Month: August 2019

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Artist Advice Editorials Industry News News

Two Big Mistakes Musicians Make When Contacting Tastemakers

Overcoming the biggest hurdle in DIY music promotion requires a little thing called human decency. 

Music tastemakers are some of the busiest people in the entertainment industry. Even the smallest publications receive dozens of requests per day for coverage. Bigger outlets, as well as widely-recognized writers, may receive more than one-thousand emails any given week. The majority of the time, outlets and writers are busy dealing with established talent and music that is quickly gaining momentum online. Those able and willing to cover lesser-known acts only have a finite amount of time for discovery, which is why making a positive and immediate impact on anyone you pitch is essential for your success.

We write a lot of blogs offering advice for reaching tastemakers. We have even gone so far as to create contact lists to help people reach playlist curators. However, no matter how much we write and discuss music promotion, industry influencers continue to complain about up and coming artists’ lack of preparation and respect. People at all level of the industry often contact us with concerns that people are nowhere near as passionate about professionalism as they are becoming successful, and that — for most — is a huge red flag. 

With that in mind, here are the two complaints we receive most often, as well as advice on how to avoid further frustrating music writers, podcasters, and YouTubers in the future.

Know your audience.

Very few tastemakers have influence over every area of music. There are exceptions, such as The Needle Drop, but most critics and influences earn their positions in the industry by specializing in certain areas of music. 

The same goes for publications. Pitchfork may cover more music than anyone has time to listen to, but there isn’t one person doing all the work behind the scenes. Pitchforks, as well as most music publications, rely on teams of people — each with their own specialties — to curate content people should experience. 

Few things will get your pitch for coverage denied or overlooked faster than failing to understand what the person you’re contacting covers. This is especially with playlists, which can be extremely specific in terms of the music they’re looking to features. When artists begin flooding tastemakers with material outside their coverage area it only serves to frustrate influencers and lower their interest in music discovery altogether. 

It’s hard enough for up and coming artists to get attention today without having to compete with people who spam critics because they were too lazy to research the people they were contacting. Don’t contribute to the problem of over-saturation. Research every person and publication before reaching out. Be sure your email is going to someone or someplace that values the type of music you create. Otherwise, you’re just wasting everyone’s time, including your own.

Make it personal.

There is no Mr. Pitchfork or Ms. Rolling Stone. However, without fail, artists constantly spam inboxes of publications and writers without addressing the people on the receiving end. 

Worse still is the large number of artists who write a single draft of a pitch letter that they then copy and paste to all press contacts with zero personalization. 

A good rule of thumb for promoting your music is to make every piece of outreach as personal as the music you’re trying to share. Your songs mean everything to you. They are a representation of who you are what you wish to share with the world. Your promotional materials are an extension of that representation. 

It’s perfectly acceptable to create a pitch template for promoting your music that shares the same basic information with everyone you contact. However, that template should be a starting point for messages and not the entire message. Your outreach should aspire to make everyone feel as if you want them to hear your music more than anyone else in the world. Let them know you admire their work and that you understand what they are passionate about in music. Talk to them as if you’re trying to make a new best friend. 

Nobody wants to feel like they’re being asked for a favor by a stranger who has no interest in who they are, how they’re feeling, or what they’re trying to do with their own career. Make people feel special. 

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News

Inside Music Podcast #175: Karyn Crisis’ Gospel of the Witches

Ahead of her band’s highly-anticipated Sophomore record, Karyn Crisis stops by Inside Music to discuss her wild and unpredictable journey through life itself.

Have you ever felt that your purpose on this planet was more significant than your current situation? Have you been drawn to subjects and discussion of things that do not directly impact your daily life? If so, did you follow that feeling? Did you accept the inevitability of change and go with the flow of existence?

We cannot tell you what to do in this life. We can barely figure our own existences out. What we do know, and what we will talk about today, is that there is a reason you feel that calling within yourself. There is much more to being a person than merely experiencing your time on this planet. You have the power to become something great, but it’s on you to take the steps necessary to grow.

