Clive Meakins' Web-page

Give it to Varga

The new track from GiT

Released 21 December 2023

A press release by Clive Meakins (their Manager)

So where does Clive Meakins find himself in 2024? I know it’s a question a lot of you have asked (including, but not limited to, the members of GiT, the 4-piece musical apparatus I have had the ‘honour’ of managing since 2005). Well, the short answer - for those who wish to read no further – is that, against all odds, I’m feeling good!

However, it would be remiss of me not to expand (it’s also something I’m contractually obliged to do, as the 16,561 of you who viewed my open-access online contract with GiT – a music industry first – will know. Thank you).

It was true to say I was ‘fairly concerned’ with the 2020/2021/ongoing outbreak of the Coronavirus/SARS-like disease (AKA COVID/Covid). And looking back, I was concerned. I still am. However, as Maslow demonstrated with his hierarchy (I recommend Googling it if you are stuck in an introspective / self-pitying rut) a man can only go so long without food, water, warmth, rest and security.

That said, as soon as travel restrictions allowed, I had jumped on a plane to the Philippines, to comfort a very good friend who was struggling to recover from botched gender-reassignment surgery. Sure, perhaps it was my way of ignoring issues at home – but as unpaid bills threatened my very existence (not to mention the brand I had worked so hard to build), I realised I desperately needed income. It was time for Clive Meakins to get back on the wagon. And what better wagon than the Marché International du Disque et de l'Édition Musicale (AKA MIDEM) conference in Cannes, France. I said goodbye to my friend – unsure I would see him/her again - and booked my plane ticket (online).

MIDEM is the exhibition for and about the music industry; a place I have always felt at home, surrounded by familiar faces. I’ve always attended, way back since ’67 when it was advertised in Billboard Magazine: that year a few of us jumped on a flatbed truck with our sleeping bags and hammered down the elegant spine of France to the golden coast. I’ll write about that experience one day, but I’m not quite ready yet: the memories are hazy, heady, and still painful. Great stuff!

MIDEM is – to use the modern term – a safe space to have the honest conversations that we cannot have in front of the Acts we endorse (and invoice). So strap in for hard-hitting debates such as ‘are we still sure about digital?’ and ‘does the use of spreadsheets in Artist management undermine their creative integrity?’. I love the plenary sessions; the bigger picture stuff about pensions, the pros and cons of investing your Artist’s revenue under your name, and hacks to rectify historically inaccurate National Insurance contributions.

Anyway. One thing you need to know about me is that there is an edge to Clive Meakins. An edge I am not afraid to show (and in my line of work, I often have to). I am a passionate man, I do things I believe in, and I am anti-nonsense. There are times where I cannot and will not be silenced – I literally stand up, extend/receive a punch, and sit down again.

Fast forward to day three of four (MIDEM really is that long). As I sat on my plush conference chair, I was overcome by a sudden need to speak out. The interminable presentations seeking to ‘foster debate and facilitate the alignment of perspectives during special moments of interaction between political figures and the music industry ecosystem’ had me ready to vomit (AKA boke if you are reading this in Scotland). It had all become too much, and the scales were falling from my eyes; the ‘industry’ (i.e. the music industry, or the ‘biz’) could not continue to waste energy retrospectively mining the damage done by the Lockdowns. Move on, people! Listening to the linen suits and hoodies on stage you’d be forgiven for thinking that no-one was making music anymore; that as a society we had collectively turned off the creative taps. This was utterly opposed to what I knew was happening on the ground and had seen with my own ears. As the roving microphone made its way around the yawning audience for the Q&A, I stood up and made my point – I didn’t need the mic. Punch thrown.

Although I didn’t agree with the security staff that I’d been aggressive – my French isn’t perfect, so it was open to interpretation - I decided to leave the venue anyway. I’d had enough.

What next? Well, when in doubt – return to GiT. On the bus to the airport, I flicked through my diary to find GiT’s office number, and dialled. Luckily Richard answered, and after some confusion about my identity, he agreed to post me a copy of GiT’s latest single; Give it to Varga.

Clive Meakins is back, and so are GiT*.

* Technically, they never went away (I’ve been asked to make that clear).

