Month: April 2019

Categories
Industry News News

Billboard reveals the 12 indie labels with the largest revenue estimates

Music Business, Music Revenue

Major labels continue to dominate the music business, but there are at least a dozen indie labels making a healthy living in the age of streaming.

The music industry is not what is once was, and that is a good thing. There was a time in the not too distant past where the gap between major label dominance and successful indie labels felt unfathomable. Streaming and the internet changed things, however, and a new graphic from the folks at Billboard has revealed just how different the business of music has become.

According to an article first released in the April 27th issue of Billboard, in the first quarter of 2019, independent labels collectively accounted for an estimated 36% of U.S. market share when measured by label ownership. With total revenue of $2.3 billion in 2018, the 12 indies highlighted below had some of the biggest U.S. paydays.

The top earning labels have found success by diversifying their portfolios. Concord Music Group, for example, has acquired numerous smaller labels and catalogs over the last few years. Big Machine Label Group, on the other hand, has been foraying into the world of alcohol and spirits with artist-branded products that are then sold through tours and other live appearances.

Several of the labels featured here, including Concord Music Group, BMG, Entertainment One, use Haulix to promote their new and upcoming releases to tastemakers around the world. You can join them and thousands of other industry professionals in using the service today, for free. Click here to discover the Haulix difference.

Categories
Haulix News Podcasts

Inside Music Podcast #158: Jayson Rodriguez (VEVO)

Inside Music is a podcast about the lives of professionals in the music business. Each week, host James Shotwell chats with an artist or industry tastemaker to learn how anyone can navigate the world of entertainment.

One of the leading voices and content curators in hip-hop stops by Inside Music to discuss the evolving role of journalism in music.

Let’s face it: Most of us spend far more time watching content online than we do consuming the thousands of articles published by music blogs and magazines every week. We discover music by browsing YouTube recommendations, learn about our favorite artists’ new singles by watching the track’s official video (or stream the song through a video), and some of us subscribe to one or more video critics that help us make sense of the increasingly crowded world of music.

But video isn’t a free-for-all where content is concerned. You can find anything you search for, of course, but the leading video platforms have teams of curators and Editors working hard to deliver high-quality content that promotes the best talent of the modern age. Jayson Rodriguez is one such person for VEVO, and today he’s appearing on Inside Music to discuss his role in the greater music dialogue.

Jayson Rodriguez is no stranger to the world of music journalism. Before helping plan and create some of the best video music coverage in recent years, Jayson was a writer working at some of hip-hop’s most notable publications. He used his talent and networking skills to meet leaders of the industry, and they, in turn, opened new doors that helped his career evolve in ways he never thought possible. He loves his role now, even though it’s a world apart from what he got into music to do, and he shows no signs of leaving the industry anytime soon. Experience his journey below:

https://soundcloud.com/inside-music-podcast/158-jayson-rodriguiez

Prefer video? We’ve got you covered:

Categories
Haulix Industry News Job Board News

Music Industry Job Board (April 29, 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:

Ticketing Manager (AEG – Nashville, TN)

The Manager Ticketing will be responsible for developing scaling plans for venues to build events in ticketing software. This position will also compile and distribute daily ticket counts to various internal departments, offices and artist management, agents and record labels. The Manager Ticketing will collaborate with venues, artist management and discount vendors to create ticket packages for shows and events.

Manager Licensing Administration (Entertainment One Ltd. – Brentwood, TN)

The Manager of Licensing Administration will be responsible for the acquisition and ingestion of all of the mechanical license agreements required for Light Records and eOne Nashville as well as the administration and ingestion of synchronization licenses and payment tracking for our synchronization department.

Ticketing Manager (Belly Up Aspen – Aspen, CO)

Full-time box office ticketing manager for a music venue. System database and customer service experience required. Ticketing manager will lead all aspects of ticketing for Belly Up Aspen, including show builds, announce timelines, inventory management, VIP and Meet & Greet programming, box office oversight and customer service for Aspen’s 450-capacity music venue.

Program Manager, Apple Services Marketing- Music & Podcast (Apple – Culver City, CA)

We are looking for a Program Manager that will be responsible for the delivery of marketing activities across the Apple Music and Podcasts lines of business. Apple Music, the world’s fastest-growing subscription music streaming service, offers subscribers an incredible catalog of more than 50 million songs, combined with their entire iTunes library, which they can stream or download for offline listening all completely ad-free. Supported by Project Managers (PMs) and coordinators, the Program Manager provides extraordinary leadership across multiple project streams, and supports the channel teams and brand marketing in effectively planning and executing their marketing activities.

Analyst, Pricing and Yield (Spotify – NYC)

The Creator Business Analysis team accurately analyzes and reports on all aspects of our business. We sit within Creator Marketplace, the home for Spotify’s music industry products, such as Spotify for Artists, Spotify Label Analytics and Spotify Publisher Analytics. Spotify is dedicated to building a platform for creativity that brings artists and fans closer together. You’ll be at the center of that mission.

Account Executive (Entercom Communications – Minneapolis, MN)

Entercom Twin Cities is home to the amazing brands; 830 WCCO, 102.9 The Wolf, 104.1 JACK FM, RADIO.COM, Entercom Digital, and the Minnesota Timberwolves and Minnesota Twins. Right now, we are recruiting exceptional sales and marketing experts! Only the best work with our business partners in a high energy, accountable environment! This year we will help over 600 businesses deliver compelling messages, profoundly engage consumers, crush their marketing objectives, and produce serious growth. It’s real business and show business. It’s rewarding with a lot of upward mobility. If you are a tough-minded professional and have what it takes to join our fearless sales and marketing team, we want to hear from you!

Coordinator, Business and Legal Affairs (Sony – NYC)

The Coordinator’s responsibilities will include traditional assistant duties as well as some office manager responsibilities.

Program Coordinator, Media Events (Fathom Events – Centennial, CO)

Manage Fathom Events customer service as related to all event issues/questions/concerns via both phone and email.

IS&T Rotational Trainee (Sony – NYC)

Sony Music is looking for exceptional candidates who demonstrate the potential and capabilities to be part of the IS&T Development Rotational Program. Trainees, while in each rotation, will be under the tutelage of one of our information systems and technology professionals, gaining hands-on exposure to the business side of the music industry and will be strongly considered for full-time placement at the conclusion of the program. The role provides essential background to various IS&T functions of Sony Music including business analysis, project management, application life cycle support, and business process re-engineering and technology leadership.

Sales Planner (Twitch – Los Angeles, CA)

We are looking for a detail-oriented customer service focused Sales Planner with media experience that will work to support the Los Angeles advertising sales team. The Sales Planner will be a crucial member of a growing team that will support sales in meeting its objectives and providing best in class customer service to clients, both internal and external.

