Keith Mullin

Music Department; Subject Leader Professional Practice & Music Business, Management Department; MA Course Leader

MA, PGDip, FHEA Course Leader  

Keith is a member of Liverpool band The Farm and works as a freelance music professional. The band’s first album reached number one in the UK and they continue to perform at festivals and UK venues. He has also managed bands and artists, and co-owned independent labels Honey Records, Produce Records and recently Vile Entertainment. Keith was also a member of The Justice Collective achieving the 2012 Christmas number one with their recording of He Ain’t Heavy, He’s, My Brother, working with Guy Chambers, Sir Paul McCartney, Mick Jones from The Clash, Robbie Williams and former Spice Girl Mel C.

With over 30 years’ experience in the music industry, he has acquired a knowledge and experience of the industry’s management structures and common business practice which he passes on to his students. He uses a mixture of approaches and methods to ensure that learning feeds into career-focused development for musicians and artists.

With an MA in Music Industry Studies, and PGCert in higher education teaching, he has mentored and taught numerous musicians who have gone on to enjoy successful careers in the music industry as songwriters, managers, A&R managers, live music industry media and digital marketing professionals. He continues to maintain relationships with many professional entertainment companies, publishers, record labels, agents, managers, promoters. In addition, he has performed with numerous experienced artists such as, Mick Jones (The Clash), Paul Heaton, Suggs, David Bryn, Susan Vega, Fun Lovin Criminals, Happy Mondays, Take That, Eurasia, Clean Bandit, Madness, The Stone Roses, Beverly Knight, Lightening Seeds, BA Robinson, New Order, Peter Hook & The Light and many other high-profile artists. More recently he worked alongside Rob Sloman as associate producer, composer and music director for the documentary Howard’s Way, the documentary currently features on sky documentaries.

Keith teaches a broad range of subjects across the disciplines of music and management, music industry and business, professional practice, research skills, practical project, work, live music and events, performance techniques and coaching. Keith’s industry knowledge and experience permit a relevant contribution to teaching and learning across multiple disciplines.

Keith possesses an extensive portfolio of professional experience having worked in the music and creative industries for 32 years. Working as a successful artist/entrepreneur since 1989 to the present day, has assisted in acquiring a comprehensive knowledge of music industry conventions and contemporary business practices. Enabling the application of music industry insights and practices within educational settings. Professional experience in Keith’s view is “an integral part of preparing students for a profession, through linking theoretical studies to deliberate practice and their learning”

Publications

What is a good higher education teacher? "Am I what I say I am?" Published 2017-04-18 LJMU Innovations In Practice

Hillsborough Justice Tour 2012 - The John Robb Diary, Book, Chapter Contribution

Music releases

Albums

Spartacus (1991)

Love Sees No Colour (1992)

Hullabaloo (1994)

Pastures Old and New (1986)

Spartacus Live (1991) 

Groovy Times (1991)

Best of The Farm (1998) 

The Very Best of The Farm (2001) [compilation] Back Together Now! Live (2006) All Together with The Farm (2007) [live album] Singles.

Keith’s songs have featured on 90-compilation albums

Singles

Hearts and Minds (1984)

Steps of Emotion (1985)

Some People (1986)

Body and Soul (1989)

Stepping Stone / Family of Man, Groovy Train, All Together Now (1990)

Sinful! (Scary Jiggin' with Doctor Love) with Pete Wylie, Don't Let Me Down, Mind (1991)

Love See No Colour, Rising Sun, Don't You Want Me, Love See No Colour (re-mix) (1992)

Messiah, Comfort (1994)

All Together Now (Everton FA Cup Final version) (1995)

All Together Now 2004 (feat. SFX Boys Choir) (1994)

David Wibberley

Head of Management for the Creative Industries and Performing Arts

MA PGDip FHEA Head of Management 

After being signed as a songwriter to Virgin Music at 19 years old, Dave’s first move into management was in a business development role for Sheffield City Council’s, innovative Cultural Industries Quarter team. This post led to him developing a close working relationship with South Yorkshire icons Human League and FON Records, among others. The success of the Cultural Industries Quarter in Sheffield led to Dave being offered an A&R job at Momentum Music in London, where he had his first chart success with ‘techno rave’ artists SL2 and Liquid. 

While at Momentum Music, Dave gained his Masters in Cultural Studies, studying as a part-time student at the University of West London. 

In 1993, Dave moved to Chrysalis Music, where, as A&R manager, he had several hits with Skunk Anansie, Baby Bird and Lightning Seeds.

Joining Richard Branson’s V2 label in 1996, Dave was lucky enough to be the A&R manager for Stereophonics’ first two albums, both of which went multi-platinum. 

In 2004, after four years as Director of A&R at Jive Records UK, Dave set up his own management and production company, magnoliaMAM Ltd. The company saw international success with The King Blues and songwriter David Ford. Ford wrote several hits for the French superstar Johnny Halliday, and this success was recognised by the French music industry in 2014, when they awarded him the prestigious ‘Victoire de la Musique’ honour.

In 2010, Dave delivered his first university teaching as a part-time lecturer for the University of Hertfordshire, and went full-time in 2012, when he was appointed by the University of East London to design and manage their Business School’s BA (Hons) Music Industry Management programme. 

Dave joined LIPA in the summer of 2018 as Head of Management, and teaches a variety of Creative Industries Management subjects across our Bachelor’s and Master’s programmes.

Dave continues to run his management and production company, mMAM Ltd, providing music industry management and administrative services to a range of professional artists and songwriters.

His wide-ranging career as a creative industries entrepreneur and cultural sector academic, has left him with a wealth of experience, knowledge and understanding, regarding the creative industries, business management and higher education.

Dave’s teaching at LIPA focuses on Copyright, Contracts and Intellectual Property, the Business of the Creative Industries, Employability & Enterprise, Music Industry Management, Popular Culture Analysis and Dissertation Research Projects.

Dave’s professional career within the creative industries, alongside his ongoing involvement with artist and copyright management, bring him a depth of understanding, knowledge and experience that informs his teaching and mentoring of our Management students, as well as benefitting LIPA’s relationships with professionals from across the creative industry sector. 

Dr Eva Petersen

Lecturer

LL.B (Hons), PGDip, MRes, FHEA, PhD candidate.

Eva was lead singer of The Little Flames, a band that also featured Miles Kane. They toured extensively and supported Arctic Monkeys, The Coral and The Zutons. As a solo artist she’s written and recorded with Guy Chambers and Echo and the Bunnymen guitarist Will Sergeant on her album Emerald Green Eyes. Her latest work, Voices of Winter Palace, was recorded with the Budapest Symphony Orchestra. Eva is currently undertaking a practice-led PhD and believes the best way to understand popular music contexts is for students to apply the relevant academic theories to their experiences as practitioners.

Veronica Skrimsjö

Lecturer

BA (Hons), MA, PhD, FHEA

Veronica has a BA (Hons.) and MA in popular music studies, and a PhD that focused on popular music, aesthetics, and record collecting. She has been teaching at HE level since 2009 and is a fellow of the HEA.

Veronica’s research is primarily concerned with record collecting and collecting cultures, materiality and aesthetics. One of her main aims is to highlight how diverse and active popular music fandom and consumption is, and she has a clear focus on the listener and reader-response theories. She regularly provides research commentary for various media, and she is the sole owner of the Cunard Yanks record collection.

Publications/research

‘I, Me, Mine?’: An Initial Consideration of (Popular Music Record) Collecting Aesthetics, Identities & Practices (2016)

A selection of shorter works available via www.veronicasvinyl.com