You’ve probably done all the hard creative work in the studio and created a great music project that you’re very proud of. Now, it’s time to head into the next phase: marketing your music as an independent artist.
After uploading to streaming platforms and sharing teasers on social media, you might have a little buzz going, but how do you get those eyes and ears to become a fan base? Here’s a little secret weapon you might have been missing: an email list.
Yes, social media is usually the go-to for musicians to promote their music in this day and age and it’s less of a commitment to hit a ‘follow’ button than to give out a personal email address. But, social media algorithms are extremely fickle. One day your song could be trending or just on the verge, and the next day, it could be buried under a sea of cat videos.
But email marketing offers a direct line of communication with your fans, one that platforms (or algorithms) can’t control. And believe it or not, people still use email…a lot.
Here are some reasons that email marketing is a game-changer for a musician:
Direct Connection: Emails land straight in your fans’ inboxes, bypassing algorithm filters. You can share updates, exclusive content, and merch drops directly to them.
Deeper Engagement: Build relationships with your fans beyond likes and comments. Emails allow you to share personal stories, behind-the-scenes glimpses, and connect with them on a deeper level.
Targeted Communication: Segment your list to send personalized emails based on fan interests. Are they super into your acoustic stuff? Send them a link to an exclusive unplugged performance video.
Conversions: Drive traffic to your website, sell tickets and merch, or promote your latest release. It all works together!
Now that you know the importance of email marketing, how do you build an email marketing list as a musician?! Here are some ideas that can turn casual listeners into dedicated subscribers:
Giveaways and Incentives: Offer exclusive content like downloadable demos, unreleased tracks, or personalized shoutouts in exchange for email signups.
Website Opt-In: Make signing up for your list easy. Place a prominent signup form on your website with a clear call to action (CTA) like “Get Exclusive Updates.”
Social Media Integration: Add signup forms to your social media profiles and encourage fans to follow you for email updates.
Merch Table: Capture email addresses at gigs by offering discounts or freebies in exchange for signing up. Promote your email list with flyers, QR code, or a simple sign.
Cross-Promotion: Run contests where subscribing to your email list is an entry requirement. You can also collaborate with other musicians and/or influencers to increase your exposure and get their fans on your list!
Great, you’re starting to build your contact list! Here’s how to keep your fans engaged in your email list and coming back for more:
Regularly Scheduled Emails: Aim for a consistent schedule. Weekly updates or monthly newsletters keep you top-of-mind.
High-Quality Content: Offer valuable content your fans can’t find anywhere else. Share studio updates, upcoming tour dates, personal stories, or music videos. Fans these days love behind-the-scenes insight into the creative process, so share away!
Personalized Emails: Use your fan’s name and cater content to their interests. Fans love to feel like you’re speaking directly to them!
A/B Testing: Experiment with different email formats and subject lines to see what resonates best with your audience.
Track Results: Marketing platforms, like HAULIX, offer valuable email analytics. Track who opens, clicks, and listens to audio files to understand what works and what doesn’t.
Building an email list is an investment in your music career. It allows you to build genuine relationships with your fans, promote your music effectively, and ultimately grow your following.
Take a step beyond the social media shout-out and start building a direct connection with your fans – one email at a time. Remember, it’s not about how many followers you have, but how connected and engaged you can stay with them!
If you’re a musician who wants to take control of your email list, visit here to learn more about how HAULIX can help you track, personalize and build your contact lists all in one platform.
Ever felt like your music or story is getting lost in the crowd? You’re not alone! Music editors are bombarded with pitches daily, so standing out is crucial. Whether you’re an independent musician ready to share your sound with the world or a music writer with a passion for spotlighting new artists, this guide will show you how to craft a killer pitch that gets noticed.
Even as the industry evolves into diverse mediums, press coverage is still super important to artists and music journalists alike. While repeated rejections or unanswered pitch emails may be discouraging, your stories and point of view are needed!
You probably just need a few tweaks in your pitching methods to get published. Ready to turn those rejections into rave reviews? Read on.
Know Who You’re Pitching To
Not all music editors are created equal. Before blasting your email shotgun-style, do some research. Figure out which publications or platforms vibe with your sound/writing style or if they’re even accepting pitches. Check out some of their recent articles and featured artists, and check their submission guidelines.
What genres do they mostly cover or have knowledge about? Also, make sure your voice lines up with their target audience. You don’t want to submit an overly serious story angle to a publication more interested in the latest TikTok dance crazes. For musicians specifically: Seek out publications that have writers and editors that dig your genre and are actively looking for new artists to cover!
