Month: March 2019

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Artist Advice Business Advice Editorials Haulix

VIDEO: The Maine, 8123, and the value of community

The Maine, Music Biz 101, Community 8123

An American rock band called The Maine has found a way to succeed that other artists should use to get ahead.

Marketing is everything in music today. Everyone knows this, but very few know how to make their marketing efforts stand out from the noise being created by their peers and the competition they have yet to know. Blogs like the one you’re reading now can help. We post a lot of articles about getting ahead and becoming known. The one thing we cannot teach, however, is the one thing everyone needs: Organic connection.

is an American rock band from Tempe, AZ. The group started their career as much groups do by working with labels, but the better part of the last decade they’ve been fully DIY. That decision has made all the difference in the trajectory of their career, and it has afforded them a unique opportunity to develop a thriving community around their music with those who love them the most. In the latest installment of our Music Biz 101 video series, we examine how got here, and why other artists should follow their lead.

will release their new album, You Are OK, on March 29. You can learn about the album by listening to our recent podcast with frontman John O’Callaghan below:

https://soundcloud.com/inside-music-podcast/155-the-maine-john-ocallaghan

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News

Lil Nas X and the question of who defines what a genre sounds like

Viral sensation Lil Nas X has been removed from Billboard’s country charts for not embracing enough elements of country music, which raises questions about we define the genre.

No one saw Lil Nas X coming. The Atlanta artist released his breakout smash, “Old Town Road,” to Soundcloud on December 2, 2018. The song quickly found a following, and not long after became a go-to track for videos posted to the popular mashup app TikTok, which in turn grew its popularity. The song took off so fast, in fact, that radio programmers across the country had to rip the song from YouTube in order to get in rotation at their station.

Recently, the saga of the song’s bizarre rise through the world of music reached new heights when it simultaneously debuted on three Billboard charts — the cross-genre Hot 100 chart, the Hot Country Songs chart, and the Hot R&B/Hip-Hop Songs chart.

Lil Nas X’s career on the country chart, however, did not last long. Rolling Stone reports that Billboard quietly removed “Old Town Road” from Hot Country Songs and informed Lil Nas X’s label, Columbia Records, that his inclusion on the ranking was a mistake, according to an insider with knowledge of the matter who spoke on the condition of anonymity.

Billboard did not publicly announce the change, but speaking to RS, a representative for the company said:

“upon further review, it was determined that ‘Old Town Road’ by Lil Nas X does not currently merit inclusion on Billboard‘s country charts. When determining genres, a few factors are examined, but first and foremost is musical composition. While ‘Old Town Road’ incorporates references to country and cowboy imagery, it does not embrace enough elements of today’s country music to chart in its current version.”

After the publication of that story, a representative for Billboard provided a subsequent statement indicating that race did not play a part in the decision to remove “Old Town Road” from the country chart.

Not everyone believes Billboard’s comments about race not playing a role in their decision. The music business relies heavily on old-fashioned definitions of genre, which have always mapped on race — Billboard’s R&B chart, for example, was originally titled “race music,” while the Latin songs chart lumps together a myriad of genres and languages under one ethnic umbrella.

In recent years many caucasian country stars have leveraged elements of hip-hop to push their genre forward without being excluded from the charts. Sam Hunt, for example, was hailed by Billboard as the ‘white Drake’ back in 2017. Florida Georgia Line, another popular country act, went platinum with a single featuring Nelly. Tim McGaw did the same way back in 2004 with “Over and Over Again.” It seems that as long as a white musician is involved, Billboard has no problem with hip-hop influenced country music.

There’s also a question of how we define country music in the streaming era. Many songs gain popularity through services such as Spotify and Apple Music before radio or other mainstream outlets give them attention. If the country audience is vocal about their support of an artist, does that not make them — at least in some way — a country artist? If the country music audience supports Lil Nas X, who is undeniably using banjos and guitars and other traditional genre elements in his music, shouldn’t that be enough to classify him as a country artist?

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Artist Advice Editorials Haulix

The best way to improve press coverage of your music

In an age of abundance, adding a personal touch to promotional efforts can go a long way toward securing coverage.

The world of music journalism is a bit of a mess. After years of major publications downsizing or going out of business entirely, blogs rising and falling in popularity, podcasts emerging, and influencers becoming a reliable source of promotion, it’s hard to know where to turn for coverage. Even if you can figure it out, there is another challenge in getting the outlets or personalities you want to cover your music to pay attention. 

The number of ways to promote your music has grown over the last decade, but the number of artists competing for the attention of those outlets has grown even more. The average music writer/influencer receives more than one-hundred emails a day, with many receiving several hundred more than that. Those messages contain everything from advance access to a record to news about tours, premiere requests, and countless ‘heads up’ emails about emerging talent.