Executive Assistant (Bravado – New York, NY)

We are currently seeking an accomplished Executive Administrative professional with solid experience supporting senior executives. This role requires exceptional attention to detail, great organizational skills, the ability to meet critical deadlines, and to juggle multiple priorities in a fast-paced environment. A high level of integrity and discretion in handling confidential information, and professionalism in dealing with senior executives inside and outside the company is essential. This role will represent the executive in a positive and professional manner and partner with the executive to help ensure the effectiveness of the function. The ideal candidate will be self-motivated, creative and adaptable.

Value Channels Coordinator (Live Nation – Beverly Hills, CA)

The Coordinator will assist in the development, execution, quality control and reporting of marketing and distribution channels.

Analyst, Marketing & Partner Insights (Viacom – NYC)

The Marketing & Partner Insights Analyst will be responsible for supporting the research needs of Viacom’s young adult brands (MTV, VH1, Comedy Central, Logo) for our Ad Solutions and marketing teams and for supporting key research projects and initiatives. The ideal candidate will have a passion for music, comedy and reality programming, as well as trends that are key to understanding how youth culture thinks and interacts with brands and media.

Manager, Marketing & Creative Services (20th Century Fox – Los Angeles, CA)

The Manager of Marketing and Creative Services will be a liaison between the Creative Services team and various internal/external teams, collaborating with all to make sure projects meet strategic goals and are completed on time and within budget. The Manager’s primary responsibility will be to facilitate the development of promo and marketing campaigns including video, social/digital, and print projects across various departments and regional networks.

Global Head of Commercial Development, Music Publishing (Apple – Los Angeles, CA)

Apple is seeking a senior expert in rights in musical compositions to build and lead a team to manage the commercial relationships relating to rights in musical compositions. This is a key role to support the rapid expansion and growth of Apple Music, iTunes, and all use of musical compositions across the Apple ecosystem. This position is in the new Global Music Publishing group and is based in Los Angeles. Are you a self-starter who is dedicated and demonstrates creative and critical thinking abilities? Do you possess a passion for music, and the craft of songwriting while also having a superior commercial mind? We’re growing and urge you to apply. We believe the role would place you in a highly-energized environment with some of the most talented creative individuals in the industry where you would be inspired to share your years of experience along with providing extraordinary support for the team.

Account Manager (4Wall Entertainment – Columbia, MD)

While every day is different at 4Wall, you will be responsible for developing strong relationships with new and existing customers, as well as the achievement of sales, profit, and strategic objectives. You will also liaise between customers, internal teams and external vendors to ensure the timely and successful execution of the customers needs and requests.

Manager, Commercial Partnerships (Spotify – NYC)

We are looking for a highly motivated Manager to join the global Commercial Partnerships team in New York City. The Commercial Partnerships team manages business-critical relationships with major/indie labels and drives cross-functional strategic initiatives. Your role will include an exciting combination of strategy, operations, business development, data analysis, and project management. Your work will impact the way the world experiences music.

Member Event Programming Manager, Dumbo House (Soho House & Co. – New York, NY)

The role requires telling hyper-local stories about the neighborhood and its creatives and thinking big and being ambitious when conceiving the 40 member events (e.g., booking talent for a story-driven event, an artist residency or transforming the space with a pop-up bowling alley). They will also be responsible for suggesting new formats (including digital) and collaborating with the team on themes and installations for big events like Halloween or New Year’s Eve.

Digital Marketing Strategist (Edge Multimedia, Inc. – Portland, OR)

Digital Marketing Strategist (Edge Multimedia, Inc. – Portlandclient’s digital advertising platforms. You’ll be cultivating new ideas for campaigns, performing campaign setups and strategies, digging into data for actionable insights, developing and delivering digital performance reports and helping shape and influence our digital marketing capabilities. From there, you’ll be responsible for clearly communicating to your Edge teammates, answering client questions, keeping tabs on project milestones and managing digital advertising budgets in a fast-paced, remote work environment.

Associate Manager, Business & Legal Affairs (UMG – Santa Monica, CA)

The position will perform a variety of duties, and the candidate for this job must be able to liaise with all levels of personnel and departments, including, without limitation, Business & Legal Affairs, Production, A&R, Marketing, Revenue, and Licensing to help assist with the release of music and videos by label artists. This position has a strong focus on clearances and problem solving, and doing the necessary work to help accomplish the goals of the label and its artists.

Administrative Assistant, Growth Team (SONGTRUST – New York, NY)

The Songtrust Growth team leads growth, acquisition and engagement initiatives for Songtrust. The team is data-driven and results focused. We are seeking a talented Administrative Assistant who will work with and report directly to Songtrust’s Global Head of Business Development and will enable her to be a more effective and productive leader. This is a role for a highly motivated and organized individual who is interested in being a part of a fast-paced, metrics and action-oriented team. Songtrust’s Global Head of Business Development leads the sales, marketing and business development teams responsible for the company’s growth and brand initiatives. Strengths in identifying needs across the team in support of the group’s objectives and identifying areas of new efficiency will be essential for success in this role. 

Music Administration Associate, Orchestra and Ballet (Lyric Opera of Chicago – Chicago, IL)

We are searching for an effective arts administrator to support our Music Administration team. This includes leading projects, orchestrating logistics, reviewing payroll, working with contracts, and liaising with unions and union members. The Music Administration Associate will serve in a customer-focused role, one that works extensively with collective bargaining agreements and contracts. The ideal candidate would be a sensitive and intuitive communicator with a passion for music and two or more years of arts administration experience.

Setup Coordinator (UMG – Hollywood, CA)

Universal Music Group is seeking a Setup Coordinator to provide administrative and customer service support to Capitol Studios and clients. Must be very efficient and highly attuned to the smallest of details. No task is too small and no challenge too great. A “can-do” attitude is essential.

Assistant, Publicity (WMG – NYC)

Assisting publicists with daily requests/projects in the field of publicity, including writing/editing press releases and bios, coordinating production of press images, coordinating materials for national and local television performances.

Marketing Manager (Gupta Media – Boston, MA)

Gupta Media is looking for a Marketing Manager to oversee lead generation, inbound marketing and client outreach initiatives. Candidates for the position should have 4-7 years of prior experience in a marketing or business development role. We are looking for a true self-starter that is used to working autonomously in a high-energy environment. The ideal candidate is comfortable with setting their own goals and working towards them without needing to be closely managed.

News Director (WFHB Community Radio – Bloomington, IN)

The News Director is responsible for providing leadership to, and for the operation of, the News Department in a manner consistent with the mission and policies of WFHB.

Director, Marketing Communications (Universal Music Group – Santa Monica, CA)

UMe is presently seeking a Director, Marketing Communications in the company’s Santa Monica, CA location. This role will facilitate the strategic design, implementation and management of a range of online and offline communications including presentations, videos, websites and other marketing collateral. Primary focus is the development and realization of materials to deliver the organization’s messages to artists, managers, executives, partners, and other teams inside and outside UMG. This position will collect, distill, and effectively communicate information coming from Marketing, Commercial, International, A&R, Finance, and other departments within the company. This role will work directly with Universal executive staff and teams within UMe; as such this position is a visible and prominent role inside the organization.

