Only when Six D are asked to demonstrate their dancing does the giggling stop. Kieren, 23, the group’s oldest member and de facto leader, stands up to show off what he calls a “540 Kick”, but is told the cameras are too close. Instead, he is urged to strike moves from the sofa. For a moment, he looks like he might refuse. What was set to be 10 minutes of frothy teen-pop TV takes an awkward turn. Suddenly, barely out of his seat, the signer sends his legs sideways into the air and twists them into a position that appears both impossible and painful. The rest of Six D whoop. The presenter looks relieved.

Six D are as manufactured a pop-act as you’ll hear all year – the six (aged 16 to 23) are a product of a lengthy audition process – yet they boast a USP that has persuaded not only some of the world’s prieciest writers and producers to compose songs for them, but Lady Gaga’s renowned choreographer, Laurieann Gibson, to sign up as their creative director. Billed as the world’s first street-dancing pop band, Six D were conceived by their manager, Darren Michaelson, five years ago, after a discussion with Madonna. At the time, Michaelson represented the French free runner Sebastien Foucan and had been asked by Madonna to provide a team of free runners to take part in her global Confessions tour. One night, having watched the impact his free runners (who had been taught to dance by Madonna’s choreographer) had on an arena audience, Michaelson came up with the idea of putting together a group of young street-dancers who could also sing.

“Madonna told me it was impossible”, recalls Michaelson, who spent seven years working with Smashing Pumpkins. “She told me I’d never find dancers of the calibre required who were also amazing singers. I disagreed, but I had no idea it would take four years and almost bankrupt me.”

Michaelson began his search by contacting casting agents throughout Britain, Europe and America. By 2008, running out of funds, he struck a co-development deal with Sony, who advised he limit his searcg to Britain to cut down on costs. About £70,000 was spent auditioning up to 6,000 hopefuls. Michaelson and Nick Burgess, the managing director of the Sony label Jive, joined the casting process last summer, when the number had been whittled down to 500. Three months of auditions and workshops later, they had the six members of Six D.

Meanwhile, Michaelson had seen the street style explode, thanks to TV dance contests, Glee, and the success of Diversity and Flawless. Street-dancing films such as Step Up and its sequels were making it big, along with the Uk’s StreetDance 3D.

“I did worry someone would launch a street-dance pop act before ours,” he admits. He defines street-dance as a “catch-all term for the latest dance moves”, and traces its history back to break dance in the 1980s. “Then I discovered how difficult suitable kids were to find and knew we would be first. I honestly believe this band is the future of pop.”

Britain already looks certain to succumb. Six D’s debut single, Best Damn Night, is released tomorrow, but already the band have a huge fanbase thanks to tours with JLS and he Saturdays, support from Radio 1, and the backing of Channel 4, which has screened Six D documentaries, interviews, and the band’s performance at T4 on the Beach.

Throughout August, Six D will be the face of Channel 4’s street-dance season, which centres on the reality-TV series The Dance Scene, in which Gibson and her team tutor, Lady Gaga, Katy Perry, Nicky Minaj and Six D. From late August until Christmas, Best Damn Night will feature in the advertising idents for the new series of X Factor. Even Michaelson admits that fans “may get sick of that song”. “But in a good way”, he adds, hastily.

Six D’s street-dance skills may be what sets them apart from other teen-pop acts, but it is the quality of their songs that should ensure their success. Fun, hook-laden, and smartly constructed, Best Damn Night has proved string enough to convince bloggers sceptical of manufactured acts that the band is worth backing. Their second single, Think of You, is penned by Stargate, who took time off from working on Rihanna’s latest album after seeing Six D’s debut video.

The sextet insist they were heavily involved in the writing process – sessions began 10 months ago in London, LA and Miami for an album due out in February 2012 – but their real contribution appears to have been their ability to dance. Prior to recording, the band attended choreography boot camps at Gibson’s Hollywood dance studio. When Michaelson took them to meet writers and producers, they performed dance routines. Their first session in America, with the producer Wayne Wilkins (Beyonce, Cheyl Cole) and the lyricist Priscilla Renea (Rihanna, Kelly Rowland), spawned Best Damn Night in hours.

“Everyone who has worked with the band has been blown away by their energy when they dance”, says Michaelson. “Priscilla sat doodling while Wayne did the beats. We were worried she wasn’t keen. Then she jumped up and sang a completed chorus she said was inspired by their dancing. That was day one. I knew then this band was going to be huge, because I knew we had our first hit.”