Most music influencers are unpaid. A select few work full-time, with many more working freelance on a story-by-story basis, but the vast majority promote the music they care about to the people who trust their opinion without compensation. To say these individuals are stretched thin as far as time and attention are concerned is an understatement. The music press has been running themselves ragged for years, and it’s likely they will continue to do so for the foreseeable future.

With all this in mind, it’s important that publicists and independent artists alike take an interest in the outlets and influencers whose attention they hope to gain. Sending a pitch to an outlet unfamiliar with your work in 2019 is like tossing a coin in a wishing well. Even if it works, will you ever know if it’s because of your email or sheer luck?

The path to raising interest in your latest release lies in making members of the media feel seen and cultivating a friendship with them before asking for coverage. A few ways to do this include:

  • Following outlets and writers online.
  • Interacting with current content offerings (Like, reply, share, etc.).
  • Initiating contact by referencing specific articles or content.
  • Asking how they are before asking if they can help you.
  • Follow-up pitches with personal emails. Tell them why you think the material will matter to them, and tell them why it matters to you as well. 
  • Avoid copying and pasting the same email to everyone. Make each communication unique.

Just like making friends, not every attempt at engagement will immediately produce results. Everyone is trying to gain the affection of people who can help them, so even the more earnest messaging may be lost in the whirlwind that is someone’s daily activity online. The key is to not lose hope and remain persistent. Don’t be over-eager and absolutely do not get offended when replies do not happen as fast as you desire. Everyone is caught in the struggle, and everyone is doing their best. Remain calm and always be looking for an opportunity to help or otherwise show support. If you can do that — and if you write music fitting of what your target covers — results will come in time.

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Artist Advice Business Advice Editorials Industry News News

Pre-Adds (Pre-Saves) are the new pre-orders, but is that a good thing?

Consumers are replacing pre-orders with pre-adds and pre-saves, but is something important being lost along the way?

Fast-rising pop sensation Billie Eilish will release her debut record, When We All Fall Asleep, Where Do We Go?, this Friday, but the teenager’s album is already being considered a massive success. Despite not yet being released, the LP has already accrued more than 800,000 pre-adds on Apple Music, which allows users to register to add an album to their streaming collection before it ships, with Eilish setting a new record for the service.

That volume of pre-adds for Eilish’s album is a sign of how the industry is continuing to evolve. Speaking to Music Business Worldwide, Apple Music boss Oliver Schusser said:

“While most services focus the majority of their efforts around playlists, Apple Music still emphasizes albums because we understand their value as a storytelling tool for artists to create context around their music.

To that end, pre-adds are great early indicators of engagement around an artist and the intention of the fans. To actively pre-add an album, much like the pre-order we invented with iTunes, means that the fan is excited about the content and wants to be among the first to enjoy it the moment its available. That kind of engagement is very valuable to an artist and to us.”

Spotify offers a service similar to Apple Music. The company’s pre-save feature allows users to register to have the album added to their library and to receive an alert regarding the content’s availability. The reliability of the notifications depend on how many pre-saves a user registers, but the content is always added as soon as its made available.

While the figures for Eilish’s album are great, pre-adds and pre-saves are not a perfect replacement for pre-orders. Schusser was right to say the numbers can tell a lot about excitement for a release, and they can also help predict initial performance, but the tools currently available to artists through streaming platforms do not provide context about their audience.

If a user pre-saves or pre-adds an album, what does the artist get? Do they know my name? Where I live? My email address? Do they receive anything other than a counter that tells them I am one of the however many people that have decided to request notification of their release becoming available?

Streaming services also do not offer any data that informs artists as to whether or not consumers who pre-save their release actually listen to it.

The real winner in the rising popularity of pre-saves and pre-adds are the streaming services offering them. By using that functionality, consumers are providing the platforms with additional insight into their listening habits. Their actions are strengthening the algorithms that recommend content and create playlists. Whether they know it or not, consumers are strengthening the services they use more than the artists they’re hoping to support.

Still, streaming is here to stay and there is no getting around that fact. If the industry is lucky, Spotify, Apple Music, and similar platforms will make more listener data available to them as time progresses. That seems more likely than a rise in royalty rates based on recent events, but it’s still not going to happen overnight.

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Industry News News

Tours headlined by holograms are here, but what does that mean for the living?

Holograms of Roy Orbison and Buddy Holly are touring together this Fall. That’s right, holograms are now invading the competitive live music marketplace.

