For what it is, the World Pipe Band Championships is a magnificent event. I’ve remarked before that it runs like a flawless Swiss watch, with thousands of moving parts and several rare jewels. Three-hundred-odd pipe band performances running on time, judges and stewards and administrators all knowing their role and doing their jobs. There is no bigger or better competition in the pipe band world.
But the World’s is at a crossroads. As the organization realized back in the late-1990s, they had a great product on their hands. The popularity of the contest with pipers and drummers from Canada, USA, France, New Zealand and just about everywhere in the world where pipe bands exist had grown so much that it finally dawned on the City of Glasgow to get on board in a serious way.
In a stroke of obvious entrepreneurial genius, Piping Live! was born 10 years ago. Events Glasgow partners with the RSPBA to stage the spectacle. If we are to believe the purported stats, tens of millions of pounds come into Scotland during World’s Week. It is a cash-cow for the local economy.
The World Pipe Band Championship is a great event, and it could be so much better, and so much more beneficial to the art overall and to the performers who make it the spectacle it is. The move to a two-day event shows that the RSPBA wants to try new approaches. It could be a spectacular success or a colossal failure, or even net-neutral, as they say, but at least they are trying.
Here are five more changes to improve it:
1. Transparency. We do not know how much the RSPBA charges the BBC to broadcast the event, or if it is given to Events Glasgow to negotiate. We just don’t know. As a broadcaster, by law the BBC must pay or negotiate a direct license with the organizers. The BBC doesn’t send eight tractor-trailers, miles of cable, dozens of technicians and an editing team back at head office to cover just anything. This is a mobile broadcast crew on the order of the Glastonbury Festival or T in the Park. There is a lot of money either unrealized or unaccounted for. It’s time to share the terms negotiated with the performers.
2. Bring the Grade 1 Final indoors. The SEC or the Glasgow Royal Concert Hall are prime venues to stage a 10-band Grade 1 Final. If a two-hour Pre-World’s concert with one band can sell out 2,000 £30 tickets, then certainly a four-hour World’s Final could command £60 a ticket. That’s a £120,000 gross. Do the Grade 1 Qualifier and all the other grades at Glasgow Green on Saturday, and then focus on a guaranteed dry Grade 1 Final on Sunday.
3. Pay-per-view. Again, the RSPBA, by selling or giving away the broadcast rights to the BBC could be missing a huge opportunity. The BBC is not allowed to charge viewers or listeners, so it’s all free. That’s nice, but the only way that is fair is if the BBC is paying the RSPBA at least as much as it could make from a pay-per-view broadcast. This year’s Saturday event is being streamed, not by the BBC, but privately, and that, too, is free. A pay-per-view streaming format each day where viewers purchase access for, say £10, at 10,000 viewers a day (a fraction of the number they contend logged in to the streamed broadcast last year), would bring in £200,000. And, if the viewers knew that the performers were being compensated fairly, they would be happy to pay a fair amount . . . so . . .
4. Share the wealth. Even without a ticketed indoor Final on pay-per-view streaming, the World’s is big money for the Scottish economy, and the license to broadcast the Grade 1 event is extremely valuable. The money must be shared with the performers. No performers; no money. The RSPBA can take an administrative share, but the rest should go towards prize money and appearance fees. The performers have a legal right to be compensated fairly, and saying that bands waive their right when they enter the competition is simply not legally true.
5. Promote the art. All pipe band associations contend that their first mandate is to “promote the art of piping and drumming” (or words to that effect). In truth, they are little more than competition-running machines. The RSPBA is by far the best in the world at keeping its competition machines finely tuned, but whether the World Pipe Band Championship or anything else they do truly promotes the art is debatable. The art is not solely competition. Fair enough, promote the competition as a product, but plow some of the money from the product into truly promoting the art through teaching, by taking it further afield, by promoting new and creative ways to present the music.
Many people still say that there is no money in all of this. Bollocks. Just look around. The week in Glasgow culminating in the glorious World Pipe Band Championships is huge money, and the performers deserve a fair share. Piping Live! by all accounts does a great job of compensating performers, and many bands are able to recoup some of their costs by playing during the festival.
We are not unique. Musicians of every kind can be and are exploited. Rock, rap, classical, pop, opera – you name the genre; all of them start off just happy to play and to have their music heard and they don’t know enough or are afraid to ask questions. We are really no different from the fledgling garage band who ignores their rights while others reap the benefits, until one day they realize they’re playing stadium gigs and can’t afford anything but fish suppers.
The irony is that we are not talking about greedy for-profit record labels. This is a nonprofit association that represents the will of its members and strives to create a fair and level playing field for all. Pipe band associations are not businesses, and they can be forgiven for missing business opportunities. They do a fantastic job of executing competitions, and now they need to catch up to the business end of the deal.
It’s now time to compensate fairly, once and for all, those who provide the product: the performers.