Fast forward a few years and Phil reinvented himself as an engineer working alongside Sade, Boy George, Rolling Stones, Depeche Mode and Erasure. Then he moved into production where his work for Des’ree, The Pasadenas (and with Martin Ware from Heaven 17) as well as the critically acclaimed Terence Trent D’Arby album, The Hard Line According To…, firmly established his reputation on the UK music scene. Throw in some remix work for the likes of De La Soul, Lisa Stansfield, PM Dawn & Eternal and writing music for PlayStation’s best selling computer game Gran Turismo and you would think he’d be ready for a cuppa and a bit of a lie down. Instead he celebrated the new Millennium by founding his own company. Futureproof started as an award winning club night and became a label in 2004 releasing tracks with UK Hip-Hop don, Rodney P. 2006 saw the birth of promotion and distribution operations, and in 2009 the company is fast becoming a major force on the UK music scene assisting new independent artists to break their music into the industry.



So Phil, how about you take us back to the start?
In 1977 I was at art college in Bournemouth. When the punk scene started to explode I hitched to London and joined Essential Logic. We signed to Rough Trade, put an album out and began gigging with Iggy Pop, Joy Division and Human League. Whilst in the band I also worked doing telesales at CBS (later to become Sony Records), selling Michael Jackson records into shops. A few years on I began to get involved in learning about production and was working at Powerplant studios when the technology explosion of the 80s took off. I worked as a producer/engineer for a range of artists including the Rolling Stones, Depeche Mode, Sade, Terence Trent D’Arby, Desree, Everything But The Girl and Erasure. In the 90s I moved into remixing and had success with the remixes of Lisa Stansfield’s ‘So Natural’ and Eternal’s ‘Stay.’

How did Futureproof Records & Promotions come about?
In 2000 I felt I wanted a change and to try working in the marketing side of industry. I had originally intended to begin a label but in a twist of fate Futureproof began life as a club night, as on the same day I came up with the name someone asked me if I fancied setting a night up. Until then my life had been working in studios, staring at screens and I fancied idea of getting out there and meeting people more.
I learned a lot about event promotion by running the night. It ran as a weekly RnB/Hip-Hop night for three years and proved a success winning the myvillage.com award for ‘Best Club Night’. I woke up one morning in 2003 wondering where the time had gone and remembering I had intended to set up a label! I put out some vinyl featuring Rodney P and had remixes from DonE and Nottingham Hip Hop outfit P Bros. Zane Lowe got on it and it took off. Soon after people started asking me to promote their records. My first client as a promotions company was Apache Indian and I have gone on to work across all genres developing and promoting fresh and innovative independent artists

You’ve worked in a variety of roles in the industry. What are the biggest challenges you’ve faced?
I’d say due to the current environment the past few years have proved very challenging. How music is consumed and how people relate to music is changing and continues to change. What I used to do in a studio can now be done on a computer. To be a creative person these days you need some connection with how music is marketed and how you reach your audience. Musicians have always said they want to be more empowered and now we’ve gained this we have to engage with managing that empowerment.
The most useful thing I’ve learned is that if you work in this industry you must have a passion and enthusiasm for it. If you have a passion for what you do you will always find new avenues and it naturally evolves. My enthusiasm is the thing that has driven my career and has helped me to continue in this ever-evolving modern climate.

What have been the best and worst moments of your career to date?
There are some moments, which do stick out. Joining Essential Logic in 1978 and within a week touring with Iggy Pop and heading to Wales to record in the same studio where The Stranglers had just finished recording their album was incredible. Learning that Terence’s single ‘Wishing Well’ had made it to No1 in America. More recently an event which Futureproof put on at Tate Britain where over 5,000 people came along to see Futureproof’s artists perform as part of the Tate’s tri-annual exhibition. The worst moment came while I was working with keyboard player and musical director for Michael Jackson and Stevie Wonder, Greg Phillinganes. I accidentally taped the band having a chat in the studio over his recordings…big mistake!

Any top tips for surviving 30 years in the industry?
Enthusiasm is key. Keep an open mind and don’t be scared of questioning what you’re doing. Never think you’ve got it all sussed. Futureproof contains the elements I find most important. A combination of my experience with fresh ideas from an equally passionate and enthusiastic young team.

Amy Lewis