The music industry will always find new ways to make money. Anyone needing proof of this need only know that this Fall, for the first time ever, Buddy Holly and Roy Orbison will be touring together! The two deceased music icons have been resurrected through the power of holograms, and none of us are able to stop someone from trying to cash in on their image in the year 2019.

Today, March 26, news of the impending Buddy Holly and Roy Orbison tour made headlines worldwide. The Rock ‘N’ Roll Dream Tour, which will run through North American and Europe simultaneously (because the stars are not real), launches this Fall. It is the first-ever musical hologram tour, though it will feature a live band and backup vocalists.

Roy Orbison Jr. had this to say in a press statement about the connection between the two musicians:

My father’s music meant the world to not just us Orbison’s but to millions of fans worldwide. Being able to reopen his legendary songbook and again hear his voice bounce off great concert hall walls is both a transcendent and cathartic experience. Dad jammed with Buddy in Lubbock Texas and helped change music history by turning Buddy on to Norman Petty Studios; Buddy later returned the favor by recording two of Dad’s songs on his first Cricket’s album. How beyond cool and special that these two great friends, now get to tour the world together.

Buddy Holly’s widow Maria Elena said:

Buddy and Roy were Texans who shared a mutual respect and admiration for each other’s creative musical genius and brilliant songwriting abilities. I am proud to work with a company like BASE Hologram. Their long-time fans and a new generation of fans will now have the opportunity to see these great legends perform together in a unique setting, showcasing two of the finest, most influential, and beloved artists in music history.

Orbison’s hologram made its live debut last year on a tour, while Holly’s has been in the works for a while.

Threats of holograms going on tour have been circling the music business since a projection of Tupac made its ‘debut’ during Snoop Dogg’s set at Coachella 2012. It looked something like this:

Looks pretty good, right?

The response to the Rock ‘N’ Roll Dream tour could determine whether or not similar tours features other iconic musicians happen in the future. There have been mentions of ‘resurrecting’ everyone from Elvis to Prince, Aretha Franklin, James Brown, and even Michael Jackson (though Leaving Neverland may change the likelihood of that last one). Those names, as well as others, could easily sell tickets and generate additional revenue for the families or companies that own the artist’s music/likeness rights.

It’s not likely to be a concern anytime soon, but the rise of holograms could present new challenges to entertainers trying to make a living from live music. If holograms take off, there will be increased competition in the marketplace. Much like tribute acts, holograms offer consumers a chance to see big names for a fraction of the cost to see the actual performer.

On the other hand, the proliferation of holograms in the live music space could also create new jobs. All these performances will require musicians to fill out the sound, and one has to imagine there will be new careers for people able to run and troubleshoot the hologram technology.

Whatever the case, the future first imagined in science fiction works such as Blade Runner is finally here. We might not have flying cars, but we do have the chance to see legends long gone perform once more. Details on how you can see Buddy and Roy can be found on the tour’s official website.

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Haulix Industry News News

Hooray! Stream-Ripping is (finally) on the decline

The popularity of stream-ripping dropped 13% in 2018, according to a new report.

Piracy, not unlike entertainment, has seen the rise and fall of various trends as consumer behavior evolves. Early pirates relied on torrents and peer-to-peer services such as Napster, Kazaa, and BitTorrent to access materials they would otherwise have to pay to consume. Today’s pirates, however, often rely on services that rip existing content from streaming sites such as YouTube. Both methods work, and both methods are illegal.

Everyone knows piracy persists, but new information from the UK-based company MUSO shows signs of decline, at least where music is concerned.

While most people now subscribe to Spotify and Apple Music, Christopher Elkins, the company’s Chief Strategy Officer, explained that piracy “remains a significant challenge.”

The new data made available comes from 2018 piracy habits, and it includes a marked decrease in YouTube ‘stream-ripping,’ which was declared a piracy menace by groups like the RIAA in recent years.

MUSO counted over 189 million visits to piracy sites in 2018, which is over 100 million less than the number reported for activity 2017. TV remained the most popular content for piracy. Nearly half (49.4%) of all activity focused on pirating television programs. Film, music, and publishing had a respective share of 17.1%, 16%, and 11.2%. Software piracy came in the last place with around 6.2%.

That said, music saw the biggest decline in piracy, with a 34% drop overall compared the previous year.

The United States topped the list of countries with the most visits to piracy sites with 17 billion. Russia came in second with 14.5 billion, followed by Brazil, India, and France with 10.3 billion, 9.6 billion, and 7.4 billion visits, respectively. Turkey (7.3 billion), Ukraine (6.1 billion), Indonesia (6 billion), the United Kingdom (5.8 billion), and Germany (5.4 billion) rounded out the top ten.