Rigging Department Lead (4Wall Entertainment – Nashville, TN)

While every day is different at 4Wall, you will be responsible for providing support to the Rigging Department Technicians; executing all pick lists; maintaining a high-level of quality control; checking-in and -out orders; cleaning, organizing, testing and troubleshooting, and keeping updated certifications on all motors, controls, rigging and power distribution systems and equipment; general repair and maintenance of the equipment; and learning and working in other departments within the Shop as necessary.

Senior Attorney, Legal & Business Affairs (BMI – Nashville, TN)

This individual, in conjunction with other attorneys in the department, performs many of the functions undertaken by the Legal Department on a regular basis. Responsibilities performed by this individual will focus on serving clients in the Licensing department who service customers and prospective customers: supporting license negotiations; drafting license agreements and amendments; and drafting and reviewing Licensing communications. In addition, this position will manage the day to day functions of the Business Affairs team which is responsible for the identification and preparation of infringement files. Duties will also include prosecution of copyright infringement actions throughout the U.S. (including supervising outside counsel); prosecution of collection arbitrations and obtaining and enforcing judgements throughout the country (including supervising outside counsel); the position may also involve providing advice and comment on and/or drafting contracts the company enters into with third-party vendors; providing advice and counsel to other departments on copyright, contract and other legal issues.

Music Administration Associate, Chorus (Lyric Opera of Chicago – Chicago, IL)

We are searching for an effective arts administrator to support our Music Administration team. This includes leading projects, orchestrating logistics, reviewing payroll, working with contracts, and liaising with unions and union members. The Music Administration Associate will serve in a customer-focused role, one that works extensively with collective bargaining agreements and contracts. The ideal candidate would be a sensitive and intuitive communicator with a passion for music and two or more years of arts administration experience.

A&R Research Analyst Assistant (WMG – NYC)

Your daily work involves assisting the Research Analyst of Elektra’s A&R team. Day-to-day work involves generating specialized reports for specific artists of interest, troubleshooting data inconsistencies, and consulting with the creative members of the A&R team. If you have a strong passion for data and love discovering new music, this position is for you. In a cover letter, express your interests for music and data and why you would be a great fit for analytics within A&R. Additionally, include a link to your GitHub or any recent portfolio projects.

Social Media Coordinator (Eclat Public Relations – Los Angeles, CA)

Developing brand appropriate social media strategies; including the targeting and positioning of brand(s), channel selection and engagement tactics.

Entertainment / Music Media & Publicist Specialist (Ketchum – NYC)

Ketchum is looking for an Entertainment/Music Media and Publicist Relations Specialist to join its team. This person will oversee earned media relations work for a wide variety of accounts in the agency and will be responsible for developing strategic media plans, forging relationships with celebrity publicists and executing earned media coverage. Working with senior counsel, you will develop media lists, craft engaging pitches and learn how to present feedback in a client-ready format.

Music Sales and Distribution Assistant (Naxos of America – Franklin, TN)

Support Physical & Digital Sales team with administrative tasks and department goals.

Categories
Artist Advice Business Advice Editorials Haulix News

What promotional platforms offer artists that Soundcloud, Dropbox, etc. do not

Crowd at concert

Just because a service is free does not mean it’s right for your promotional needs.

Promotion is the name of the game in music today. As consumers spend less and less on physical media with each passing year, the need to promote music in a way that resonates with influencers and industry gatekeepers enough to produce coverage is greater than ever. The challenge of accomplishing this has never been harder either, as the competition for coverage has grown as quickly as consumers’ attention spans have diminished. 

The good news is, there have never been more avenues for music promotion and conversation. From traditional publications and music blogs to YouTube critics, playlist curators, Twitter feeds dedicated to music discussion, Instagram pages curating beautiful scenes from concerts, and countless other digital avenues, the paths to exposure in the modern age are limitless.

Getting the attention of influencers, radio, and journalists is where the battle for exposure begins. Fan support can go a long way, and it can certainly make an impact on the decision of these so-called gatekeepers to cover your music, but there remains a great value in getting exposure from people and companies that lie outside your already established circle of supporters.

Companies like Soundcloud and Dropbox are among the numerous platforms offering free or low-cost streaming and sharing of music. These services also offer private streams, which are usually protected by secret access links, as well as the ability to share that same material with the public if the artist desires to do so. The ease of access and friendly price point has made both, as well as their competitor Box, popular, but for artists and the people who represent them the benefits of using such services very minimal.

That is why most artists who succeed today, as well as labels who continue to thrive, rely on promotional distribution platforms such as Haulix to share new and upcoming releases. Haulix and its competitors match the offerings of Soundcloud or Dropbox, but they also give (much) more power and insight to artists and their teams.

Using Haulix as an example, here are just a few tools the service offers that free and low-cost streaming platforms do not:

  • Customizable landing pages complete with numerous branding opportunities.
  • Customizable messaging with branding opportunities.
  • Contact upload and contact list management.
  • In-depth analytics that reveals who is engaging with your music, how often they listen, and what songs are getting the most attention.
  • Sub-administrator accounts that allow for team interaction and company organization.

The two biggest advantages Haulix users have over those who choose to use Soundcloud or Dropbox is their ability to brand and to track individual user engagement. Soundcloud may tell you how many plays a song has, but how do you know who on your massive mailing list has been listening? Dropbox may make downloading material a breeze, but how can you showcase your brand and build name recognition when every download screen looks exactly the same?

Here’s a Haulix promo, which as you can see reinforces the artist’s name and the title of their record while conveying the aesthetic of the material.

Haulix is trusted by artists at every level of the music business to do everything from attracting press coverage to securing management, enticing promoters, developing material while members are recording in different locations, and more. You can find a list of clients currently relying on the system, including Chance The Rapper and Metallica, by visiting their official website.

Categories
Business Advice Haulix News

How to land your next job in music

Competition for work in the music business is at an all-time high, but there are still easy things you can do to stand out.

The music industry is experiencing a resurgence. As streaming continues to convert consumers to premium subscriptions and live music draws massive crowds in every corner of the world, the business that was troubled less than two decades back is now growing again. Companies are constantly on the lookout for new talent, and there are entire fields of music-related work that only recently began to emerge.

To become all it can be, the music industry needs talented professionals and aspiring professionals alike to come together. There is a need for open minded people ready to commit to forging the next era of the music business that is greater now than at any point in recent history. You can be a part of the generation that rebuilds the business of music, but you need to know now that getting hired won’t be easy. The competition is fierce, and every day there are new hopefuls entering the marketplace. Some have college degrees, while other cut their teeth on the open road supporting the bands that made them believe in the power of music. Still others are ambitious dreamers with no experience or higher education degree willing to do whatever it takes to succeed. 

