in the UK to achieve a great deal of success with the proper strategy. However, it must be a strategy based on studying the UK market and the bands and performers who have made it over here. As with any showbusiness career there is no way round the fact that it also requires a great deal of hard work - but doing your research properly will make sure your efforts flow in the right direction."

It is particularly important in a niche market to get to know the clubs, magazines, websites and networks where information is exchanged. Marcia's own website at www.marciadixonpr.co.uk would be a good place to start. For US Gospel, Bil Carpenter is a goldmine of information. His book and site www.uncloudydays.com puts that goldmine at your fingertips. Rather than thinking like a creative artist and focussing on what you want to give people, explore what is out there already and observe what other artists are trying to sell' you and how they are going about it.

Before you launch your own campaign, try to get a feel for who is doing well and who isn't, and seek to understand what each type of person is doing differently. Start to apply what you've learned to your own performance and marketing. You don't have to reinvent the wheel all the time but equally, make sure you bring your own unique style to what you do.

One area that Marcia and I strongly concur on - and not just for gospel singers - is the importance of mentoring. If you can form a good relationship with a performer or group who has already been down the road a few times, you can learn many invaluable lessons on what to do and what not to do.

Be prepared to give something back in return - they might welcome a support act for instance. Don't let pride stop you simply manning a CD stall on their behalf if they have some useful things to teach you. Having your own individual style helps here too. You are more likely to find a mentor if they are confident you are not merely seeking to swipe their act and audiences.

Lastly, I wouldn't discount the secular side of music as a source of work. Marcia says she has frequently been approached by mainstream productions and producers in need of gospel artists. Indeed, if I was a niche artist in any style I would certainly make sure all my potential mainstream collaborators knew I was available rather then waiting for them to come to me.