In Conversation With.. DMC Operations Manager, Hagen Patterson
It’s highly likely you’ll have met Hagen Patterson at some point - a well known face within the Dumfries music scene, Hagen is the co-ordinator for DMC’s THE PLAZA, artist manager to Dumfries sleaze-disco outfit, FRANKY’S EVIL PARTY, but most importantly a music lover. And this month, we’re delighted to have Hagen take on a new role with DMC as our Operations Manager, helping to manage and deliver our events and initiatives throughout the whole year.
We caught up with Hagen to find out more about what we can expect from his new role with DMC, how he set up his own DIY management company and his thoughts on the impact of COVID-19 on music venues across the UK.
For those who don’t know you, let us know a little about who you are and what you do…
Well, my name is Hagen Patterson and I was born into very humble beginnings. I come from a very working class world, a place that teaches you to have ambition and with that, a great deal of pride in what you do. In the beginning, music came to me as a love of life, never would I have considered it as a lifestyle. In all honesty, I found music, and music found me. We have ever since grown a relationship that is fully committed and quite openly, I will admit, rather indispensible. Working entirely D.I.Y. and out of my bedroom, I set up an artist management company called BIG RED which was set up to cater for those creatives who use art for art’s sake. A scene I have chased for many years, I wanted to concert a lot of my focus on the enriched D.I.Y. underground music scene and work with artists from their very early and organic stage, to help encourage the utmost purity within making music. Currently, my BIG RED family consists of FRANKY’S EVIL PARTY and GRAVELLE – two very different entities, who specialise in the dark and the danceable.
You’ve been part of the DMC team for a while now but have just come on as the Operations Manager – what can we expect from your new role?
I have, and I am delighted. It has all been very exciting. I became involved with DMC more coherently in 2018 with the opportunity to take up the event management, music curation and design mentorship - ever since then I have more or less dabbled within the organisation. I officially joined DMC in October 2019 as THE PLAZA Project Co-ordinator, but have very recently taken on the position as Operations Manager. With this new role, essentially, I will be accountable for the delivery of DMC’s events and initiatives, but I would like to think my job will consist of so much more throughout its maturity. I am looking to preserve our raw resources by encouraging local artist growth as well as developing creative spaces for local and national artists to help recognise Dumfries as a unique and prospering new music scene. Although proud, I’m not all that keen on titles, I see myself as a fellow creative whose ‘undefined’ role allows for no limitation. There should never be any limits when regarding creativity. I would like to make sure that all’s welcome and that nothing will ever be disregarded. The power of the people achieves the ultimate result - we must take the collaborative approach. I want this relatively small music community to grow, flower and never to fragment. I suppose that’s the very least you can expect from me.
Hagen took up the Event Management & Curation mentorship role in 2018 and staged ‘ROUGH/CUT’.
You’ve been the man behind THE PLAZA since October, staging three successful gigs in forgotten or underused spaces in Dumfries. THE PLAZA plans are on hold for the time being, but how do you hope to take this forward once live music can return?
Our beloved PLAZA, our house of music, it’s a real shame this relatively new project has been caught in the cross-fire of COVID-19. THE PLAZA will remain simple, considering it offers a no over-complication towards music. There to support local and national artists, our billing will remain non-conforming to the standard model of building and creating a gig - having already proven various experimental ways to break the monotony of ordinary gigs. Essentially all of my efforts are centric to the music and our line-up is not confined to genres, styles or aesthetic. THE PLAZA will continue to offer a great variety show for all. It is a hugely difficult time for live music, for there is little clarity on how much of it will return or how it will be reinvented. Although it proves to be an interesting conversation, THE PLAZA must come back as a safe and healthy house of music. There will be no cutting corners or rushing to put on live music just for the sake of it. It will be well worth waiting for. Before THE PLAZA fell victim to COVID-19, there was much work yet to be done, bills were to be built bigger, acquired spaces were to reach new audiences and the showcases were to become more extraordinary. When we have an opportunity like this, we have a duty and a responsibility to drive it to its limits. We have what we need, hands and heads, love and passion, that is all what is really required. In time and in effort we are half way there. I may be the man behind THE PLAZA, but it belongs to each and every one of you.
Some bands may be wondering what the benefit of having a manager is – would you be able to explain a little about the importance of this and how it can help musicians build a career?
Take from this what you want, for I have carved out my own way when it comes to being an artist manager. Purposely, I made it my own so that I have something unique to work with. Don’t get me wrong, the main body of my work falls on traditional lines, but with quite severe tweaks along the way. Essentially I work and fight for my artists. I consider myself their well-being, and their enabler for what they create. For those without a textbook, every manager has their own unique way of working, but I find that in essence, the focus must be on your organisational skills, patience, creativity and capacity to multitask. Everything else above that is my own workings. I find that for an artist in the very early stages, acquiring a manager holds a lot of importance. I believe that the endless hours of work that goes into speaking to the industry in order to get you somewhere, is time wasted for the artist on being creative. An artist will benefit from having an outsider’s perspective at that critical stage. I see a manager as someone who has a go-getter attitude with the confidence to turn the tables, as well as being the hub for its artists. For me, as a manager, it is important to keep learning every day so that you and your artists continue to grow together.