Do not open your email with: “Dear Music Editor”. Editors get slammed with dozens of emails a day, so you NEED to stand out from the crowd. Find the editor’s name and personalize your greeting. Plus, a little effort shows you care – not just about getting featured, but about building a genuine connection. The music industry is ALL about the relationships you build along the way.
Subject Line: The Click-Worthy Hook
Your subject line is the first impression, so please think of something better than “Pitch”. Here is the ideal space to give an overview of what you’d like to be covered, or simply use a working headline. Your email subject should be able to tell as much of your story on its own.
Here are some examples:
“The Haunting Synth-Pop You Didn’t Know You Needed: [Your Artist Name]”
“The Music Producer Who Recorded His Album Underwater: Meet [Artist Name]”
“This Metal-Jazz Fusion Band Toured The World On A Tricycle”
Keep it short, punchy, and relevant. Don’t be too clickbaity, but definitely pique their curiosity. Sometimes you might just have a really wild story to share.
E-mail body: Keep it interesting but to the point
This is where you make your case, but keep it concise. Don’t write your full autobiography but make sure to highlight what makes your pitch different and a worthwhile story to share. Why should people care?
If you’re a writer, here’s where you:
Introduce yourself, briefly. Include links to some past, relevant stories.
Include an interesting hook. Was this song recorded in a secluded cabin in the Arctic Circle? Mention this here.
Try to have most of your angle and story formed already so the editor can see your vision.
Extra bonus: You could suggest a few interview questions prepared for the artist you’d like to cover.
If you’re a musician:
Introduce yourself, your band, and genre. Briefly mention what makes your music unique to further grab the editor’s interest.
Tell them what you’re pitching. Are you offering an exclusive interview with your band or a chance to premiere an upcoming music video? You can also just submit your music for coverage for certain columns or features.
Include links to your music or a streaming platform where they can easily find the music.
Remember: Editors do not have time to read a novel in their inbox.
Proofread Like a Pro
Typos and grammatical errors scream amateur. Take the time to proofread your email before hitting send. You want to impress editors, not make them question your basic writing skills. It can seem petty but this is the only first impression you’ve got!
Follow Up (But Not Too Much)
If you don’t hear back within a week, a polite follow-up email is fine. But please avoid spamming their inbox. Respect their time, and if they don’t respond, move on and try another editor.
Bonus Tip: Be Social
There is a reason social media is so popular — it works. Follow editors you want to pitch on Twitter or Instagram. Engage with their content, show them you’re a real person with a genuine passion for music. Sometimes, a well-timed comment can lead to an unexpected opportunity. You never know!
Remember, pitching editors takes time and effort. But by crafting a killer pitch and putting yourself out there, you’ll increase your chances of getting your music and stories heard.
If you’re an artist who wants to submit your music to publications, visit HAULIX.com to read more about how HAULIX+ can take the guesswork out of pitching and help you grow your network!
Become a better writer this February by participating in the 2022 installment of #MWE, otherwise known as the Music Writer Exercise
Have you ever thought of writing about music?
Did you watch Almost Famous and feel like you might like to pursue a career in music journalism?
Do you ever wish you were a better writer?
If the answer to any of the questions above is yes, then we have the perfect exercise for you. The Music Writing Exercise is a month-long event created by journalist Gary Suarez in 2015. Participants attempt to listen to one new album every day throughout February and craft a tweet that summarizes their thoughts on the record.
#MusicWriterExercise: Each day in February, listen to one full album you’ve never heard, from start to finish. Write one tweet about it.— I’m Gary (@noyokono) January 30, 2015
The Haulix team participates in the Music Writing Exercise every year. It’s hard to know how many other writers will join in the fun, but you can follow along and engage with the global writing community by using the hashtag #MWE on Twitter.
As for the albums you cover, that decision is ultimately up to you. Some people plan out their entire month of listening in advance, while others choose to pick a record at random each morning. Others develop one or more themes for the month, such as live records or third albums. Gary himself has a suggestion:
You won’t win anything for completing #MWE, but like any other exercise, you will develop your skill set. As writers, we all fall prey to repetitive phrasing and tired wordplay. The Music Writing Exercise challenges us to create bright new ways to discuss music. It also encourages community. There is no cost to participate, so what do you have to lose?