No matter what your current standing is in terms of experience or education, there is always hope that you will find a place in the music business. There are hundreds of sites boasting thousands of tips for seeking employment, but not everything you read online will help you pursue a career in entertainment. The following tips, however, have proved successful for readers of this blog and many staffer at our company. Keep this advice in mind next time you’re applying for the job of your dreams:

You need a personal website. Yes, even you.

Success in music today relies heavily on branding and brand consistency, so it should come as no surprise that those in a position to hire new recruits often look at how applicants present themselves online. Maintaining a presence on social media is a good place to start, but most would agree that the way they present themselves on Twitter or Instagram isn’t the most professional version of themselves that exists. Instead of pushing people to those platforms, you should build a site of your own that showcases your best qualities to employers and industry peers. A personal site offers you the chance to share your story, contact information, and any other relevant data without any outside noise. It’s the one space where you and you alone will shine online, so make the most of it and make sure employers know how to find it.

Everyone has a story to tell, but keep it short

Resumes should, for the most part, be one-page or less. Storytelling is a huge part of music marketing and promotion today, but those who succeed in it the most are the ones able to convey a lot of essential information in a limited amount of time. The reason for that being the shrinking attention spans of humans, and that includes those tasked with hiring new employees. Hiring managers receives dozens and sometimes even hundreds of applications for a single role, which can severely limit the amount of time they can dedicate to a single submission. Make sure your application isn’t passed over by delivering as much relevant information as possible in the shortest amount of time. 

Resumes get shared. Cover letters get lost.

Any advice column for job seekers emphasizes the importance of cover letters in the application process. While it is true a great cover letter can get your foot in the door at a company, the likelihood everyone involved in hiring you reads that letter is incredibly low. When the number of applicants being considered is riddled down to 10 or less candidates, the only information being shared internally between hiring managers and higher ups is going to be resumes. That means you need to include any important information in your cover letter on your resume as well, such as your personal website link.

Networking matters. Always.

There is an old saying in the music business about how success is based on who you know rather than what you know. That idea may have been true at one point, but in today’s marketplace you need knowledge as much — if not more — than you need contacts. Still, it is important to engage with dialogues within the industry and to network with your peers whenever possible. If you think you may want to work for a company someday, take time to find someone with the role you want (or a similar one) and connect with them. You could ask to be their intern if such an opportunity exists, or you could ask how they got their job in the first place. Most people will reply, and many will be willing to help you on your journey.

Know when to hold your tongue.

Social media can be a blessing and a curse. On the one hand, Twitter and similar platforms allow us to share thoughts and ideas with the world at large almost as soon as they enter our minds. On the other hand, the things we post online can have a real world impact on our likelihood of finding employment. Never be afraid to speak your truth, but do think twice before slamming specific companies, people, and artists. You never know when the group you bash today could become the next act your dream workplace wants to recruit. You also never know when the music critic you slam for bad opinions will be working in publicist or management with the artists you love. 

Develop new skills. 

Everyone who wants to work in music has a dream job they hope to attain over the course of their career. Anyone working in music currently will tell you that, while those dreams are good to have, it may take some time to land the role you seek. The best way to navigate the business is to consistently work on developing skills the cater to the changing trends in the industry. You need to know how to do everything your dream role requires today, as well as the things it will require a year from now. You would also be wise to learn how careers related to that career function. Publicists should understand what managers and journalists do, for example, just like how record labels should understand how booking agencies function. Everyone in music is relying on everyone else in music to do their job well in order to get ahead. No job or company in this business is an island, so you might as well learn how other roles and companies operate because you never know where your talent will be the most useful.

Categories
Editorials News Writing Tips

Writers: It’s okay to enjoy music without writing about it.

Creating great art of any kind requires inspiration, but when your life depends on producing art it can be hard to enjoy things without turning them into work.

Music writing can be a double-edged sword as far as fandom is concerned. The fact you’re in a position to influence a group of consumers makes it possible for you to get closer to your favorite artists than you probably would otherwise, but it also means you have to continue following those artists’ every move long after your initial interest in their work has begun to fade. This is honestly a best-case scenario because more often than not writing about music means you have to not only know but learn to appreciate the works of many artists whom you would otherwise not make time to experience. Establishing a career in writing requires that you be engaged with the wide world of music, and that entails keeping tabs on far more artists than those you personally enjoy. Over time this can make the joy of writing feel a lot more like work than most would care to admit. But that’s because writing is just that — work.

This is not a complaint, per say, but rather a matter of fact. You cannot make it in music writing simply by covering the artists you enjoy when you enjoy them. You need follow-through, and more importantly, you need to engage the fans of artists regularly to ensure people continue to care about your writing and/or publication exists.

When I began writing about music I did so because I felt there were artists I knew and enjoyed that most of the world had yet to recognize. If you could find my first hundred articles, I can almost guarantee every single one would be based on an artist or group I admired at the time, and if I’m completely honest, I would also wager most of those posts are fairly similar. They each praise a group I loved at the time, and they each argue others should feel the same. I built my initial following by covering bands like A Day To Remember, Chiodos, Secret Secret Dino Club, and The Wonder Years whenever possible, and I made it a point to interview someone from the band every time a new piece of news presented an opportunity for discussion. As word of my work grew, so did interest from others bands and labels about having their talent promoted through my channels. I was completely blown away by these requests, so of course, I agree to almost everyone that hit my inbox, and as I began to network with the industry at large my writing began to encompass more and more bands. Some acts I enjoyed, but most were perfectly average in my mind, and looking back now I know the only reason I covered them is that I felt that it is what my (arguably non-existent) audience wanted. Whether or not that was true is something I’ll never truly know, but I do know that covering a wide array of talent helped me navigate the industry and secure full-time work in the business I love the most. Was it worth it? Absolutely. Do I continue to cover any and everything that comes my way as a result? Hell no.

It’s incredibly difficult to land a job in music that allows you to share everything you love all the time. Most jobs are far more focused than that, be it covering solely alternative music or perhaps just hip-hop. Finding a paid position that covers everything is rarer than a Morrissey performance that goes off without a hitch, and they are becoming increasingly hard to come by as the demand for specific content curators continues to rise. I used to have a big problem with this because I felt, and still do believe, that everyone is able to enjoy a little bit of everything. I might not love country music, but there are several country artists I enjoy. The same goes for musicals, top 40 radio pop, and obscure shoegaze bands. None of these areas of music are where I spend the majority of my time, but they each are filled with wonderful talent that is deserving of exposure and praise. Just because this is true however does not mean I am the person to tell you these acts exist. I can tweet about it, sure, but I cannot dedicate every minute of my day to telling you about everything I love as I once did. That is not my job.