In 2012 the plan is to take Six D to Europe, then break them in Asia and Japan, before tackling America. If they succeed globally, expect a stream of street-dancing pop bands in their wake. First though, Michaelson believes, Six D are set to raise the bar on live performance in pop.

“On some TV shows, the band are asked to mime, and they refuse”, he says. “The fact is that very few pop artists these days sing and dance at the same time. For solo stars. it’s practically impossible. With six members, it’s difficult, but doable.

“Six D have been to hundreds of schools over the past six months, performing and hosting dance workshops. The first thing the kids comment on is that they can dance and sing simultaneously. I think pop fans will start asking, ‘If Six D can do it, why don’t other acts?’

“At least, that’s what I’m hoping will happen.”

Jive records are not just refreshing because they are reminiscent of a time before reality TV when pop acts were crafted with some sensibility, thought and intelligence. Or because they surface on a rejuvenated label with a rich pop heritage which once ruled the charts with acts such as Britney Spears, Backstreet Boys and Justin Timberlake. Six D are refreshing because they tap into youth culture in a way that no pop act has previously. Therefore it’s no wonder that when Lady GaGa’s choreographer saw the six-piece ‘street dance pop act’ she proclaimed them “the future of pop” while Jimmy Iovine was left exclaiming, “Damn! I wish I’d thought of that!” Manager Darren Michaelson agrees, noting, “Pop has got so crowded and people have lost sight of what’s fresh and unique and different. If Simon Fuller or Simon Cowell were creating a pop band like Spice Girls or S Club now it would be Six D. It’s about taking pop to the next level.” Michaelson – who works for the Universal-owned Twenty-First Artists and began his career comanaging Smashing Pumpkins – had the idea for the act while managing a freerunner, Sebastian Foucan, appearing on the Madonna Confessions tour in 2006. He explained, “I was watching the freerunners in the rehearsals and suddenly thought – wouldn’t it be amazing if they sang?” He exhausted his contacts in his five-year worldwide search through “hundreds of kids” for the right three boys and three girls who eventually made it into the group; all of who are British, aged 15 to 23 and can genuinely sing and dance. The youngest was found almost three years ago, aged 13, Levon De Silva, the then World Street Dance Champion. He discussed the idea of the band with Jive MD Nick Burgess, a childhood Liverpudlian friend, over lunch two years ago which led to Burgess’ involvement in putting the band together and eventually signing them “when it evolved into more than just about the music, but a lifestyle pop band”. Burgess said, “I never wanted a pop band, I wanted a challenge. Street dance is the thing all kids are obsessed with everywhere in the world. All six had to be able to stand on their own, have genuine talent and attitude and we have got that. And what the Rock Steady Crew did for Breakdance in the Eighties it would be great to do that with Six D and street dance and create idols for kids.”

Burgess’ vision to make “a global pop record” took him and the group to LA and Miami; “I wanted to get a sound, not a collection of 12 songs, so when you put it on, it has flow and vision” – where they worked with Antwoine “T-Wiz” Collins, Wayne Wilkins (Cheryl Cole, Beyonce), Rico Love (Usher, P Diddy, Kelly Rowland), Jim Jonsin (Beyonce, Eminem, Drake), Jukebox (Willow Smith) and Priscilla Renea (Cheryl Cole). Six D might just prove to be the right act, on the right label, with the right songs, and the right management and with the right ethos – at the right time.

Colin Lester has sold over 35m records in his career, and in recognition of his achievements has been awarded The Peter Grant Award for Outstanding Achievement from the MMF (Music Managers Forum) and is also a recipient of the prestigious Gold Badge Award by BASCA (The British Academy of Songwriters and Composers Association). In 2010 he became CEO of Twenty First Artists, the globally renowned artist management company owned by Universal Music.

Colin Lester was among a recent panel of advisers at Jewish Care’s business mentoringevent, attended by 100 young professionals. Other mentors were Boxing promoter Frank Warren (second left) , Elaine Stern, Colin Gottlieb, Simon Brooke, Derek Zissman and Daniel Amini.

Jewish Care is the largest health and social care organisation serving the Jewish community in London and the south east of England. They run over 70 centres and services, caring for more than 7000 people every week. Their clients emotional needs are just as important as their physical requirements and providing for their day to day needs is just the beginning. Jewish Care work across the community and provide care regardless of the level or nature of an individual’s religious observance.

In its first venture, TFR will handle clients from Worlds End, while Roberton will operate TFR on a day-to-day basis. Worlds End clients now being repped by TFR include Larry Klein, Nick Launay, Stephen Lipson, Tim Palmer, Atticus Ross, Peter Katis, George Drakoulias and Matthew Wilder.