Karyn Crisis has made a career out of being different and encouraging others to do the same. Her work in music is only one piece of a much bigger effort to leave a positive, lasting impact on the world at large. On this episode of INSIDE MUSIC, Karyn chats with host James Shotwell about the return of her band, Gospel Of The Witches, and other aspects of her inspiring, unpredictable career.

You can enjoy our conversation with Karyn below or on Spotify and all major podcast platforms. Be sure to pick up Gospel Of The Witches’ new record, Covenant, when it arrives in stores this October.

Prefer video? We’ve got you covered:

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Artist Advice Business Advice Editorials Industry News News

How to Throw Multiple Listening Parties for $100 or Less [VIDEO]

Listening parties can engage fans, grow your community, and raise awareness about your next release like nothing else in music.

There is no promotional event as incredible as a listening party. For an hour or more, fans gather together to experience the latest release from their favorite artist. The energy and excitement in these gatherings are electric. Everyone there is present because the artist’s catalog does something for them that nothing else in music or beyond can duplicate. Listening parties are a celebration of music’s power to move people, and you deserve to have them for your next release.

But there is a problem. Historically speaking, listening parties are often considered an expensive affair. You have to rent a space, be it a bar or venue, promote the event, create and distribute marketing materials, and perhaps pay for refreshments. Fans have often had to pay for the experience as well, be it through tickets or drinks.

We have a solution. For less than $100, you can plan and execute numerous listening parties all over the world on the same night. We can walk you through everything you need, but it’s up to you to find an audience. The plan below will only work if you have devoted fans who want to see you succeed. If you have those, then follow these steps to create an event no one will forget:

First off, you need to communicate with your fans. Whether this is accomplished through a newsletter or private Facebook group for key followers doesn’t really matter. Tell your audience you are seeking devoted fans willing and able to host small get together for your upcoming release. The only requirements they need to meet are a location for the event, the ability to host the event when you plan for it to take place, a computer, and speakers capable of playing music loud enough for everyone to hear your music. Be selective with your choices. The fans you choose will be representing you and your music for the duration of the event.

Haulix is the platform you will use to share your music with party hosts.

Next, you need a Haulix account. Haulix is the industry standard for music promotion, and right now they are offering one month of service free to everyone who signs up. Visit the Haulix website, pick a plan that works for you (we recommend Beast Mode to begin), and complete your registration. Haulix is the platform you will use to discreetly share your new music with listening party hosts. The service also allows you to control the number of times the music can be played, when people have access to music, and more.

The Promos screen is where you upload your music.

Once your Haulix account is activated, you will need to add your music to the service. Log in to your account and click the Promos tab at the top of the screen. Create a new promo with the music you plan to share through your listening parties. Be sure to add artwork, release information, and any other details you feel fans should know.

After your music is uploaded, begin creating introduction clips for your listening parties. Audio or video introductions are acceptable, but video content adds a personal touch. You may even want to make different videos for each event. That allows you the opportunity to specifically address each crowd by mentioning their cities or states, which again, helps create a connection with those in attendance. You can add the videos to your Haulix promo or upload them to YouTube (leaving them unlisted).

Promo invitations grant party hosts access to your music.

With all your materials complete, deliver the videos and event details to each listening party host with personalized messaging that reinforces dates, times, and any other particulars. Then you need to use Haulix to invite your hosts to engage with the materials you uploaded. You can find a step-by-step guide for sharing music on Haulix using the company’s help site.

After the event, be sure to send thank you notes to the hosts and any attendees. Personalize the messages to ensure people know you appreciate the work and time they dedicated to promoting your work. You should also consider revoking access to the materials through Haulix to ensure the album or single does not leak in advance of its release.

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Industry News News

Why Are Music Festivals so Expensive? [VIDEO]

Music festivals are nearly 50x more expensive than they were in the 1980s. What is driving the rising price of these events?