Sheep Song

The new sheep-themed track from GiT

Released 31 January 2020

A press release by Clive Meakins (their Manager)

I’m going to get straight to the point: I’m worried about the new Coronavirus/SARS-like disease that is currently developing in China. As a young boy I was obsessed with Ebola, and then H5N1 (so-called ‘Bird Flu’) and their resulting pandemics. The word pandemic comes from the Greek pandemos meaning ‘pertaining to all people’. The Greek word pan means ‘all’ and the Greek word demos means ‘people’.

It’s funny how life works out - one minute you’re rewiring an old Quad amp that you shouldn’t have bought on eBay (316 mile round-trip!), the next minute you’re in your wellies on a Herefordshire meat farm directing the video for GiT’s new single Sheep Song. Yes, this is no departure from the sound and texture we’ve come to expect from GiT - who were played several times on 6 Music in 2019 - but this latest tune does feel different, and that, in turn, has made me feel different. I will return to this later.

Well, do I like this new single? As GiT’s manager it is my duty to ask this question, and it is my duty to answer it. If you’re reading this you’ll know I have great connections within - and outside of - the music business (or ‘the industry’ as we insiders call it!). Evidence of this is manifest in Radio 6 Music Marc Riley’s favourite band Bilge Pump (Twitter @MightyBilgePump) describing GiT as ‘adequate’! I was pleased as punch with this, particularly after the truly awful weekend I’d had.

When preparing to hear a new GiT track for the very first time, I go through a rigorous and specific procedure. I developed this set of distinct stages over many years, largely to avoid a repeat of March 31st 1999. These stages guarantee my readiness to receive, yet the aloof objectiveness that is just so important in my position. My ex-wife said I was a slave to my routine, ‘trapped in a toxic cocktail of insecurity, obsession and bad judgement’...but who is GiT’s manager now? Who has got them 6 Music airplay, UK-wide gigs and a loyal Twitter following? So, I showered, turned the thermostat to 10 degrees, drew my heavy lounge curtains, unplugged the wifi and shut off the water supply to my house at the meter. And then I sat, alert yet calm, and let Sheep Song wash over me. I have to say, I was upset at first - confused, even - but when the track ended I knew I’d listened to GiT. It’s a brave step to bring eDrums into the GiT roster, but I think the fans will come to embrace it. 6.5/10.

I’ve made no secret of my interest in other bands, even going so far as to make it explicit in my contract with GiT. They’re an accommodating - if odd - bunch, and were happy to make sure my operational plan, promotion/comms/risk analysis and exit strategy were recognised via the traditional legal terms. In the spirit of openness my contract is available online (I believe I’m one of the first in the industry to do this). Make sure to download the file labelled ‘CM_contract_V3_final_FINAL[THIS_ONE]!’ on GiT’s website (not ‘CM_contract’). Thank you.

At present I have been unable to secure any gigs for the boys. Yet we remain very much on good terms and I wish them the best of luck with this latest single. Did you know that, on average, global health has never been better? So I use this to give me the optimism I need to keep working at this. Because, things do get better!

Best wishes,

Clive Meakins, GiT manager

January 2020

Erithacus Rubecula

The new EP from GiT

Released 1 February 2019

A press release by Clive Meakins (their Manager)

They (the band) told me “write from the heart!” and after reviewing their newest release Erithacus Rubecula and standout track “Captain Hauser”, and carefully checking my contract, I decided I should.

Returning from a winter wellness and Twitter workshop/retreat in Cape Verde I was, to be frank, ready to move on and manage a new outfit. (Backstory: after several surprisingly bruising psychotherapy sessions, I had come to realise that, to the detriment of my health and finances, there is only so much I can and in fact want to do for this 4-piece from London, despite my experience and industry contacts).

I’d received several requests to manage other bands (via my online portal) but I’ve been at GiT’s helm – so to speak – for the best part of their 15 year career. I’ve seen them at their worst, several times in fact. And, let’s be honest, they’ve certainly seen me in some pretty awful, stressful and downright awkward situations. The mind boggles!

Admittedly it was easy for me to get their last single – “Stick it in the Garage” – played on BBC 6 Music several times in the last month, and Twitter has proven the boys’ unusual sound is proving popular. But this latest release, paired with their best video to date, takes things to a whole new level.

I’m working on getting them a few gigs, but as ever I remain open to new avenues!

Best wishes,

Clive Meakins, GiT manager

January 2019

1. In The Forest

2. Flat Abs

3. Captain Hauser