Music Biz is brought to you by Haulix, the music industry’s leading promotional distribution platform. Start your one-month free trial today and gain instant access to the same promotional tools used by BMG, Concord, Rise Records, Pure Noise Records, and hundreds more. Visit http://haulix.com/signup for details.
Successfully selling story ideas to music editors is difficult, especially in 2022, but we can help make your next pitch the best one yet.
The only thing worse than the state of streaming royalties in 2022 is the state of music journalism. Each year for the last half-decade, dozens of music blogs have shuttered as audiences shrink and the demand for content continues to boom. Most writers are creating solely to chase their passion. The amount of money earned by the average music critic is well below the poverty line, and even those who manage to find full-time work are constantly waiting for the next shoe drop.
We wish we had a solution to the way things are, but that’s not how entertainment works. You can only do so much to convince people to try a new blog, podcast, or YouTube channel. Your content either shines brighter than the stars or ends up overlooked alongside a million other well-intentioned articles that never found an audience.
But there is hope for the talented. Dozens of major publications are still operating with a budget for freelance submissions. The competition for this money is fierce, but with the right story and well-worded pitch, you can stake your claim at the cash.
To help you better understand what makes a great pitch, we are resharing a submission from bestselling author and former Noisey editor Dan Ozzi. Enjoy:
Make Sure You Have a Fully Formed Idea and Aren’t Just Talking Out of Your Ass
You don’t need to have your whole article written, but you should have a clear idea of what the topic is and what points you will cover. I get a lot of pitches along the lines of: “How about a piece about how Michael Jackson was like, the original Drake or something?” These emails tend to come in after midnight and smell like Adult Swim commercials and Doritos if you know what I’m saying. Then I will send a response saying, “Cool, can you further explain WTF you’re talking about plz?” And surprise, surprise, the explanation is usually: “Like… Because they both wore red jackets and stuff. I don’t know, it might be stupid.” Cool, I’m glad we bonded over the shared experience of wasting our time together. Never forget.
Condense Your Piece Down to One Sentence
Instead of writing out five long-winded paragraphs explaining what you want to write about, give me a summary in one sentence. Or even a proposed headline. Have you ever heard of an elevator pitch? Sure you have. It’s how you would describe a larger project to a person if you had only a brief elevator ride with them. So imagine this: You are in an elevator with me. I am quietly sobbing because I suffer from severe vertigo and crippling phobia of smelling farts in enclosed spaces. How do you make me interested? Go! Sell me this pen!
Know the Outlet You’re Pitching
If you are pitching a site that is both #cool and #hip and sometimes even #edgy, you should craft your pitch to reflect that. Know their voice and also their audience. Do they mostly cater to people under 25? Do their readers use phrases like “on fleek” and “trill?” Is their audience primarily interested in cool vape tricks on Vine? Know all of this stuff and when pitching, don’t come across like you’re trying to write for some academia blog. Conversely, if you are pitching an academia blog, you probably don’t want to use phrases like “on fleek” and “trill.”
Know the Editor You’re Pitching
If you’re introducing yourself to an editor, start with a quick, personal opening line like, “Hey Dan, I really liked your last thinkpiece about how stingrays are the most punk fish in the aquatic kingdom. Good stuff.” This does two things: One, it lets me know that you are a real person who is catering to me, a fellow real person, and that you are familiar with what genres/beats I cover. And two, it kisses my ass just a tiny bit which I need because I am a music writer and require constant stroking of my ego in order to survive.
“Pitch” Is Not a Good Subject Line
That’s it, really. You won’t even get your email opened, let alone answered, if the subject is “pitch.” Put the basic idea of the article in the subject.
Here’s a good subject line: “This Venezuelan Hardcore Band Holds the World Record for Most Consecutive Hours Spent Masturbating”
Here’s a bad subject line: “pitch for you”
Check to See if It’s Already Been Done
Here’s a good use of two seconds that will save everyone involved a bunch of time: Before you pitch an idea, go to the site you’re pitching, enter the topic in the little search box, and hit “enter.” If this topic—or a similar topic—has already been covered, take your business elsewhere.
Be Timely
Different pitches have different lifespans. A long, well-researched investigative piece has the potential to live on forever and ever in the ethers of the interwebs. But something quick and dumb about the Left Shark or escaped llamas has a shelf-life of a day, if that. Send a pitch about a day-old meme and prepare to have your email printed out and passed around the Secret Society of Editors to be mocked while you are forever branded as that freelancer who wanted to write something about the IKEA monkey.