At first, the need to separate the work I am paid to do the work I would like to do was incredibly frustrating. I felt as though my initial mission to help more people discover great music had been compromised by the need for a paycheck, but over time I came to realize that was not true. Having full-time employment gave me more freedom than I had ever had before as far as creative pursuits were concerned, and though I couldn’t argue the need to cover everything I could do more to help a specific set of artists and bands than ever before. Instead of writing about 40 or 50 acts a week I wrote about 10 at most, but I made sure to make each piece released as good as it could be. Having fewer artists to cover made it possible for me to dig deeper into my coverage and, ultimately, provide higher quality content to my readers.

But what about all that other stuff I loved? Did I turn my back on a world of talent just because they didn’t fit my 9-5 lifestyle?

Of course not.

I still love a wide array of bands as I always have, but these days I keep some things I love to myself if for no other reason than the ability to enjoy certain songs or records without turning that enjoyment into work. Before I had full-time work in music, I viewed everything I enjoyed as something I would eventually cover, which in turn made everything I enjoyed some form of work. Maybe it wasn’t hard work, but it was work nonetheless, and as a result, my relationship with music began to change. The idea of listening to music for the sake of simply enjoying it became an absurd concept, as I hadn’t purely enjoyed music for years on end. I liked it, and I wouldn’t know what to do without it, but at the end of the day I was trying to put food on my table based on what I was listening to, and that put a lot of undue pressure on myself, as well as the talent.

When I speak to aspiring writers and music professionals today, I encourage them to experience as much music as possible. As soon as I do this, I immediately tag my comments by adding that not every great song or record needs to become the sole focus of their work moving forward. It’s not only perfectly acceptable, but it’s also needed. If you lose your ability to simply enjoy music, you will be unable to accurately critique it. The reason anyone begins chasing after a career in music in the first place is based on their love of enjoying music in their youth, and when you lose the ability to appreciate music in that way you begin to lose track of why you work in music. It’s not about clicks, and it’s certainly not about being the first person to hear the next buzz-worthy release. It’s about celebrating art and the appreciation of art, as well as making others aware of undiscovered talent. You can only do this to the best of your abilities if you too are still able to be wowed by music. If you’ve lost that passion, or even if you believe it has begun to fade, take a step back from writing and unplug from everything except your stereo. Put on the records that first inspired your career aspirations and reconnect with the source of your drive to succeed. Never lose your passion.

Categories
Artist Advice Editorials Haulix Industry News News

VIDEO: What artists can learn from Beyoncé’s Homecoming special

Beyoncé is a once in a generation talent, but there is something artists and professionals at every level of music can learn from her latest documentary.

It is hard to imagine anyone connected to the internet is unaware that Beyoncé recently released her first concert film. Homecoming arrived exclusively on Netflix in mid-April and immediately became a global sensation. The film, which takes an in-depth look at Bey’s 2018 headlining performance at Coachella, has been hailed by critics and fans alike as a definitive piece of pop culture history. It’s a time capsule of sorts, highlighting two performances that confirmed the legend of Beyoncé and secured her place in pop music history for generations to come.

Unfortunately, no amount of work you or I will ever do can make us Beyoncé. She is a singular force of nature that never has and never will be duplicated. We can, however, learn from the experiences documented in Homecoming and become better music professionals.

In this episode of Music Biz 101, host James Shotwell breaks down three lessons artists from all walks of life can learn from the artist and her film, as well as how music professionals can improve their skills by joining the BeyHive. Take a look:

Homecoming is available now on Netflix worldwide.

Categories
Artist Advice Editorials Industry News News

How artists succeed on Spotify, according to a playlisting professional

Streaming is as much a way of life for musicians as it is a game, and games are often won or lost based on the intelligence of the players.

The promise of streaming is that it gives artists at every level a fair chance at building an audience. All songs are available everywhere all the time, and each song more or less receives the same payout per stream. As long as an artist can make people aware of their art they have an opportunity to develop a career in music. Whether or not that career becomes a full-time job is a completely different discussion, but the opportunity for success exists.

Any artist will tell you that real success in streaming today requires inclusion on playlists, specifically those curated by influencers or brands with large followings. Playlist placement can mean the difference between an artist’s fans hearing a new single and the fans of that artist’s genre hearing the same song. In many ways, playlists are the new mixtapes, or even the new radio, as they serve to help aid in the discovery of new/emerging talent.

But the question remains: How does an artist get added to notable playlists if they do not know the curators?

To find an answer, or ten answers, our friends at DigitalMusicNews worked with playlisting professional George Goodrich to offer advice to artists at every level of the business. You can find his advice below:

Write long albums with short songs.

Rappers like Drake have turned this technique into an art, with albums loaded with lots of shorter tracks. And he isn’t alone. The strategy generates far more plays, thereby ensuring a top-charting album while multiplying per-stream revenue.

For developing artists, the strategy also increases the odds of landing on big playlists — while also increasing positive metrics around songs (more on that later).

Make an impact in under 30-seconds.

Fact: Spotify doesn’t pay for any song that gets skipped before the 30-second mark. But this goes beyond the simple payment.

“Curators and streamers alike want to be captivated by a new song in under 30 seconds,” Goodrich told us. “Make your song flow well, but also don’t waste time during the first crucial seconds of a song.”

Songs are getting shorter, so always think about length.

Lil Nas X’s ‘Old Town Road’ is just 1:53, the shortest chart-topper since 1965. And that’s hardly the exception: Lil Pump’s ‘Gucci Gang’ is just 2:04, while Kodak Black’s ‘Calling My Spirit’ is 2:32.

Songs are definitely getting shorter, and Goodrich says the reasons are simple. People are more distracted, and shorter songs grab people faster and reduce the chances of skipping.

They also result in bigger payouts for artists.

Repackage old material

Goodrich told us that clever artists are now re-releasing older tracks, with the same ISRC code and previous play counts. “Artists that are smart are repacking singles into albums or compilations,” Goodrich said.

The repackaging pushes the ‘brand-new’ tracks with lots of plays into ‘new’ algorithm playlists like Discover Weekly, New Music Friday, and your followers’ Release Radar.  The refresh can result in a surge of new interest for an older cut.

Make the most of Spotify for Artists

Most artists are doing Spotify for Artists wrong — and that dramatically reduces their chances of playlist inclusion.

The number one mistake: artists should be uploading tracks into Spotify for Artists at least seven days before it hits the platform. Otherwise, the track isn’t guaranteed to catch your followers’ Release Radar playlists, which means that all of that free promotion is lost.

“A lot of artists are gunning down playlists but don’t even have access or utilize Spotify for Artists,” Goodrich said.

Be nice to your distributor — you need them more than they need you.

“Most distributors have direct deals with Spotify, which means at least one person at your distributor speaks directly to someone at Spotify,” Goodrich told us. “There are always different brand deals and playlists opportunities that can pop up only via your distribution company.”