Public torrent networks, such as ThePirateBay and 1337x, accounted for just 13% of all infringing activity.  Stream-ripping fell 13% between 2017 and 2018 – from 8.9 billion visits to 7.7 billion.  This was primarily due to YouTube-MP3.org’s closure in 2017, leading to a 16% drop in overall stream-ripper visits.

Speaking about the findings, Andy Chatterley, Muso’s Co-Founder and CEO, explained,

“In 2018, we’ve seen a 10% increase in people bypassing search engines and going directly to the piracy destination of their choice.

“Simply focusing on take-downs is clearly a whack-a-mole approach and, while an essential part of any content protection strategy, it needs to be paired with more progressive thinking.

“With the right mindsight, piracy audiences can offer huge value to rights holders.”

There is still a long ways to go before piracy is eradicated, but it appears that the proliferation of streaming services such as Apple Music and Spotify may finally be making a difference.

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Artist Advice Business Advice Editorials Haulix Writing Tips

Learning how to fail is an essential part of succeeding in the music business

“I have not failed. I've just found 10,000 ways that won't work.” - Thomas Edison

“I have not failed. I’ve just found 10,000 ways that won’t work.” – Thomas Edison

As much as you may like to believe your career in music is infallible, or that you have a gift for songwriting no one will be able to deny, I can guarantee you there will always be days when your best efforts come up short. Failure is an unavoidable byproduct of any creative endeavor, and regardless of what level of fame you reach in this business there will always bad days. The point of continuing to create is not to work towards perfection, but to take into consideration everything that has happened, both good and evil, and apply it to whatever comes next. Art, like life, is a constant progression, and the best you can do is learn how to frame each failure as something other that is ultimately beneficial to your career.

The number of ways you can screw up in music is numerous, and they range from writing a bad single, to performing in such a way that disappoints your fans. We cannot begin to break down every single instance of failure and how it can be viewed as a positive, but we can offer tips to help you deal with any situation where things do not go as planned. The advice that follows may seem fairly obvious to some, but if applied to your next misstep we guarantee growth will occur. It might not be easy, but it will be beneficial to your creativity in the long run, and at the end of the day that is what matters most.

Start with the truth. Accept the situation for what it is, and be prepared to face it head-on.

Everyone has heard that line about how the best-laid plans of mice and men often go awry, and the reason we’ve all heard it is that it’s entirely accurate. You might have written the best song you believe yourself possible of creating, but for one reason or another, it might not connect with listeners. Likewise, you may give what you feel is the performance of a lifetime, only to look at Twitter after the gig and read tweet after tweet complaining about the sound. In times like this it’s incredibly easy to take a defensive stance, but to do so would be an error. Accept that not everyone will experience things the way you do and try to see things from the outsider’s perspective. Be humbled by the fact you received any response at all, as most never do, and ask yourself how you could improve or change what you’re doing in the future.

The key to this step is honesty. It’s okay to say you love something that your fans do no, but do not blame them for not feeling the same. Art is subjective, but if you listen to your audience, you should be able to find a way to do what you want while still playing to their demands. You don’t have to, of course, but most great artists find a way to compromise that satisfies everyone.

Look for the positive, no matter how small it may be.

Let’s say your new album was expected to sell ten thousand copies its first week and only sold fifteen-hundred. That disappointment would be quite a sting, especially from a financial standpoint, but considering the fact that less than 1% of all the albums released in any given year sell more than a thousand copies then you’re still among the most famous musicians in the world. You may not have ten thousand people clamoring to purchase your new album, but fifteen-hundred consumers are indeed nothing to scoff at. There are towns and villages all over the world that have populations far below fifteen-hundred people, and even fewer people outside those communities know they exist. You may not be where you want to be, but you are farther along than most, and that is something you should never take for granted.

The point is, there is also an upside. Your new demo may have gone over worse than Jar Jar Binks, but at least by sharing it with fans, you learned something new about what they expect from you and what they hope to hear from any future material. This knowledge can and should inform future recordings which, in theory, will be received better than whatever came before.

Do not be afraid to take time away from the internet.

We are convinced there are at least two negative comments for every positive one on pretty much every song, video, or think piece posted online. People are far quicker to complain than they are to compliment, especially in a public forum, which is why you should consider taking time away from the constant barrage of commentary social media provides when things take a turn for the worse. If you know the incoming messages are going to be riddled with negativity, there is no reason to wallow in the hurt feelings such commentary can cause. Absorb enough to understand why people are upset, then step away and take time to reflect on how you can improve your efforts in the future. You do not need the internet to do this, and in our opinion, you shouldn’t use it. Stay offline until you have something new to share, and if that doesn’t go over then feel free to take more time away. In fact, take as much time as you need. The internet will still be here when you return.