Pitch Ideas, Not Bands
This is probably the single most important piece of advice and I guess I should have put it at the top but am too lazy to change it now. As a music editor, roughly 8,000% of the pitches I get are just interviews with bands the writer likes. “Hey Dan, I want to interview this band The Shitty Pitches. They rule.” Well for starters, tell me something interesting about The Shitty Pitches or what you plan to interview them about. Is there something special about them? Did they grow up on a remote island and not hear music until they were in their thirties? Do they play on instruments they hand-made from their parents’ checks to their liberal arts colleges? TELL ME. Otherwise I’ll just assume it’d be a generic interview that asks my least favorite questions and will pass.
Do Not Pitch to Ask if You Can Pitch
I get this one a lot and it never stops confusing me. Someone will email me and all it will say is “Hey Dan, I wanted to send you a pitch about a band. Would that be cool?” No one has time to lure a timid writer squirrel out of its hole. Pitch or get off the pot.
Do Not Send Generic Garbage Pitches for Garbage People
This is another one that seems like common sense yet happens all the time. Someone will send me something like “I want to write about the current state of punk.” This is kind of like pitching a Hollywood producer a movie about love. Narrow it down.
Do Not Rattle Off Any Old Whatever the Fuck from Your Phone
When you send me a one-line email with “sent from my iPhone” at the bottom, what that basically tells me is that a thought ran across your brain and instead of thinking it out, you just fired it off to me while waiting on line at Cinnabon.
Don’t Pitch Out of Your League
If you pitch an editor with “I want to interview Kanye West,” you damn sure better know Ye personally and had him sign a blood oath saying he’d be down for an interview. There is nothing more obnoxious than someone requesting to interview a celebrity and then asking the editor to put them in touch with that celebrity. We don’t have giant rolodexes of famous people here. (Just kidding, we totally do. But don’t assume that.)
And Lastly, Here’s a Good Sample Pitch Email
Subject: Bands and their grandmas
Hi Dan, [Hey, you used my name! Now I know you are a real person and not a Pitch-Bot 5000. Cool.]
Nice piece last week on how peanut butter is the punkest food. Thought it was pretty… nutty. Was that terrible? [Woah, you have a sense of humor and are maybe a person I could stand working with on a regular basis? Sweet.]
My name is John Q. Writer and I am a freelance writer who has written for CoolBlog dot com and OtherCoolBlog dot com. [Include a link here to your online resume or blog or something where I can get a feel for your style. DO NOT go into your life story—where you went to college, what you studied, the first time you did hand stuff under the bleachers. I do not care.]
As you probably know [assuming that I am on the pulse of culture, nice nice…], a lot of bands are taking their grandmas on tour these days [maybe include a link to something on this on the very, very small off-shot that I, a person “in the know,” am not glued into this particular important cultural trend]. I wanted to write a piece called “Get in the Van, Nanna” exploring this idea. Why do bands do this? What benefits are there to touring with your grandma? I want to talk to Band Number One, Band Number Two, and Band Number Three who have all done this and also speak with their grandmas. [Woah, all of this info is helpful and interesting and I could totally see my readers digging this and sharing it on TweetBook.]
Let me know if you’re interested. [I am.]
Many thanks,
John
[This is the blank space where you’ll notice it does not say “sent from my iPhone.”]
Live music is back! Here are a few things music journalists and photographers should keep in mind before heading out to a show.
Can you believe it? After more than a year away, Live music is back. Concerts are already happening across America and worldwide, with hundreds more being announced every week. Live Nation, one of the most prominent concert promoters on the planet, says they will have twice as many artists touring next year as they did in 2019. That would have worried the industry a few years ago, but today, demand and excitement are at an all-time high. Fans are ready. Artists are prepared. Everyone is itching to get back in the pit and sing along to their favorite songs while surrounded by people who feel the same way they do about music. It’s a beautiful thing.
Music journalists and photographers, many of whom have spent the past year trying everything in their power to make click were the headlines from reviews and live stream announcements, are pretty excited as well. As much as writing about tour announcements and reviewing albums can be a satisfying experience, nothing compares to the thrill of covering a live show. A well-written review or beautifully captured photograph can do more to help members of the media and musicians alike than a dozen album reviews. With competition for consumer attention rising, the music journalism community is in a unique position of influence. The tours and events they cover can make or break someone’s spending decision, and that responsibility is not to be taken lightly.
But there’s a catch.
