PRS For Music Foundation

I've just returned from Iceland Airwaves, an international music festival and industry meeting point I've long wanted to
If all of this energy, wisdom and news about independent initiatives came from one room of people at a conference on a Friday afternoon, imagine what could be achieved if we could multiply this and connect it to every level of the industry and to those who make decisions nationally and internationally about funding and policy development.
Isn't it time then to think about what composers really need to realise their potential? And, in spite of the wider financial challenges they face, could those who work with composers help by exploring how they might adapt their processes and understanding of what it takes to write a new piece of music?
The role of the creative producer as catalyst for new ideas, supporter of artist development and facilitator between artist and audience is regularly acknowledged across most of the performing arts.
We also want to influence other funders and policymakers across the creative industries to consider pro-active ways to increase representation of women in their sector (women make up 13% of the UK's songwriters and composers, 7% of Film Directors, 11% of screenwriters, 4% of Music Producer Guild membership, 15% of UK games development industry. All shockingly low).
Why is it that the composers, songwriters and performers who create this independent music are so often perceived as having little in common? Does an upcoming electronica or left field hip-hop artist really have such vastly different career development needs as, for instance, a classically-trained composer?
In just a few days time, the doors to the biggest and most important showcase for new music swing open again. I can still recall my first experience of South By South West (SXSW) - it was rambunctious, full of pure abandon and randomness - flitting from one venue to another with remarkable speed.