Whatever you do, keep creating.

No matter how you initially react to failure, you cannot let the ensuing negativity defeat you. Keep producing, always, and do not stop until you decide you are finished. There will still be someone in the world who thinks you are not good enough, but you cannot let the opinions of a select few stop you from expressing yourself through art. Creativity is a gift that is all too rare in this world, and it should be shared at every opportunity. Don’t let the haters win.

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Haulix Industry News Job Board News

Music Industry Job Board (March 25, 2019)

The music industry is growing, and it needs people to helpm build the future of entertainment. If that describes you, our job board is waiting.

New openings:

Manager, Music Rights & Clearances (Conde Nast – NYC)

The Contract Administrator will work on the management and organization of contracts and databases. This individual will assist with legal administrative tasks, form agreements and liaising with other departments to optimize workflow. They will also assist in rights clearances, contract drafting and summarizing contracts relating to digital content creation and distribution. A successful candidate will be able to function well both independently and in a team environment, will be highly organized and detail-oriented, and will have the ability to manage time in accordance with strict deadlines. 

Travel Manager (Stage & Screen – Los Angeles, CA)

Stage and Screen has an exciting opportunity for a Travel Manager to join the growing team in downtown Los Angeles! The Travel Manager handles the day-to-day travel needs of corporate business accounts won by the Business Development Manager and ensures the service agreement between the client and Stage and Screen is delivered in a way which ensures total client satisfaction and client retention.

Sr. Coordinator, Music Admin & Royalties (Reel Muzik Werks, LLC – El Segundo, CA)

Working under the direction of the Sr. Manager, Music Admin & Royalties, the Sr. Coordinator, Music Admin & Royalties will develop knowledge of the inner workings of the global music market. The Sr. Coordinator, Music Admin & Royalties, as distinguished from a Coordinator, works with and assists the Sr. Manager, Music Admin & Royalties with more complex assignments and managing the workload. Please note that prior experience in the music industry is not required due to the nature of this position. However, we do require extensive experience in Microsoft Excel as most projects handled by this position are completed using data entry, manipulation and analysis in Excel. We will provide training on music industry standards as well as our internal music administration and royalty tracking software (Music Maestro) for applicable candidates.

Assistant Manager (Live Nation – Detroit, MI)

We have a great opportunity for an Assistant General Manager. The Assistant General Manager has full responsibility for all aspects of venue business operations.

Music Publishing Admin Coordinator (Disney Music Group – Burbank, CA)

Publishing Administration obtains mechanical and synchronization licenses for all Disney Music Group’s domestic physical and digital albums, singles, mobile tones and digital videos, and all promotional efforts related thereto. We also issue licenses to third party labels for the use of Disney Music Publishing compositions on these same types of commercial exploitations and manage the dispute and appeals queues in our DMP YouTube CMS.

Music Operations Project Manager (Facebook – NYC)

The Media Content Operations team develops solutions for media content on Facebook and Instagram by operationalizing content inventory and creating scaled systems to address the issues impacting their experiences with the suite of Facebook products. The Music Content Operations team focuses on ways to enable music across our platforms, as well as understand the types of issues that may arise from the interaction between music rights holders and other music stakeholders. We are seeking a Music Project Manager to manage key projects that power music product launches at Facebook.

Manager, Music Licensing (Audio Network – Los Angeles, CA)

This full-time L.A. based role will be joining an efficient international music licensing company already operating in London, New York, Los Angeles, Munich and Paris. The Manager, Music Licensing will work with the current Los Angeles team in selling Audio Network’s library to film and television companies. This is a great position for someone who has experience in music licensing and sales.

Analyst, Participations (WMG – Nashville, TN)

Prepare participation, Pressing & Distribution (P&D), merchandise and tour statements on behalf of WMG’s recorded music labels and subsidiaries.

Inside Sales Rep (Stephen Arnold Music – Nashville, TN)

The Inside Sales Representative can either work in our boutique, laid-back, creative headquarters office and studio north of Dallas or office in their own city. There will be regular contact with the VP Sales & Marketing and work closely with our creative team.

Coordinator, Audits & Client Services (WMG – Los Angeles, CA)

Work in ACS provides meaningful exposure to all aspects of the business, making it an ideal training ground for a career in publishing.