Own your genre — or pioneer your own.

Hip hop is huge, but other genres are also generating lots of money on Spotify. Overnight, bedroom producers are minting cash on platforms like Lo-Fi Beats, and they don’t even have to tour.

But that’s just one playlist catering to a growing class of people using music to focus better. “Thanks mainly to the startup world and people just trying to focus better at work, stripped down repetitive beats are the top choice when it comes to writing or doing detailed technical work,” Goodrich said.

Goodrich said playlists like Lo-Fi Beats and Yoga & Meditation are spawning an entirely new generation of artists who are making a living off of Spotify. “There are hundreds of artists out there making thousands of dollars on these micro-niche genres across the platform,” Goodrich said. “Most of them with little-to-no fanbase outside of the platform, which they are completely fine with!”

‘Going viral’ is a fool’s errand — think long term, release lots of songs, and develop long release schedules.

Songs still go viral occasionally, but ‘going viral’ isn’t a good strategy. “In order to get noticed and get on Spotify playlists, most artists think they need a hit or just one banger to put them on,” George said.

“In reality, you don’t need a hit, you need to release more records to drastically increase your chances of creating a banger. The more releases, the more chances you have to trigger the algorithms when a new release hits Spotify.”

Try to establish a direct connection with a Spotify curator.

Yes, you can directly connect with Spotify curators if you’re lucky.

No, you cannot do this by spamming them constantly.

George recommends LinkedIn as a good place to start finding curators. Try starting here. Just make sure to target the right person for your genre (i.e., don’t splatter-spam). It’s time-consuming and not guaranteed, but the right connection can result in a plum playlist add. “If you do choose to go this route be polite in your messaging and don’t expect them to respond instantly,” says George.

Pay attention to cover art

Album art isn’t a lost art — even though it’s a tiny thumbnail these days. “Visual should not be an afterthought,” George said while urging artists to imitate the artwork of releases from successful artists.

But don’t go crazy on a thumbnail — just make it high quality and fun. “Don’t spend $5,000 on a designer,” George laughed.

Engagement is good, disengagement is bad.

Nobody knows Spotify’s exact algorithms for rating a track. But some basic principles apply. Anytime a listener saves a song or adds it to a personal playlist, that’s good and shows positive engagement. Anytime they skip it or remove it, that’s bad because it indicates disengagement. Keep this basic guideline in mind.

Dedicated followers = “guaranteed playlist real estate”

Artists with lots of Spotify followers are “guaranteed playlist real estate,” according to Goodrich. The reason is that anytime an artist releases new music on Spotify, it automatically populates the customized Release Radar playlist of every follower (just make sure you are releasing properly through Spotify for Artists). That doesn’t guarantee placement on a top playlist, but it builds a lot of momentum.

Start big, end big to reduce skipping.

Many hip-hop artists immediately hit you with the hook to grab your attention. But Goodrich is noting another trick: a lot of artists are now ending with the hook to keep listeners attentive. Slower fade-outs and energy drops can lead to late-stage skips — which can result in negative strikes.

Avoid long intros and slow builds.

More often than not, long intros kill placements. So it’s better to avoid them. “There are long intros that work, but if you want to really crush it on Spotify, long intros aren’t the way to go,” George told us.

Off-Spotify popularity helps, too.

Artists with weak Twitter and Instagram followers can have difficulty gaining traction on Spotify playlists. “It’s all relevant,” George explained while noting that he politely guides artists with IG followers under 300 back to their SoundCloud accounts.

But beyond social networking, there’s also Google SEO to think about (SEO stands for ‘Search Engine Optimization,’ and basically refers to your Google search ranking). For example: is your song appearing on the first page of Google results, and preferably, is it one of the top, above-the-fold results.

Remember: Google owns YouTube, so a YouTube result with good track metadata and information will often bubble to the top. “If the song’s performing well, it can go into feeder playlists like Fresh Finds, and then an actual human at Spotify may listen to it,” George explained.

And another pro-tip: George also advised shouting out Spotify in tweets, IG posts, and Facebook blasts.  They just might notice.

Should you get signed? A note on the power of major label representation.

It’s hard to say exactly what transpires between major labels and Spotify. Major labels oftentimes have serious sway with Spotify, but George warned us that this really depends on the specific label.

“We really don’t know what happens behind closed doors,” George said.  “Some labels have better relationships than others.”

In many cases, however, the impact can be dramatic. Beyond pulling favors and blasting Drake-style promotions, major labels are oftentimes experts in crafting streaming-friendly songs. “They know how to create and craft songs,” George said.


Categories
Industry News Job Board News

Music Industry Job Board (April 22, 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:

Senior Account Manager (WMG – Culver City, CA)

We’re seeking a Senior Account Manager who works well in fast-paced environments, communicates well with others, can multitask and is eager to be part of a growing company. The ideal candidate must have 3+ years of experience and is looking to grow their career within the digital media space. They must be solution-oriented with creative problem-solving skills. They will be responsible for liaising with clients, agencies, third-party vendors, and internal departments to plan and coordinate all areas of digital media buys. We value hard work, integrity, and agility, and we love to recognize successful individuals and teamwork. Come join our team at UPROXX and impact the culture for the digital generation!

Campaigns Manager, Label Partnerships (Apple – Culver City, CA)

The opportunity will provide you with a platform to work with leading players within the entertainment industry and work as part of a Global team. Your core responsibilities will be to manage and track the execution of campaign plans and all deliverables for diverse and multi-faceted content projects on Apple Music. This role will work closely with the larger Apple Music organization, and be the point of contact across the cross-functional and production teams for project execution with our label partners. This role is a fantastic and challenging opportunity for an individual who enjoys working across entertainment and media projects with a proven track record in content focused campaign plans. This position will organize strategic campaign messaging, timing, schedules, and deliverables. A strong network and history of working within entertainment are required. In addition to this, the ideal candidate will have an understanding of marketing campaigns, and excellent project management and planning experience. 

Senior Manager, Artist Insight, Special Projects (UMG – NYC)

The Artist Insights team leads strategic insights and research for Universal Music Group’s esteemed record labels and business units. Our department supports marketing, commercial, and A&R label teams for a range of artists; from emerging acts to global superstars. You will get the chance to work with the world’s top label groups including Republic Records, Island Records, Def Jam Recordings, Verve Label Group, and many others.

Manager, Account Management, US (Sony – NYC)

The Orchard, Manager, Account Management, US will report to the Senior Director, Digital Account Management, US & Canada and is responsible for day to day US digital account management for Tidal, Deezer, Soundcloud and more liaising with the Labels/ Label Managers to plan, pitch, and execute campaigns.

Manager, Playlist Optimization & Campaigns (WMG – NYC)

You get to work with a talented and diverse group across label sales and marketing teams. You will master the development of customer acquisition campaigns. You’ll excel at collaborating with record labels and our local affiliates to fulfill project / marketing objectives and provide functional support.