Music festivals are one of the most popular entertainment destinations in the world. Pick a genre, any genre, and you will find dozens of festivals looking to give fans access to the biggest stars of today. Some of these events have become internationally recognized, like Coachella, while others are considered ‘best-kept secrets’ that fans desperately want to keep below the radar. Whatever the case, the market for these events is booming, and that has caused a surge in pricing that seems unstoppable.

But how did we get here? Music festivals have been around for fifty years, but the cost to attend only began to skyrocket in the last decade. The number of artists performing is roughly the same as it always has been, as is the capacity of the event, so what happened?

Recently, The Economist took notice of the music festival market. The publication was so intrigued by the economics of festivals that it made a short documentary searching for the answer to every fans’ biggest question: Why do these events cost so much?

There is no easy answer because festivals are not simple businesses. Festivals build and dismantle a small town in a matter of days that is overrun with people from all walks of life who need food, water, bathroom facilities, and (usually) campgrounds. They also need to hire artists, each of which has demands and costs. There’s also the competition from other festivals to book popular artists, which only raises the costs of locking down great performers even higher.

But consumers may have hit their limit. Nearly every major festival saw a decline in attendance during the 2018 season. That kind of downturn is likely to shake investors and event producers worldwide. Festivals are big business, but unless people are willing to pay the high prices they demand the market will be unable to sustain a large number of events currently in existence.

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Industry News News

Why Taylor Swift wants to re-record her first five albums

Taylor Swift always focuses on the future, so why is she suddenly so concerned with recreating the past?

The promotional efforts for Lover, the seventh album from Taylor Swift, have been underway throughout 2019. As Rolling Stone pointed out in extensive detail, Swift and her team have been keeping her name on the tip of everyone’s tongue for the better part of the last year. You may not have caught every headline related to the pop superstar’s career, but you saw something, and that is more than can be said for most album rollouts.

But the most surprising news from the world of Taylor Swift came last week, just hours before Lover hit stores. In an interview with Good Morning America, Swift said she is committed to re-recording her first five albums. She even cited November 2020 as a start date for the project.

According to Chart Beat, Taylor Swift’s first six albums (including 2017’s Reputation) have sold a combined total of 30 million records worldwide. That number is nothing short of outstanding, and its the result of numerous top ten hits spanning the last decade of music. There are songs on every album that virtually everyone knows, and many continue to garner airplay or licensing deals to this day.

So why the redo? What value is there in re-recording something already so successful that everyone knows of its existence?

Some may think money is the motivating factor, but in reality, Swift is making this decision based on principle. Swift has long been an advocate for artists being allowed to own their masters. In other words, she believes artists are entitled to own the music they create. However, in the world of major labels, ownership of music often goes to or is at least split with, the company putting out an artist’s music.

In July, Swift’s former label, Big Machine Label Group, sold to superstar manager Scooter Braun for $300 million. Swift wrote on her blog about how this decision left her feeling hurt and betrayed, in part because it meant another person other than herself would own her music and be able to do with it whatever they pleased.

Swift’s decision to re-record her first five albums is the perfect act of revenge. As long as she doesn’t violate the terms of her original deal, re-recording songs would allow Swift to own the masters of her songs. That would enable Swift to have control over the use of her music, as well as help her earn more from sales and streaming related to that material. The new versions would also make the original recordings largely obsolete, which would leave Braun with recordings that have less value than they did at the point of purchase.

The most likely reason Reputation, Swift’s sixth album, is not included in her current plans is likely due to stipulations in her recording contract with Big Machine. Generally speaking, most contracts prevent artists from re-recording their music until two years after their contract expires and five years after the material was released. If the same terms are in Taylor’s deal, Reputation won’t be available for recreation until 2022.