With offices in N.Y. and L.A., Twenty First Republic will be overseen by Roberton and Tom Mackay, who will also continue EVP A&R for Universal Republic. The company will combine the creative resources of Universal Republic and the extensive management experience of Twenty First Artists to discover, nurture and develop the careers of producers and engineers. That includes facilitating new revenue-generating business while creating cross-marketing and promotional opportunities for its clients.

Said Monte Lipman: “As we continue to expand our business, we are going from strength to strength with Colin through this innovative venture. Through Twenty First Republic, we will be tapping into music and the creative process in its purest form, while leveraging the resources of our company to find production talent and extend their reach in the marketplace.”

Commented Lester: “This is an exciting new venture and a watershed moment for Twenty First Artists. It opens up a myriad of opportunities for our business. By combining the scale and reach of Universal Republic in the U.S. with the management and brand development experience of Twenty First Artists, we are creating the preeminent leader in this fast-growing area of the business.” 

Added Mackay: “Worlds End is one of the most respected management companies in the music industry, and this has everything to do with Sandy’s innovation, his entrepreneurial approach and the tremendous success he and his team has achieved. We’re delighted to be working with them and one of the most distinguished rosters of clients in the business.”

Stated Roberton: “We’re excited to be joining Monte, Colin, Avery and Tom for what we believe to be the next step in the evolution of our business. Twenty First Republic has the reach and influence to not only continue but enhance the quality of representation that we’ve provided for so many years at Worlds End.”

HITS – 29th March 2011

Twenty First Republic (TFR) will be overseen by Worlds End president Sandy Roberton and Universal Republic evp of A&R Tom Mackay, who, along with Twenty First Artists CEO Colin Lester, conceived of the joint venture idea and brought it to Monte Lipman, President & CEO of Universal Republic, home to Amy Winehouse and Florence + the Machine.

“In a business where we need to continue to be innovative, take chances and search for other opportunities, it’s a great strategic alliance,” says Lipman. “If you go back in time, with every great album, you can usually cite a great producer that was associated with it. So the value of the producer is as strong as ever.”

Indeed, the new entity, which is part of a global initiative laid out by new UMG chairman Lucian Grainge, is very much a reflection of the times. “The music industry is predominantly pop-driven, it’s just where we are musically for the moment,” says Mackay. And with producers increasingly sharing in credits beyond mechanicals and points, another revenue stream that’s directly tied to their artists’ commercial success seems to make sense.

“In a lot of cases these days, producers are getting song credits,” says Lipman. “We have one now with Enrique Inglesias featuring Frank E, who is also the producer of the song. Frank showed up with the track, he did the production and Enrique thought it was only fair to give him that credit.” But Lipman cautions that the new company is not just a money grab. “It’s good for both of us — it’s about the strategy and it’s about offering more opportunities to these producers.”

Before you cry conflict, this is what Mackay had to say about the possibility of artists feeling pressured or influenced to work with producers on the TFR roster: “In all my years of doing this, I’ve never forced or made an artist work with somebody that they didn’t choose themselves.”

Lipman seconds that notion. “At Universal Republic, we empower the artist and ultimately they make the final creative decisions, and that’s something that we feel very strong about. The same applies here. We support these creative people we give them opportunity.”

Adds Lester: “We are in the business of ultimately selling records and are not going to jeopardize that just to make commission from a production. That would be very shortsighted and it’s certainly not what TFR is about. We are about developing long-term careers as we are with artists.”

So what is the end goal for TFR? Banking on the music fans of tomorrow, of course. “It makes perfect sense for us to work with contemporary producers as well as help develop the next generation who will produce the music of the future,” says Lester.

TFR will have offices in New York and Los Angeles.

 A Q&A with the Principals of Twenty First Republic:

The Hollywood Reporter: Why delve into the producer management business?

Tom Mackay: The answer is Sandy Roberton. He is a complete icon who’s been at the forefront managing some of the biggest producers in the business going on 30 years. And when Colin [Lester] and I came up with the idea of creating this venture, I thought about everyone that I deal with on a day-to-day basis; and who’s the best, hardest-working, most tenacious producer manager out there? That’s Sandy Roberton. One minute he’s at South By Southwest until four in the morning meeting people and pounding the pavement, then the next thing you know, he’ll be in Australia seeing bands and meeting with A&R guys there.