Product Marketing Manager, Acoustic Guitars (Line 6 – Los Angeles, CA)

The Product Marketing Manager role is highly collaborative with Products and works shoulder to shoulder with the Product Management and Product Owners from a very early stage in a product’s development, through launch, all the way to the end of its life. As the ‘voice of the customer’, they provide both a reality check and sounding board. Success in this position will be highly dependent on the ability to foster alignment of internal perspectives (Products, Marketing, Sales) with market realities — in both the dealer and consumer arenas — as well as with current marketing trends and best practices.

Manager, Creative Dubbing (Netflix – Los Angeles, CA)

The Creative Dubbing Manager will be the main liaise and professional cross-functional contact for their respective Creative Dubbing vertical in International Dubbing. The ideal candidate will have a great passion for language, experience with the production of dubs, a deep appreciation of regional cultural differences, and a high level of intellectual curiosity. The role requires you to develop a relationship with our Original content and be able to strategically identify the challenges and complexities localization will face before it even begins. Preserving creative intent will be your mission and developing creative approaches to the challenges at hand will be your passion. This is a demanding and fast moving position that requires someone who is a proactive and positive thinker, and able to exercise good judgment and initiative.

Senior Manager Artist Insights, Catalogue (UMG – Santa Monica, CA)

This role calls for an enthusiastic and pro-active team player and music enthusiast, who will be researching and tracking the audience of our catalog artists, connection drivers, audience perceptions and engagement across key markets to derive actionable insights that are presented to the marketing teams at UMe, directly influencing release campaigns and audience development.

Publicist (Gold Atlas – Brooklyn, NY)

Gold Atlas, a specialized boutique music publicity firm in New York is looking for a new publicist to join and help grow our company and roster. Gold Atlas represents artists such as Boys Noize, Christine and the Queens, Pussy Riot, Virtual Self / Porter Robinson, various artists on Neon Gold Records and many more. An ideal candidate would have a working knowledge of journalists and publications in the entertainment and music industry, relationships with record labels, managers and a track record of successful publicity campaigns.

Senior Analyst, Music Research (Nielsen – NYC)

To support our strong growth, Nielsen is seeking a talented market research professional to lead consumer research projects within the Music Research team. The position is based in our downtown New York City office. The role includes the set-up, project management, and insights reporting for both syndicated and custom marketing research services across client verticals. Research programs will include fan, brand, and event attendee research, primarily in the Music industry with potential to include other Entertainment verticals. The role involves working with third party agencies, multiple client stakeholders and internal research teams.

Senior Solutions Marketer, Ticketmaster Music (Ticketmaster – Hollywood, CA)

Ticketmaster’s B2B Marketing & Communication group operates as the client voice of our company. We are responsible for building the B2B brand, developing and executing marketing and communication strategies, and executing go-to-market strategies for our ticketing technologies and marketing/data services. As Senior Manager of Solutions Marketing, you will “speak in the voice of the customer,” crafting a Ticketmaster narrative that aligns with corporate messaging but speaks to the unique challenges and opportunities in the Ticketmaster Music segment. You will work with the Ticketmaster Music Marketing team to create marketing materials and go-to-market strategies that support business growth. You will serve as an expert in this segment, providing insights and thought leadership.

Artist Relations Manager (Soundstripe – Nashville, TN)

As a Soundstripe Artist Relations Manager, you will be responsible for guiding, advising, nurturing, and scheduling Soundstripe artists while also administering compositions and sound recordings for Soundstripe’s music label, Soundstripe Productions.

Social Media Manager (Sony Playstation – Venice, CA)

The ideal candidate should have a strong knowledge of social media platforms, and experience with planning, writing and photographing content. They should have exceptional project management skills, current with relevant trends, a love for gaming, an extremely positive attitude, and thrives in a dynamic environment. 

Client Strategist Associate (Audio Valley – New York, NY)

The Client Strategist Associate works in partnership with Sales Teams, Bus Dev and Client Services to maximize their efforts for successful advertising by focusing on the avails, the planning and the strategic inventory selection or segmentation for client proposals, helping develop plans for RFP responses and creating strategies for developing new and leveraging existing business.

Solutions Marketing Coordinator (TicketMaster – Hollywood, CA)

Ticketmaster’s Product Marketing group operates as the voice of the customer. We are responsible for building the B2B brand, developing and executing marketing and communication strategies, and executing go-to-market strategies for our ticketing technologies and marketing/data services. Our Solutions Marketing teams leads our efforts to “speak in the voice of the customer.” In this role you will assist in crafting a Ticketmaster narrative that aligns with corporate messaging but speaks to the unique challenges and opportunities in segments like Sports, Arts and Venues and Promoters.

Coordinator, Integrated Marketing, MTV (Viacom – NYC)

The MTV Coordinator of Integrated Marketing is a dynamic and creative thinker who can conceptualize and execute custom marketing solutions for Viacom’s advertising partners. The Integrated Marketing Team (as part of Viacom Velocity) works closely with Ad Sales and Channel Teams (production, social, etc.) to produce best-in-class integrated marketing campaigns that infuse advertisers into MTV’s on-air, digital, and social platforms.

Coordinator, Client Services (Sony – NYC)

Reporting to the Manager, Client Services, this Coordinator, Client Services is part of a team that manages and supports a large roster of distributed record labels. The responsibilities include driving adoption of The Orchard’s industry leading tools, managing releases through the supply chain, and liaising with various internal departments to ensure our labels’ needs are met. This person should have an understanding of the digital music landscape with a focus on metadata and digital best practices, a keen eye for detail and a love for all types of music is a must.

Marketing and Publicity Manager, Recording Studio Manager (Dark Horse Recording – Franklin, TN)

We’re looking for an experienced business veteran and marketing professional who can promote and manage the speaking career of Robin Crow, while supporting and serving the clients of Dark Horse Recording. The ideal candidate will have a depth of experience in business, ideally music and entertainment, with particular expertise in marketing and publicity. Your time will be divided into two overlapping job descriptions.

Digital Content Creator (153 Entertainment Group – Los Angeles, CA)

153 Entertainment Group is an up-and-coming entertainment company with an exciting roster of new artists and talent. We are quickly expanding across various fields of the entertainment industry and are looking for passionate and motivated individuals to join our team. 153 Entertainment Group is seeking a part-time Digital Content Creator who will be tasked with creating content to brand our company and its artists. The successful candidate will be highly motivated with a knack for design and a good eye for content that “pops”!

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.

Value Channels Coordinator (Live Nation – Beverly Hills, CA)

The Coordinator will assist in the development, execution, quality control and reporting of marketing and distribution channels.