Whether or not Swift sees her plan through remains to be seen. Other stars, including Def Leppard, have taken similar approaches to reclaim control of their music. If Swifts does re-record her records, we may see renewed demand from artists worldwide for ownership of their creative output.

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Artist Advice Business Advice Editorials News

What Every Job In Music Requires [VIDEO]

Working in the music business is the dream of thousands around the planet, but not everyone has what it takes to make it in the world of entertainment.

Getting a job in music is tough. It’s not as difficult as fighting a tiger or holding your breath for seven minutes, but finding work in music today is certainly not easy. There are thousands, perhaps even millions of hopeful job-seekers, most with some level of education and experience, and only a limited number of roles. That is the way it has always been, and that is most likely the way it will remain.

Over the last several weeks, we’ve spoken to hiring managers from record labels, publicity firms, music venues, and numerous other industry businesses. They all claim to be consistently looking for new hires that bring something unique to the table that will help push their companies to higher levels of success. In fact, many say that they are willing to create jobs if the right person or persons come along.

In this episode of Music Biz, host James Shotwell breaks down the one requirement of every career in music. There are many roles you can take on, but they all demand one thing that may determine whether or not you get the job of dreams.

Categories
Job Board News

Music Industry Job Board (August 26, 2019)

New opportunities:

Assistant, Music Brand Partnerships (CAA – Los Angeles, CA)

CAA is seeking an Assistant to support an Agent in our Music Brand Partnerships department based in Los Angeles. CAA Music Brand Partnerships is a dedicated team of music branding and marketing experts that works across all genres. The department works to service the agency’s music clients by developing strategic campaigns and successful partnerships with brands from across the globe. The ideal candidate should be motivated, quick-thinking, is passionate about working in the music industry and has experience working in the marketing and/or events spaces. The individual should be a master of all things administratively related, a polished communicator, and able to interface directly with all clients and C-level industry executives while remaining poised during all encounters (in-person, phone, email, etc.).This is a great opportunity for someone with an innovative mentality, is passionate about the music business and how musicians can integrate with brands beyond the live concert experience. Growth exists for top performers.

Coordinator, Music (Viacom – Burbank, CA)

The Coordinator, Music & Talent supports the Sr. Director, Music & Talent and the Director, Music Booking on all music artist requests for Nickelodeon Networks.

Music Agent’s Assistant (Madison House – Nashville, TN)

Establish, build, and maintain positive relations with promoters, artists and music industry professionals.

Board Operator, Music Programming (SiriusXM – Los Angeles, CA)

Responsible for the operation and quality of studio sound equipment during programs. Operates the board in-studio or via workstation for live and recorded broadcasts as assigned. Also operates equipment to edit, synchronize, mix and reproduce recordings. Greet talent and make them feel comfortable in the studio. Takes direction from Operations Manager, participates in the creation of the sound image for assigned programs. Incumbents of this position may be assigned to more than one program and perform slightly different functions across many programs.

Business Affairs Manager (Heroic/Bitbird – The Netherlands)

Heroic is an independent music management agency with headquarters in The Netherlands and team members distributed worldwide. We provide artist management, record label and publishing services for our clients. Our mission is to empower creators to positively influence culture.

bitbird is an independent record label spearheaded by San Holo with headquarters in The Netherlands and team members worldwide. We provide record label, publishing, and apparel services to our artists and writers. We aspire to be the fairest record company in the business and our motto is “create, forever.”

As Business Affairs Manager you will be responsible for all legalities of our operation, including the creation of contracts (including master, publishing, license, sync), negotiations with third parties, legal optimization, trademarks, insurances and risk mitigation for both Heroic and bitbird. These are two separate companies who share key personnel and resources. You’ll work closely with the artist managers and operational staff at Heroic, the label staff at bitbird and will report to our CEO (whom is the same person for Heroic & bitbird), COO (Heroic) and Label Manager (bitbird).