Colin Lester: It was simply based on the fact that Universal is one of the leading music companies in the world. In as much as they would be involved in making records and working with producers in developing these artists, they work to make the records great. Adding this business is a natural growth.

THR: If the core of a record company is to find artists, nurture them, and to bring music to the market place, how does this fit in?

Monte Lipman: The success of an A&R department in this culture is determined by the intimate relationship you have with the best producers that are out there. I think one of the reasons for starting this venture within Universal Music Group is to look for any way possible where we can to enhance that intimacy between UMG and the best producers and engineers that are out in the business.

Lester: Today synergy is very important, and the role of the record company is expanding, it’s changed, it’s not just to develop artists making records.

THR: So it this a reaction to the times and the fact that producers are almost at equal billing with the artists when it comes to pop songs in the Top 40?

Lipman: On a much broader level, the core of our business is based on the entrepreneurial spirit, and that’s what a lot of this is. It’s just a strategic alliance because these producers still have the opportunities to work with other artists outside of Universal. The idea is that it’s not just exclusive to the group but it’s an alliance that gives them increased opportunity. It’s more power to them and us.

THR: Explain how the process will work….

Mackay: Normally what ends up happening is that Colin, Monte myself, and Sandy, we’ll sit down and talk about someone who is available or interested in management. And much like Monte has taught me to do on the record side of things, we don’t sign artists if we can’t make a difference for that artist, the same rules apply. We have a discussion about a producer or a mixing engineer, we talk about their work, their discography and how we can help and provide a good service to the client. If we are able to do the deal, then Sandy becomes their day-to-day person, pushing them to the world.

THR: What if someone is already on the TFR roster, does it become an enticement to pair that producer or engineer up with a Universal artist?

Mackay: The way that that goes, and this is something that I’ve done from day one at TFR, A&R guys and producer managers can’t pair anybody up with anybody. My process is: when it’s time to record, we listen to demos, think about who would be good, we come up with a short list of four or five people, we put them in front of the artist and ultimately the artist makes that decision. The process is going to be no different. We’re not putting one in front of the other. As I say to the clients that we manage, “I can’t guarantee you work, we can guarantee you access….” It’s not like we’re going to play favorites and shove one of our clients down the throat of one of our artists.

Lester: It’s important to recognize that there is an entrepreneurial spirit to management. We only make money when our clients make money. And from our point of view, it’s not just putting our clients in situations where they can earn money, we are looking to develop long-term relations and careers for our clients.

THR: So it’s also contributing to the bottom line…

Lipman: To be completely transparent, of course it is. But it’s not just a money grab… So much of what we do is participate in the management of an artist’s career. We’re constantly involved in the process of developing the artist, everything from song selection, producer selection, what they wear on stage, what they perform, etc. So it’s something that we’ve already been doing. Yes, we do want to get paid, but this is a good opportunity for all.

Lester: I was told recently by a producer that as long as you are in the control room during the song’s inception, you get a percentage of the song that’s being recorded.

THR: What’s your end goal for the company?

Lipman: For me it’s a combination of wanting to make the creative statement and impact on pop culture, but we are also in it for the commerce. It’s a good balance.

Mackay: We just want to do good work. We want to represent good, talented people, we want to be proud of our roster in this venture just as we’re proud of our roster at the record label. When they have success, we have success, and vice versa.

Hollywood Reporter – 29th March 2011

The deal means that Twenty First Republic will represent Worlds End clients, including Larry Klein, Nick Launay, Stephen Lipson, Tim Palmer, Atticus Ross, Peter Katis, George Drakoulias and Matthew Wilder.

In addition, World’s End CEO Sandy Roberton will oversee Twenty First Republic alongside Tom Mackay, who will also continue as EVP of A&R for Universal Republic. Twenty First Republic will have offices in New York and Los Angeles.

Universal Republic president and CEO Monte Lipman said, “Through Twenty First Republic, we will be tapping into music and the creative process in its purest form, while leveraging the resources of our company to find production talent and extend their reach in the marketplace.”

Twenty-First Artists CEO Colin Lester, who first spoke of Twenty First Republic at Midem in January, said, “This is an exciting new venture and a watershed moment for Twenty First Artists. It opens up a myriad of opportunities for our business.

“By combining the scale and reach of Universal Republic in the US with the management and brand development experience of Twenty First Artists, we are creating the preeminent leader in this fast-growing area of the business.”