Introducing The Lutras at THE PLAZA at the DMC 2019 Showcase.
What draws you to a band, or makes you want to work with them?
Well, a lot of it has to do with the talent, passion, professionalism and determination of an artist. I would only want to work with an artist who holds these essential components as a bare minimum. I’m drawn to the artist that wants to break the silence and wants to create something that doesn’t necessarily appease the market needs of the industry. I want to hear the heart and soul of music, the rawness and the passion. I work within a very abstract field, and wouldn’t consider my management workings within the mainstream. There are many artists who have been shunned into artistic exile, just for what they truly create, I’m here for them. I’m drawn to the fight, the ability not to sell-out, and to stay true to your art. There is an expectation for artists nowadays to put on a strong and calculated business performance, but that is something I completely overlook. I look for an artist who, once acquires my services, continues to work hard and puts huge effort into building their own career - one who is not shy to start demanding results. I look to build up a very intimate relationship, I ‘get into bed’ with my artists, they intrigue me that much. However, that does not mean I approach them with a yes-man attitude, my concern is to help break an artist and to achieve personal and professional growth. I like to push my artists’ well out with their comfort zones, which allows them to be presented with new perspectives in respect of their art.
Who is on your radar right now? Locally and nationally.
A lot, far too many to name. Although there has been an evident slump in the release of new music right now, time throughout lockdown has given me the opportunity to really delve into the mass of music out there. It really is amazing the range that is on offer, particularly in Scotland. Locally, I have been watching the evolving sound of Kate Kyle, for such a young singer-songwriter her level of maturity with music is sublime. Have you heard of Prussia Snailham? If not, you’re about to. Nationally speaking, I have been chasing the likes of The Leather Corridor, Callum Easter, Natalie Pryce and Cumbernauld’s very own, poet and pleasure angler, Steven Thomas. I’ve merely scratched the surface. .
Hosting the DMC Sessions at the 2019 Conference.
How important do you think it is for people to engage with local projects to further their own skillset or career?
Of the utmost importance. In Dumfries and Galloway, we are enriched with opportunity, if ever you have heard of anything different, I would urge you not to believe that. There is truly something out there for everyone. You just have to look for it. I believe the focus on rebuilding opportunity within the small town of Dumfries was to help combat and dilute the mass exodus of young people from the area to the likes of Glasgow and beyond. Throughout the region, the arts sector seems to offer up some elite forms of opportunity, I know that the likes of The Stove Network and the CatStrand have offered up a serious dose of hands-on projects that are designed to further the skillsets and careers of young people within Dumfries and Galloway. With the likes of DMC, the mentorship programme is one I cannot recommend enough. The skill development within this short course is paramount for any fledging creative interested in foot-holding a career within the music industry. However, within my new role as Operations Manager I am keen to find out more from our music community what opportunities are missing, or could be better developed.
The global pandemic has had a huge effect on music venues across the UK, with so much uncertainty about whether or not they’ll reopen. How do you think we can best support our local music venues and start to build up the live music scene once again – both locally and nationally?
Like most, or all of us, we still find ourselves living amid strange and uncertain times. It is a sad inevitability that COVID-19 has affected all parts of our daily lives, but what is most concerning is that our beloved music industry has been grounded to an absolute halt. What we have seen just recently is a struggling comeback for music, particularly at a grassroot level. Although this time has given us all some great reflection, and with isolation giving the creative a time to thrive, we must do what we can to support our local music first, before we tackle it on a wider national level. Small grassroot music venues have been hit the hardest, some threatening to never reopen. What you have to remember is that these small grassroot music venues have at some time or another harboured every single one of this country’s raging new artists. It’s the beginning of time for all new music. Our venues are the homes to our music. By donating small amounts of cash via a Crowdfunding page, signing UK Government petitions requesting economic assistance to the events industry, or simply by purchasing CD’s, vinyl and t-shirts from a venue’s merchandise store, it all helps. With lockdown, much needed reflective time may have made those realise that they have taken live music in this town for granted. So the best course of action you could take is to get out and support your scene.
Interviewing Kate Kyle on Radio DMC at the 2018 Conference.
How do you view the music scene in Dumfries? Is there anything you think we could benefit from?
Undoubtedly, Dumfries and Galloway’s artistry is on tap, there is no doubt in my mind that our region will ever be in any drought when it comes to new and upcoming artists. I find the music scene is there, but in no way near where it needs to be, but that comes down to the lack of. Without Dumfries Music Conference we wouldn’t have much. This organisation has provided a brick-high platform that every local new artist needs, however, I wish to see more initiative-led creatives within our wider communities and to grow and develop a collective. This should begin with the appointment with a grassroots music promoter for our venues, a more routed small music venue that in-house wants to draw in national touring artists and use local music as its support. There are many great opportunities for our artists, including two recording studios, rehearsal rooms and a small catalogue of music festivals that are local-centric when building their bills. Although satisfied, there is much more that needs to be done. Wherever you go, in the smallest of towns, and within the smallest of communities, creativity thrives. Remember, when the struggle is real, you can achieve anything. We must fight for this before something dies.
Wanna chat to Hagen?
Get in touch with your ideas, thoughts or just to say hello by emailing dumfriesmusicconference@gmail.com