Music Director & On-Air Host (WEAA 88.9 FM / Morgan State University – Baltimore, MD)

Individual collaborates with production to enlist musical direction and seek options to meet editorial scope; fields record label calls, schedules music and checks social media to ensure music remains consistent with station’s ‘brand’; secures music required for broadcast; maintains station’s music libraries; maintains long term partnership with leading entertainment companies; attends music sorts/perceptual presentations and actively participates in brainstorming sessions.

Pro Audio / Music Gear Copywriter (Westlake Pro – North Hollywood, CA)

We’re Westlake Pro: known in Los Angeles for designing, building, and integrating recording studios for upscale clients like Snoop Dogg, Slash, & Childish Gambino; and post-production facilities for film & TV studios like Disney, Universal, Warner Brothers, & Sony. We’re looking for motivated, talented writers with knowledge of music recording or audio post-production equipment to join our Creators Network: writing product descriptions, blog posts, press releases, emails, and more. This is a freelance position with plenty of work available. We offer competitive rates and the writers with the most skill and initiative are further incentivized with occasional free copies of audio software and licenses, access to exclusive events with famous producers/engineers, and increased compensation per job.

Music Publicist Intern (Gramophone Media Inc. – NYC)

Searching for talented individuals who are interested in developing artists as a music publicist intern. This internship is a NYC based role, fast-paced, and fun. This is a great opportunity for anybody looking to take the next step in their pursuit of a career in the music industry. You will be working with a small team of publicists representing a roster of mixed genre artists for media coverage. Experience in publicity is preferred.

Part-Time Music Researcher (BMI – Seattle, WA)

Occasional part-time hourly work with hours ranging from 0-25 hours per week depending on availability of assignments. Work consists of music and market research in businesses in various states. Assignments include onsite research in businesses during late evenings, including weekends, and may require travel and overnight stay. Assignments also require completion of detailed reports following on-site visits.

Paralegal Music Licensing (CBS – Los Angeles, CA)

Review, make revisions and respond to comments from outside vendors to resolve issues, related to music license agreements for Current, Ancillary, CTD and Home Entertainment clearance groups.

Freelance Junior Music Writer (Mad Minds Entertainment – Studio City, CA)

Are you passionate about music and writing? Mad Minds Entertainment is looking for music writers to help shape the vision of a new music publication, and who are excited to cover a wide range of topics in the music industry, focusing mainly on Hip-Hop, EDM & R&B. The Junior Music Writer is passionate about music, someone who listens to music daily and is up to date with what’s going on in the market, and at the same time likes to blog about music, reads/writes about it, publishes to social media, attends festivals and keeps up on current music events, as well as being knowledgeable about the history of modern music. The Junior Music Writer is culturally savvy with a good sense of judgment on the appropriateness of content for different audiences.

Indie Music Public Relations Assistant (Fly PR – Los Angeles, CA)

You will be helping with tour press, album releases, research, social media posting and more. Responsibilities include copious work via email and social media platforms (lots of help pitching!), as well as answering phones and handling various office duties that include putting together press lists for the bands we represent, pitching to tons of media outlets, scheduling interviews for artists, as well as any other work project assignments given. Running errands locally (post office run, picking up mail, shopping at Staples, copying, etc.) is also a part of the job, but not the focus of this position. We do our best to tailor the work to help you learn about the parts of the business you are most interested in.

Music Coordinator (Buddha Jones – Los Angeles, CA)

We are a Fun, Fast-Paced Entertainment Advertising Company looking for a quicklearning individual to help out our Music Department. This is an entry-level position; the emphasis of the job is to manage a high volume of music cue sheets for distribution to our clients, and assisting the Music Supervisors in a variety of tasks. Seeking highly organized person, with extreme attention to detail, (both visually and audibly), excellent communication and detective skills, as well as the ability to prioritize. Avid experience is a plus; proficiency in Excel, Word a must. Music background a plus.