Senior Manager, Talent Acquisition (UMG – Santa Monica, CA)

Universal Music Group is seeking a highly skilled Talent Acquisition, Senior Manager to oversee a team of Recruiters and partner closely with the Head of Talent Acquisition to develop a recruitment team in a fast-paced environment. If you are a collaborative, strategic professional, that responds well to urgency and is ready to roll up their sleeves and make a positive impact on the business, we want to talk to you! This is an exciting opportunity if you have a passion for music, thrive in a dynamic environment, and value relationships.

Associate Sound Designer, Voice-Over (Riot Games – Los Angeles, CA)

As a VO Designer, for a 6-month term of service, you will use your technical and creative audio skills will combine to bring life to the broad range of characters and experiences in our games. Joining efforts with a multi-disciplinary team, you’ll help drive projects from their inception. Using your passion, creativity, and critical thinking you will help guide team decisions and provide valuable feedback to your peers. As a member of the audio discipline, you’ll strive to find ways to teach and level up those around you while continuing to challenge and grow yourself.

Music Coordinator (Boys & Girls Club of Vista – Vista, CA)

Under general supervision of the Director of Operations, the Music Specialist plans, organizes, directs, promotes and enhances the Club’s music instruction and recording program within the policies of the Boys & Girls Club of Vista. Must possess strong ability to teach music with an emphasis on guitar and piano in a positive & structured individual and group setting.

Voice Over Agent (MN2S – Miami, FL)

This is an exciting opportunity to develop a new department within a well-established International Music and Talent Agency. All candidates must have at least two years’ experience as a Voice Over Agent. The role requires an extremely proactive and driven person with a clear idea of how to build a world class Voice Over offering on stable foundations.

Supervisor of Interpretation, Theatre and Music Programs (Mystic Seaport Museum Inc – Mystic, CT)

Mystic Seaport Museum seeks a new Supervisor of Interpretation, Theatre and Music Programs. Core responsibilities include directing and producing two major theatrical productions on the museum grounds annually (Nautical Nightmares and Lantern Light Tours), coordinating the museum’s annual Sea Music Festival, and recruiting / directing the museum’s seasonal performance troupe (the Tale-Makers). This individual also acts as the immediate supervisor of the department’s Chantey Foreman, Role-playing Foreman, Period Costume Shop Manager, and a portion of the interpretation staff.

Administrative Specialist in Music (Septien Entertainment Group – Addison, TX)

Want to work for an amazing boss? This is YOUR chance! The Talent Specialist of SEG who runs all sales and two hundred amazing singers is looking for a great administrative specialist to mentor and run right beside him! As an “ex” employee of iheart radio, this guys knows music!!!! Want to get in the music game? Want to work for the company that discovered Demi Lovato, Kacey Musgraves, members of Why Don’t We, Selena Gomez and about 16k others ( been in biz 25 years!) Here is your chance with the #1 Artist Development Company literally in the US! And the boss is just an extra added feature as he is the happiest, most encouraging and inclusive person to work for!!!

Creative Services Manager (Live Nation – Hollywood, CA)

Live Nation Merchandise is seeking an ambitious and talented Creative Services Manager to join their team of music merch masterminds. This position will manage multiple design projects for artists, bands and brands spanning tour, retail, web, VIP, and licensing. The ideal candidate is strategic, thoughtful and hyper-organized. With a background in graphic design, they have a passion for music, culture, design and fashion. He/she thrives in a collaborative environment and is able to step up and lead as needed. This person has great ideas and the drive to make them happen. His/her taste level and communication skills are second to none. Dynamic, smart and fast moving, the Creative Services Manager is ready to be challenged and inspired every day.

Production Administrative Assistant (Global Merchandising Services – Los Angeles, CA)

Support the production department with administrative tasks including data entry and product tracking.

Record Label Administrator (Gelfand Rennert & Feldman – Century City, CA)

Gelfand, Rennert & Feldman, a leading entertainment business and financial management firm, is seeking a Record Label Administrator for our Century City office. This position entails assisting the firm’s Label Administrator Manager in preparing royalty statements and allocation schedules on behalf of independent record label and music clients. A high level of communication is required in responding to inquiries from firm employees, client managers, and attorneys.

Music Talent Buyer, Concert Booking (The Stanhope House – Stanhope, NJ)

Seeking a talent buyer, promoter, booking manager for a busy concert venue. Requires booking 20+ events per month, processing contracts, advancing artists, organizing calendar, oversight on promotion, etc. Requires a minimum of 5 years booking musical acts at a concert venue, and familiarity with the music business. Must have a personal laptop and be familiar with all social media platforms and google apps. Must have a valid drivers license and vehicle to get to work.