Music Week – 30th March 2011

With offices in New York and Los Angeles, Twenty First Republic will be overseen by Sandy Roberton and Tom Mackay, who will also continue in his duties as Executive Vice President of A&R for Universal Republic. The company will combine the creative resources of Universal Republic and the management experience of Twenty First Artists to discover, nurture and develop the careers of music producers and engineers. Twenty First Republic will seek to facilitate new revenue-generating business while creating cross-marketing and promotional opportunities for its clients.

“As we continue to expand our business, we are going from strength to strength with Colin through this innovative venture,” Lipman said. “Through Twenty First Republic, we will be tapping into music and the creative process in its purest form, while leveraging the resources of our company to find production talent and extend their reach in the marketplace.”

“This is an exciting new venture and a watershed moment for Twenty First Artists,” Lester said. “It opens up a myriad of opportunities for our business. By combining the scale and reach of Universal Republic in the US with the management and brand development experience of Twenty First Artists, we are creating the preeminent leader in this fast-growing area of the business.”

In its first venture, Twenty First Republic will handle clients from Worlds End Management, while its principal Sandy Roberton will operate TFR on a day-to-day basis. Worlds End clients now being represented by Twenty First Republic include Larry Klein, Nick Launay, Stephen Lipson, Tim Palmer, Atticus Ross, Peter Katis, George Drakoulias and Matthew Wilder.

Billboard – 30th March 2011

Twenty First Artists boss Colin Lester told reporters: “This is an exciting new venture and a watershed moment for Twenty First Artists. It opens up myriad opportunities for our business. By combining the scale and reach of Universal Republic in the US with the management and brand development experience of Twenty First Artists, we are creating the preeminent leader in this fast-growing area of the business”.

 Universal Republic big cheese Monte Lipman added: “As we continue to expand our business, we are going from strength to strength with Colin through this innovative venture. Through Twenty First Republic, we will be tapping into music and the creative process in its purest form, while leveraging the resources of our company to find production talent and extend their reach in the marketplace”.

CMU Daily - 30th March 2011

The physical version of Nadine Coyle’s debut solo album, “Insatiable,” due Nov 8th, will only be available at 2000 Tesco stores and Tesco.com. The set will also be available digitally at Tesco MP3 store.

Tesco’s previous exclusives have been with the well established likes of Faithless and Simply Red. But while Coyle is well known as a member of chart topping UK girl group Girls Aloud, she’s unproven as a solo artist.

Twenty First Artists Management CEO Colin Lester says such deals are only appropriate for “a select band of established artists” who have an existing fan base that they can steer to an exclusive retailer. “There’s no place at all in them for new artists,” Lester says. “It would kill them stone dead from the get-go.”

Billboard – November 13th 2010

Lester, whose exisitng CLM Entertainment operation will be merged into Twenty First, replaces Frank Presland, whose contract with the Universal subsidiary expired at the same time as that of it’s most high profile artist, Elton John in March.

“Universal are serious about becoming a major player in management – i wouldn’t have agreed the deal otherwise, ” Lester says of the move. “I’ve got my own ideas about how to achieve that, so it’s a great challenge and one I’m already enjoying.”

Lester’s CLM operation includes long-term client Craig David, while Twenty First looks after platinum-selling stars such as Lily Allen and James Blunt. However, the new CEO is reluctant to talk about the company’s roster, as his review of the business will include making decisions on the future representation of certain artists.

“I’ll be making changes and restructuring Twenty First Artists, but it’s too early to talk about any of that at the moment because it is a complex organisation with lots of deals in place both here and internationally,” says Lester.

But he has definite ideas about the direction he wants to take the business in and reveals that he will be working closely with Universal’s Lucian Grainge and Max Hole to plan the future of the company.

“The business has changed hugely so I want to look at how we can move it forward so that we can assist established artists and help them to build scale, as well as supporting up-and-coming artists and managers,” he continues.

“Unless we move forward with investment it will become increasingly difficult for managers to succeed so I will be looking to offer investment to artists through buying a percentage of their business – excluding publishing, because as an artist manager i respect that the song is the artist’s baby and i don’t want a split of that.”

Among Lester’s immediate priorities are establishing a producer business and setting up a New York office for Twenty First, most likely in Universal’s existing Big Apple premises.

As for his own office, he says he will remain in his exisitng location in the former Virgin Records building at Portobello Dock and Twenty First Artists staff will relocate there following the conclusion of the review.

Whether those employees will include the likes of Lily Allen and James Blunt manager Todd Interland remains to be seen, but Lester comments, “Todd has been very helpful in assisting me to settle in. He’s a great guy and a fantastic manager so we’ll see what he decides is right for his future and of course, best for his acts.”

Music Week – 26th June 2010