Marketing Assistant (Crowd Surf – Nashville, TN)

The Marketing Assistant reports directly to the Account Manager and is responsible for executing any tasks that are delegated by the Account Manager in order to help accomplish our clients’ goals. Additionally, our assistants keep a pulse on our clients’ fans and cater the content to be on brand and keep these fans excited and transacting.

Copywriter (Tidal – NYC)

The customer engagement team is seeking an experienced marketing copywriter to craft customer facing copy for TIDAL across product, platforms, and channels. Candidate must have a passion for music, the creative community and can excel in a fast paced environment. The marketing copywriter must be able to embed brand voice across campaigns and customer experiences with a focus on product marketing, acquisition, retention, and platform.

Licensing Administrator (WMG – Nashville, TN)

Administrative Assistant, Marketing (Sony – Culver City, CA)

The Administrative Assistant is responsible for providing administrative support to two Product Managers. The Assistant will also help to ensure the efficient day-to-day operation of the department.

Marketing Coordinator (AristoMedia Group – Nashville, TN)

Support to the marketing team by assisting with advertising campaigns, social strategy, and other ongoing initiatives.

Junior Marketing Manager (Beatport – Los Angeles, CA)

Beatport is looking for a part-time Junior Marketing Manager to join our team in Los Angeles. We are looking for someone with a diverse skillset across product marketing, social media, copywriting and editorial. If you have strong communication skills, innovative ideas, and a solid network, and you are ready to contribute with your ideas to the success of Beatport as a company and a brand, we would like to speak with you. This role reports directly to the Senior Marketing Manager in Berlin but is based in our Los Angeles office.

Coordinator Marketing Strategy (Madison Square Garden Company – NYC)

Work with MSG Live Marketing Strategy team to assist with various marketing strategies and execution for MSG Live with a focus on concerts and bookings. This individual will coordinate across all marketing functions (e.g., media, creative, insights, digital, social) with internal stakeholders, external agencies and partners to ensure effective development and execution of marketing efforts in order to achieve business goals.

On Air in Music City! WJXA-FM Radio (Midwest Communications – Nashville, TN)

Mix 92.9, Nashville’s powerhouse AC, has openings for both full time and part time announcers! This is the perfect opportunity to make the move to Nashville and grab some air time on a highly respected radio station. If you have a positive attitude with a passion for radio, you are upbeat and warm and know how to talk to our target female demographic, we want to hear from you! This position will need to be available for regular weekend work and air shifts during the week as well as production time.

Manager of Communications and Digital Content (The Billie Holilday Theatre Inc. – NYC)

This position is responsible for the overall marketing timeline for the season of events; oversight of print and online marketing collateral; email marketing; web site and social media management and content development; the development of PR strategies and press releases to enhance sales efforts; supporting the writing and editing of all promotional materials; ticketing site oversight and ticket sale tracking; and communicating consistent messages internally and externally.

Marketing Coordinator, Global Touring (AEG – Los Angeles, CA)

The Marketing Coordinator is responsible for marketing, social media, online e-marketing public relations, promotions for venues, radio promotions, clubs, theaters, festivals, shows and one-offs. This position will develop promotional initiatives with artists and the community, to promote positive brand image. The Marketing Coordinator may also be responsible for coordinating the work of interns and street team for show promotions.

Weekend live-in assistant for a quadriplegic musician (Platinum Horse Music Group – Brentwood, TN)

My name is Mike. I like to work hard, laugh, listen to country music pretty loud sometimes, strive to a better person with each new day, wake up grateful for a new day. I don’t let anything stop me, nor do I blame my struggles on anyone, or view myself as an oppressed victim. I’m not a fan of moody death metal culture or angry hip-hop culture. The only hate in my heart is for raw onions. I’m not easily “triggered” or offended; and often poke fun at my disability- like Timmy on Southpark. If you are somewhat like me but able-bodied, need a job, I’d like to meet you! A shift is open for Afternoons on Friday through afternoons on Sunday. I am willing to split that into 2 shifts if that works better for a longer term commitment. Shifts typically run from 3pm though 3pm the next day.