Narrative Audio Producer (The New York Times – NYC)

You love to think about stories and how they’re structured. You’ve been producing audio stories for a few years, and have experience in making long-form narratives. You’re hungry to make stories that sound different than anything you’ve heard before. You know how to get the tape you need to build a compelling narrative arc. You also know how to work difficult tape into something that sings. You know how to build tension, when to release it, how to use the tape as the story’s muscle. You care about where the breath goes. Where the music comes in. Where it goes out. If it’s too busy. You’ll use all of these skills as a narrative producer for The New York Times, shaping compelling, character-driven long-form audio stories. You’ll be primarily focused on stories that are timely and relevant, but that go beyond or expand our understanding of the current news cycle. Those stories may run as episodes of “The Daily” or other programs, with several days or weeks of production, or they may occasionally develop into more ambitious multi-part series. You’ll be expected to show creativity and autonomy in finding and pitching the most compelling stories for audio — typically using Times journalism as the backbone — and you will be endlessly curious about how to tell these stories in new ways. You’ll work in close collaboration with an editor, and in some cases a senior narrative producer, to take a complex story from conception to completion.

Senior Music Producer, Disney Parks Live Entertainment (Walt Disney World Resort – Kissimmee, FL)

The Sr. Music Producer oversees the Disney Parks Live Entertainment Music Department staff and consultants, advises/consults with producers, project managers, directors and writers regarding music business/budget issues, creative concepts and music for shows. This Sr. Music Producer also composes, arranges, and orchestrates music for shows, parades and special events, and produces, post-produces, and implements recordings for shows and parades as well as conducts rehearsals and performances of selected live music for shows and special events.

PSS Coordinator (Live Nation – NYC)

Across multiple live music venues, Premium Seat Sales team is responsible for generating Premium Seat revenue which may include box suites, season tickets, PSLs, some hospitality events and other revenue-generating programs as added to portfolio of menu items to sell. Packages and inventory will be specific to assigned venue(s).

Associate, Talent & Influencers (Edelman – NYC)

UEG is currently looking for an Associate, Talent & Influencers. This role will serve as support to the whole talent team – both as an account “support” role (as it’s defined in our talent process, e.g. supporting the driver and the oversight on select accounts/programs) as well as support to the team overall.

Brand Manager (Live Nation – Hollywood, CA)

The Brand Manager will play a key role in the management of client sponsorships, programs and activities. He/she will be directly involved in maximizing the value of client relationships and performance of client’s entertainment marketing programs.

Inside Sales Representative, Chain Accounts (BMI – Nashville, TN)

The Sales Representative will leverage BMI’s long history as a leader in music rights management to secure music licenses from chain, specialty and national business accounts. By driving BMI’s music catalog value proposition, the successful sales representative connects with a wide range of industries and business through outbound sales calls. The Sales Representative in our National Sales team will also conduct outbound calls to develop their own leads for sales and pipeline activities.

Music Manager Assistant, Day to Day (Revere Music Group – Los Angeles, CA)

Revere Music Group is a boutique music management firm focused on developing artists, songwriters, and producers. RMG is currently looking for a part-time assistant manager to work with both artists and managers on day to day needs. Previous assistant experience or general experience in the music industry is preferred. Applicant needs to be extremely organized, flexible, and have a positive attitude. Office has multiple small friendly hypo-allergenic dogs, must be okay with dogs. Ideal applicant is working on other artist projects or with another company part-time. Applicant may work remotely, but will be required in office at least one day a week to start. Pending applicants performance, the position may develop into a full-time position with future growth possibilities.

Talent Buyer (Zamora Entertainment Inc – Taylor, MI)

Zamora Entertainment is looking for assistant to our talent buyer. Zamora Entertainment is the largest buyer of Latin Music in the US focusing primarily on Regional Mexican and Tropical music genres. Zamora Entertainment produces over 300 shows a year and operates several venues across the Midwest and East Coast. We believe that every event should be an unforgettable experience. You will serve as an assistant to our talent buyer. Your primary objective will be to work with our team to assist in the booking and executing of shows for Zamora Entertainment. This position requires an individual who is passionate about music and live music events. This is a full-time position. Travel is required two or three times per month during our busy season from February to November.

Talent Scout (Sam Watkins Country – Nashville, TN)

We need people who have the time and energy it took God to create the universe! I don’t mean that literally of course, but if you’re in this to sell you’re in it for the long haul!! As a Talent Scout on our fast-paced sales team you will make a solid commission of six figures or more. If you are looking for a career, and not just a job, with a company that’s invested in your personal/career development then you’ve come to the right place. Our sales team has an infectiously positive attitude and are driven to win!!!

Marketing Manager, Comedy (Live Nation – Beverly Hills, CA)

Live Nation Comedy is looking for an energetic and strategic marketer to join the national marketing team in Los Angeles. In this role, you will be responsible and accountable for the success of assigned Comedy tours and shows.