Digital Marketing Manager (RateYourSeats – Chicago, IL)

We are looking to hire a dynamic and talented individual to fill our Digital Marketing Specialist role. The role is to design, create and deliver marketing initiatives that will increase traffic to our website and app. You will use your creative side to provide forward-thinking ideas, develop creative materials and engage customers. Meanwhile, you will use your analytical side to measure results and optimize tactics.

Analyst, Audit (WMG – Nashville, TN)

The responsibilities of the candidate hired to fill this position will include managing all aspects of the audit process, including, without limitation, tracking audit notifications, reviewing and analyzing the claims contained in the audit reports we receive, making recommendations to the relevant WMG internal label clients regarding how to respond to those claims, facilitating settlement negotiations between the party auditing and WMG’s internal label clients, and ensuring that any internal accounting entries related to the audit process are made accurately and in a timely manner.

Brand Coordinator (Live Nation – NYC)

The Brand Management team is the get stuff done, turn-problems-into-solutions, make our clients look like the rock stars, driving force within the Live Nation Media & Sponsorship division. We are a collection of resourceful, ambitious, and strategic minded individuals that thrive in an environment full of variables and unknowns. If you like to sit at a desk, write white papers, and theorize on how things should work this is not the job or team for you. If you’re ready to do the best work of your life, we should talk.

Account Coordinator (Avalanche Creative Services – New York, NY)

We are in search of an Account Coordinator to assist in the flow of information internally and externally in the creative process. Seeking a motivated individual with a passion for learning in an entry-level position to break into the advertising industry. Opportunity to work with interesting clients, celebrities and creative collaborators in a variety of verticals.

Administrative Assistant, A&R (WMG – Los Angeles, CA)

Under direct supervision with some latitude for independent judgment and decision, is responsible for performing relatively complex administrative duties such as creating and preparing routine materials and proofreading, verifying and editing all materials for accuracy and clarity. Utilizes advanced computer skills to prepare complex correspondence, reports, charts, tables and forms.

Brand Ambassador (URBAN GRACE MEDIA – Trenton, NJ)

URBAN GRACE MEDIA specializes in representing clients at the intersection of digital media and entertainment. We offer our global clientele a full range of services to support, build or re-position their brand identities. We are looking for an enthusiastic an Brand Ambassador to be the face of our company and promote our events and services. To be a successful Brand Ambassador, you will need to attend high profile events to showcase our company.

Creative Strategist (Highsnobiety (TitelMedia) – New York, NY)

We are looking for a creative conceptor to join their exciting and rapidly growing content marketing team. Your job would be to ideate remarkable content and event activations that help brands to tell their story. In addition to excellent conception and copywriting skills to help bring your ideas to life, the ideal candidate should be plugged into contemporary popular culture and have a passion for telling great stories.

Marketing, PR, and Entertainment Internship (URBAN GRACE MEDIA – Ewing, NJ)

This is an paid/academic internship you may or may not have to be enrolled in college but we do expect you to have some college experience. Interns will have schedules to work 4-5 days a week between the hours 9:30 AM to 7:30 PM. This internship will develop into either full-time job for the right people in the future as our internship program is where we scout for future talent to hire and develop some of the best in the industry. Plenty of opportunities to grow from within the organization.

Social Media Music Copyright Review Agent (Accenture – Austin, TX)

Research composition publishing information using domestic and international rights society websites.

Account Manager, Manager (Araca Merchandise – NYC)

As the company expands its merchandising profile, we are hiring a member of the Account Management team to service key Music, Film, and Television Studio Merchandise accounts out of our NY office. Duties include collaborating with both external clients and internal colleagues to coordinate the launch of new merchandise accounts as well as maintaining and growing existing accounts. The Account Manager will work closely with Araca’s senior leadership to enhance day-to-day operations within the company.


Categories
Artist Advice Editorials News

Want to be discovered? Be a conversation starter

Everyone is a critic, but not everyone cares enough to say something.

There is no way to understate how the music business has changed in the last ten to fifteen years. Previous generations of musicians would bend over backward to connect with key critics and genre gatekeepers to establish their presence in the industry, but that approach to marketing has largely vanished since the rise of streaming and social media. That isn’t to say critics don’t matter because they absolutely do, but these days critics are a dime a dozen, and only a select few have enough authority that labels, PR, and indie acts alike will go out of their way to get their attention.

The funny thing is, even though there are more critics than ever before, getting those with a voice to notice you remains difficult. Everyone has the power to comment on everything via their phone or laptop, but our current internet culture encourages us to discuss the same thing as everyone else through trending topics. Coverage of Ariana Grande has a higher likelihood of garnering attraction from the masses than a feature on the next unknown artist that might change lives despite the fact everyone and their mother is already talking about Ariana Grande. It’s a strange catch-22 that the people who need attention the least attract the most press coverage, but that’s the nature of the beast that is music journalism.

The only thing that disrupts the system anymore are artists that force people who otherwise wouldn’t post about their work to pay attention because they position themselves for viral popularity. That can be accomplished through branding, appearance, lyrics, or something else altogether that sets a performer or group apart from everyone else in their field. It doesn’t have to be controversial to spark controversy, it just has to be interesting enough to warrant discussion.

Take Lil Nas X, for example. The Atlanta artist was relatively unknown when he uploaded his now incredibly popular song “Old Town Road” to Soundcloud in late 2018. However, the track’s country-trap sound caught the attention of music fans hunting for something new, and even those who didn’t love the material would share it simply because they wanted to discuss the oddity they had discovered. Those conversations lead to viral videos on the platform TikTok, which then lead to additional conversation around the artist and song.

Another example is Triple Crown Records group Heart Attack Man. Before releasing as much as a song from their Sophomore effort, Fake Blood, the band began creating a discussion for their record by claiming publicists and managers deemed it too violent, too dark, and too controversial. The group then built upon those efforts by warning fans to avoid their singles and videos if they were sensitive to violence and violent themes, so even before people heard the material they thought it was something unique. Their push to appear controversial went so far that they started and ran their own anti-Heart Attack Man group called Mothers Against Heart Attack, which has a Twitter account. When users click the group’s link to their newsletter, they are sent to Heart Attack Man’s newsletter instead.

The shared trait between Lil Nas X and Heart Attack Man’s recent success is the absence of traditional album and single promotion. There are no promoted posts, no YouTube ad buys, or magazine placements. Both Heart Attack Man and Lil Nas X are becoming household names because they took it upon themselves to do something they knew would stir conversation. They accepted the old saying that any press is good press and let the internet do what it does best: run wild with vague understandings about the things that momentarily holds its collective attention. Did they make people mad? Yes. Did they make people happy? Yes. Are both things ultimately good for the artists? Yes.

Anyone can buy exposure. The price point is low, but so is the likelihood of becoming successful based on promoted posts and advertising alone. The true key to success in today’s culture is being someone or some group that is able to get people talking about their efforts. All the paid promotion in the world cannot compete with word of mouth, so save your money and focus all you have on creating something that gets people talking.

Exit mobile version