Social Media Marketing Manager (Essential Recruiting Resources – Nashville, TN)

Our client is seeking a savvy Social Media Marketing Manager to join their Team and help elevate their service to the next level!

Marketing Coordinator, Goldenvoice (AEG – Los Angeles, CA)

The Marketing Coordinator is responsible for marketing, social media, online e-marketing public relations, promotions for venues, radio promotions, clubs, theaters, festivals, shows and one-offs. This position will develop promotional initiatives with artists and the community, to promote positive brand image. The Marketing Coordinator may also be responsible for coordinating the work of interns and street team for show promotions.

Ticket Broker Assistant (Ticket Broker – Los Angeles, CA)

Seeking an individual who can work in a fast paced environment with basic computer skills. We are a concert and sporting event ticketing company with multiple remote employees seeking an in office assistant / office manager. Knowledge of the music industry is a major plus to candidates. The job requires working at my office in Hancock Park neighborhood of Los Angeles and will be 4 or 5 days per week depending on work load. Typical workday is 6:45am to 11:45am.

Account Coordinator, Social and Experiential (RQ Media Group – West Hollywood, CA)

RQ is looking for outgoing, self-starters that are savvy, conscientious and entrepreneurial to work at our agency. We are currently seeking an Account Coordinator, with experiential experience to join the team. Supporting the Account team, the ideal candidate is a team player that brings passion, and quick thinking to a fast-growing team of professionals.

Music Department Coordinator (Phillips Academy – Andover, MA)

The Music Department Coordinator supports an active and vibrant music community at Phillips Academy. The coordinator is an independent and engaged member of the team, who can manage their own daily tasks while anticipating and supporting the needs of others, including faculty, adjuncts, fellow staff members, students, and visitors to the school. This individual is welcoming and collaborative, with the ability to manage the daily detail-oriented work that enables the smooth and reliable delivery of our program, not only in the classroom but also at performances and events. This is a 10-month position (academic year) with the opportunity to work for Summer Session if desired.

Manager, Marketing (Anthem Entertainment – Burbank, CA)

5 Alarm Music is seeking an experienced, proven Marketing Manager to fill this exciting and creative opportunity. We are a production music and custom music company offering a full-time salary/benefits opportunity at a great place to work!

Accompanist (Barnard College – NYC)

Seeking a high-level musician with solid experience working in liberal arts, conservatory and/or professional dance company situation. Improvisation skills on piano and percussion desired. Good communication and collaboration skills necessary.

Categories
Business Advice Editorials News

What Every Employer in Music is Looking For

All jobs have unique requirements, but there is one thing every employer in music is looking for in applicants. 

Getting a job in music is tough. It’s not as difficult as fighting a tiger or holding your breath for seven minutes, but finding work in music today is certainly not easy. There are thousands, perhaps even millions of hopeful job-seekers, most with some level of education and experience, and only a limited number of roles. That is the way it has always been, and that is most likely the way it will remain.

Over the last several weeks I’ve spoken to hiring managers from record labels, publicity firms, music venues, and numerous other industry businesses. They all claim to be consistently looking for new hires that bring something special to the table that will help push their companies to higher levels of success. In fact, many say that they are willing to create jobs if the right person or persons come along. 

In every conversation I had, one word came up repeatedly: Passion. More than experience and education, passion is something every employer in music is looking to find in applicants. They seek people who not only love music, but who feel their purpose on this planet is to live, breathe, eat, and sleep all things music. Being a fan of concerts or particular areas of music is one thing, and that kind of passion can fuel a conversation, but those in a position to hire want a deeper commitment to music that goes beyond fandom.

If you want to work in music, you need to approach every opportunity as if it could be your lifelong career. You need to convey a sense of professionalism and dedication to your craft in everything you do. Being a fan of certain bands is not enough. You need to be a fan of the business of music. The work involved in turning the gears behind the scenes of the industry should excite you just as much as going to a concert. You should find joy in helping create life-changing experiences for fans, be it through live or recorded music, and you need to respect the role music plays in shaping the world we live in.