Venue Sales Project Coordinator (Brooklyn Academy of Music – Brooklyn, NY)

BAM’s General Management, Event and Venue Operations department, is looking for a self-motivated, affable Project Coordinator to play a key role in establishing new rental business and coordinating rental and internal BAM events. Candidate will be the central point of contact between event stakeholders and BAM’s internal departments, from initial inquiry stage through budgeting, contracting, logistical coordination, day-of oversight and financial closeout, to ensure event success. The ideal Project Coordinator candidate will also have a strong aptitude for sales and client outreach, implementing initiatives and establishing client relationships to maximize rental income in support of achieving the yearly venue income goal. These efforts shall include cultivating relationships with current event stakeholders, as well as sales outreach to potential clients through cold calling, networking and driving venue promo initiatives.

Music Account Representative (LifeWay Christian Resources – Nashville, TN)

The Music Account Representative is responsible for consulting with new and current ministry relationships about LifeWay Worship product offerings.

Categories
Artist Advice Business Advice Editorials Haulix News

In the music business, you can never get too comfortable

Succeeding in the music business is hard work, and the only way to get ahead is by doing everything you can to consistently develop new skills.

The goal of every aspiring professional is to land their dream job and feel secure within it. You could say the same for current professionals as well. Everyone hopes to find something to do for a living that compliments their interests and has the potential to last for many years. No one likes looking for work, and no one wants to go through life feeling as though their job may be taken away from them at a moment’s notice, especially if they’re good at what they do. 

Life in the music business is a tricky proposition. On the one hand, finding employment can mean the actualization of dreams that have lived in someone’s soul from a very early age. On the other hand, maintaining a job once employed is never guaranteed. Business come and go in this industry just like trends in music. The label that employs 300 people today could very well find themselves needing only a fraction of that staff in five years time. Consumers dictate which businesses thrive and which companies die. You can be the best at what you do, but if no one is buying or supporting that thing there is a good chance you could soon be looking for work once more.

I tell you this not to discourage you, but to reinforce the need to stay engaged in the industry.  If you want to work in music then you have to accept the fact you the hustle really never ends. That doesn’t mean you have to work 24/7, but it does mean you need to be constantly pushing yourself towards bigger and better things. Full-time employment is not enough. Paying your bills is not enough. It’s not about money and it’s not about things. Longterm success in music is about constant personal development, both for yourself and for those around you.

Several years ago the head of publicity at an iconic heavy metal label told me that he challenged himself to develop a new skill every year that would – in some way – aide him in life. The year we spoke he had set to learning video editing, and by the following spring, he was making additional money creating promotional clips and lyric videos for bands of all sizes. He was also creating more interesting content for work, which in turn helped push the label forward.

We apply a similar practice here at Haulix. We invest in the skills our marketing and sales team need, such as public speaking and graphic design. We encourage our programmers to be creative with their designs, make training available to support team members, and hold weekly meetings to discuss the economics of our market with the entire team present. We don’t want our team to understand our business alone, we want them to understand the industry and our role in it, as well as that of all our competitors.

So ask yourself: What don’t I know?

Got it? Okay. Get to work.

Categories
Haulix News Podcasts

Inside Music Podcast #155: The Maine

John O’Callaghan, the vocalist for a band called The Maine, is appearing for the first time on a podcast called Inside Music.

The idea of community is at the heart of every great music career. Be it something cultivated by the artist(s) themselves or by their fans at large, having a sense of community can help give any career longevity. People love to feel as though they belong, and few bands in the alternative community have done a better job of making people feel welcome in the world than a group from Arizona known as The Maine.

For over a decade now, The Maine has been a band that straddled the line between pop and rock with sugary-sweet melodies and lyricism that isn’t afraid to address the darker side of life. Their seventh studio album, You Are OK (out March 29), is no exception. Every song on the record is bursting with hopefulness in spite of reality. It’s a collection of tracks that dare to acknowledge the mental abyss that drags down so many and demands we fight to resist its call. You Are OK is the album the world needs right now, and The Maine is the only group that could deliver it.

On this episode of INSIDE MUSIC, host James Shotwell calls The Maine vocalist John O’Callaghan to discuss his band’s latest album. John tells James about the creation of the record, as well as his band’s participation in the upcoming Sad Summer traveling music festival. From there, the conversation turns to longevity in the industry and how other artists can follow in the steps of The Maine.

https://soundcloud.com/inside-music-podcast/155-the-maine-john-ocallaghan

Prefer video? Don’t worry, we’ve got you covered.

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