By Mark Tavender
Nestled in a modestly appointed office within the vibrant One Three One creative hub on Bedford Street, North Shields, a dedicated team of five quietly powers a significant portion of the local and national music scene. This is Wipe Out Music: Matt, Liam, Brent, Pippa, and Bradley (the latter working remotely), carrying the torch lit by their late founder, John Esplen. One Three One itself is a bustling ecosystem, a true melting pot fostering creativity across various disciplines and fueling the cultural economy of the town. It’s a place where ideas spark and collaborations flourish, providing the perfect environment for an organization like Wipe Out Music to thrive. The unassuming exterior of their office belies the dynamic energy and dedication within, where the team works tirelessly to support and elevate the artists they represent.
Over steaming cups of coffee at The Lounge, a cozy cafe on Howard Street, the rich and layered story of Wipe Out Music unfolds. From its humble beginnings as a spin-off of John Esplen’s legendary Overground Records, a label that championed punk icons like Steve Ignorant and 999, the company has steadily grown into a multifaceted and indispensable music services provider. Their comprehensive offerings encompass everything from music publishing and distribution to complex broadcast rights management and personalized, dedicated artist services. They’ve become a vital link in the chain that connects artists with their audience, ensuring that their music reaches the widest possible reach while protecting their rights and interests.
‘John was deeply rooted in the punk rock scene, and that ethos permeated everything he did. There was a profound emphasis on genuine relationships with people, unwavering honesty, and absolute trust, and that’s something we want to and will continue to uphold,’ Matt explains with conviction. This deeply ingrained philosophy sets them apart from the larger, often impersonal, corporate entities that dominate the industry, where profit often takes precedence over the well-being and artistic vision of the musicians themselves.
‘There are some similar companies that operate on a massive scale, essentially just big corporations that artists sign to, but there’s no real relationship there. A lot of what these big corporate companies do is heavily automated, and there’s often little to no direct contact with the artist.’
This lack of personal connection can leave artists feeling isolated and undervalued, their creative voices drowned out in the relentless pursuit of commercial success.
Liam adds, ‘Those big companies are dealing with literally millions of copyrights, whereas we’re sitting on a more manageable, but still substantial, roughly 20,000.’
This more focused approach allows Wipe Out Music to provide a level of personalized attention and support that is simply not feasible for larger corporations. Brent chimes in, ‘In those scenarios, you can easily sign away your rights without ever speaking to a real person.’
This can have devastating consequences for artists, who may unwittingly relinquish control of their music and their livelihoods.
‘And for those types of companies, it’s often just about acquiring the biggest volume of copyrights possible,’Matt elaborates. ‘It’s a numbers game for them, not about the individual artists.’
This stark contrast highlights the fundamental difference between Wipe Out Music and their corporate counterparts. For Wipe Out, it’s about nurturing talent, fostering creativity, and ensuring that artists receive the recognition and compensation they deserve.
This unwavering personal touch is what truly defines Wipe Out Music and sets them apart. They pride themselves on providing direct, hands-on artist support, a crucial element in helping musicians navigate the often-confusing complexities of the modern music industry. From negotiating contracts to securing sync deals, their dedicated efforts have paid off handsomely, with notable sync deals successfully placing their artists’ music in popular television shows and major motion pictures. JOHN’s “Trauma Mosaic” was featured in “The Rookie,” Melanie Baker’s “Double Decker Death Machine” graced an episode of “Waterloo Road,” and TV Death’s “Village Mentality” made an appearance in “The Killers Game.” These placements not only provide valuable exposure for the artists but also generate additional revenue streams, helping to sustain their careers and artistic endeavors.
‘When you’re talking to different music supervisors about the music that you represent, you’ve got to be genuinely enthusiastic,’ Matt emphasizes, highlighting the team’s infectious passion for the music they champion. ‘You have to truly believe in what you’re presenting.’
This authenticity and genuine belief in their artists’ music is palpable in every interaction, and it’s a key factor in their success.
Wipe Out Music’s evolution includes the strategic integration of Singing Light Music, brought into the fold by Bradley, further expanding their suite of services to include even more comprehensive distribution, broadcast rights management, and artist development initiatives. Pippa recalls, ‘Bradley set up Singing Light in 2019… He needed more manpower to handle the growing workload, and I was desperately looking for a job after finishing my music degree at university. Matt’s band (the fantastic Pigs x 7) were part of his roster, so that’s how we initially connected. I’m still very much learning the ropes on the publishing side of things, but it’s been an incredible experience.’
This merger of expertise and resources has allowed Wipe Out Music to broaden their reach and provide an even greater level of support to their artists, helping them to navigate the ever-changing landscape of the music industry.
When asked about the company’s organizational hierarchy, laughter fills the room. ‘It’s very complicated,’ Matt admits with a smile, explaining the shared ownership structure.
‘I’m just a mere worker bee!’ Pippa jokes, showcasing the team’s strong camaraderie and lighthearted atmosphere.
‘There isn’t really a strict hierarchy as such,’ Matt clarifies. ‘Where decisions need to be made, we’ll just have a chat, and so far, so good. We generally come to a consensus about anything really.’
This collaborative and open approach honours John Esplen’s enduring legacy of openness, transparency, and mutual respect, ensuring that everyone’s voice is heard and valued.
Wipe Out Music thrives within the North East’s burgeoning and vibrant independent music scene. Their diverse roster of artists reflects a broad and eclectic taste and demonstrates the profound impact that a small but dedicated team can have. From emerging talents to established acts, they are committed to providing unwavering support and guidance, helping their artists achieve their full potential. Their unwavering commitment to independent music and their artists is their lasting legacy, and they continue to be a driving force in the North East music community.
Their unassuming office on Bedford Street is, in reality, a vital cog in the complex and ever-evolving music industry machine. While their crucial work might often go unnoticed by the average gig-goer and casual music fan, their contribution is undeniable and essential. They ensure that artistic talent gets the support it needs to flourish and reach its full potential, enriching the cultural and musical landscape at the same time.
[And for those looking to discover exciting new music, Pippa enthusiastically recommends checking out Amelia Coburn, Cortney Dixon, and Tapwaterlucy, all talented artists on Wipe Out Music’s roster and all scheduled to appear at the upcoming A Stone’s Throw Festival in North Shields in May. These artists represent the future of independent music, and their performances at the festival are not to be missed.]
Discover more about their work and the artists they represent at wipeoutmusic.com. Their website provides a wealth of information about their services, their roster, and their commitment to independent music.