Countless people believe working in music will be endless fun or something like a party that never stops, but any good hiring managers see right through that mentality. The music business is a business above all else, and anyone hoping to enter it needs to be ready to put in the work required. Passion is what makes the long hours, late-night emails, and unpredictable setbacks bearable. The industry has a history of breaking people, especially those who get into it without being passionate about doing the work, and hiring managers try to avoid causing anyone that kind of grief. 

If you want to work in this industry, you have to come prepared to do just that — work. Music will demand you work harder and smarter than ever before. As soon as think you have something figured out, the culture will shift or some new technology will come along that changes everything. That is the best and worst part of this business. You have to be able to ride the waves of change, and the only way to do that is with a determination born from unending passion. If you possess anything less, don’t even try. It will not end well.

Categories
Industry News News Podcasts

Inside Music Podcast #174: Bad Wolves (Tommy Vext)

Bad Wolves frontman Tommy Vext stops by Inside Music to discuss his career in music and much more.

Tommy Vext is no stranger to the world of music. A twenty-year veteran to touring and recording, Tommy reached a new level of success in 2018 when his band, Bad Wolves, topped charts around the world with a cover of The Cranberries’ hit song, “Zombie.” The exposure, coupled with a relentless touring schedule opening for some of rock’s biggest names, has given Bad Wolves a lot of attention in a relatively small amount of time. The band is gearing up to release their Sophomore record this fall, but expectations are already high, and they’re likely to rise further before the album arrives in October.

But how Tommy find himself in this position? How did a former fan and venue security guard reach the heights of rock and roll success with only one album? And furthermore, where will he go from here?

On this episode of Inside Music, Tommy Vext sits down with host James Shotwell hours before taking the stage in West Michigan to share his journey in entertainment. Tommy tells James about his early singing career, his time as a security guard at the iconic Key Club in Los Angeles, and how he found himself helping other musicians live a sober lifestyle. The pair also discuss Bad Wolves’ new record, Bad Wolves Nation, and the expectations the band has for their future in rock.

Prefer video? Weve got you covered

Categories
News Podcasts

Inside Music Podcast #173: Sleep On It (T.J. Horansky)

Ahead of his band’s sophomore record release, Sleep On It guitarist and vocalist TJ Horansky stops by Inside Music to share his story.

Kanye West once wrote that the midwest is young and restless. The Chicago native probably had himself in mind when jotting that line onto paper, but it applies to Sleep On It as much as anyone. The four-piece pop-rock group has made a name for themselves in a genre plagued by knockoff bands and one-hit wonders who never have lasting careers. The band’s latest record, Pride & Disaster, is a testament to growing up and moving on. It’s the soundtrack to realizing you can be more than you ever thought possible, which is precisely the message many people need today.

TJ Horansky has been with Sleep On It from day one, and his unique outlook on life has helped shape the band’s material. Horansky appreciates where he came from and the people who helped him reach his dreams as much as he looks forward to all that life still has to offer. He’s an individual capable of living in the moment without letting the present blind him from the things that lie on the horizon, and today he shares his current perspective on existence with our loyal listeners.

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On this episode of Inside Music, which is the first to debut on our official Spotify feed, Horansky tells the story behind Sleep On It’s upcoming album with host James Shotwell. He also shares the lessons learned from the group’s last record, as well as how changing trends in the industry have informed the band’s approach to promoting their latest material. You can stream the conversation below or on Spotify, YouTube, and any major podcast platform.

Pride & Disaster, Sleep On It’s second full-length record, arrives September 13 through Equal Vision Records. Pre-order a copy on vinyl while supplies last.

https://soundcloud.com/inside-music-podcast/sleep-on-it-teddy-horansky

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