Since the first post-pandemic shows were announced, messages have circulated on social media calling for an end to guest lists. For those unfamiliar, these lists are used by venues and artists to set aside tickets for select individuals to attend a performance without buying a ticket. Spots are typically reserved for family and friends of the artist or promoter and members of the industry at large.
Here’s an example of the messaging in question:
It seems clear that the message of this tweet is for people who do not have a legitimate reason to request guest list inclusion. Artists and promoters are trying to tell friends that they would prefer they buy a ticket. Honestly, it makes sense. Before the pandemic, an artist had no reason to believe that touring, the primary way most musicians make money, would come to a halt. Artists in 2021 know that live music can disappear anytime. There is no guarantee of another tour. Artists need people to buy tickets so that they can feed themselves and pay their bills. The same goes for promoters. People have spent the last year worrying about where the money would come from, and now they have an answer. Live music is back, which means making money is possible.
Regardless, certain members of the music journalism community have taken these comments personally. But as the old saying goes, “if you think it’s about you, then it probably is.”
We spoke to several publicists and promoters who confirm they have no plans to deny guestlist access to writers and photographers when live music returns. One professional, who is allowing us to use their quotes anonymously, went as far as to say that “concert coverage may be more important than ever this fall. Artists, especially smaller ones, are going to need all the attention their shows can get to move tickets.”
That said, we put together a few rules with the help of the industry at large that music journalists from all walks of life should adhere to as concerts return:
Always say please and thank you. That may seem obvious, but unless you are a significant publication with massive influence, granting you access to an artist and their performance is a gift.
Do not publicly attack artists, labels, promoters, or publicists if you do not receive access. Many factors go into media accreditation consideration. Keep working hard and, in time, you will get the access you seek.
Always deliver on your coverage promises. If you said you would write a review, then you better write something. If you said you wanted to take photographs, then you better publish a gallery. The publicists we spoke to say they will be more closely following the content created in return for guest list inclusion moving forward.
Don’t request access to anything you wouldn’t cover otherwise. If you write for a metal site, for example, then you shouldn’t be requesting access to the Jonas Brothers concert under the guise of being a music journalist.
In the event you are granted a plus one, use it to expand your coverage. Guestlist spots are limited, and they are not intended to help your friend or significant other access a show. It would be best to use additional guest list spots solely to ensure the best possible coverage—for example, a writer AND a photographer.
If you enjoy the artists performing, consider buying merchandise. Not only will this help the artist continue to pursue their career, but it’s also a show of support for both the artist and their team. It says that you are serious when you say you want the artist to succeed. Artists and publicists know that not every site has any significant level of influence, but when you vocally support musicians and buy their merchandise, it tells the industry that you are actively working to ensure musicians can continue creating the art they aspire to share with the world.
Don’t be a dick to security or venue staff for no reason. Treat everyone the way you wish to be treated.
Don’t post a photo of your press badge or photo pass on social media. It may seem harmless, but someone may steal that image in an attempt to infiltrate another gig or event in the future. At the very least, wait until the tour or event has ended before sharing your pass.
Respect any boundaries set by the artist or their team. If someone says they don’t want to discuss something or be photographed at a particular time, listen to them. No one wants gotcha journalism.
Send links to your coverage to the person who granted you access. Everyone in music is busy, but you can make someone’s job easier by sharing your contact with them rather than making them seek it out. That behavior will also help you develop stronger relationships with publicists, labels, etc.
Don’t fake it. Humans have a unique ability to detect when someone is lying or not presenting the entire truth. Don’t create content you don’t believe in or would not want to consume. Make what is authentic and meaningful to you, and everything else will fall in place.
There are probably 100 other things we could add, but this is enough for now. We’ll see you at the show!
With Spotify adding over 60,000 songs every day, the world needs music influencers to make sense of it all. Maybe that’s you, and if so, we can help!
Is music your world? Do you feel like you could spend forever talking about your favorite artists and albums? Are you open to hearing musicians from all walks of life? If you answered yes to all three, then maybe you should consider becoming a music influencer.
Music influencers is a blanket term covering many areas of music conversation. Whether you want to write about music news, review the latest releases, create video content, host a podcast, or try your hand at a little bit of everything, the goal is the same: You want to influence people to choose one artist over another.
Building a career as a music influencer is hard work. It’s a labor-intensive process that can take years to lead anywhere financially beneficial, but it’s the only way to live for many. It’s a calling heard by those who spend more time with music than friends, and it demands devotion. Those who excel do so thanks to a mix of obsession, ego, and drive that compels them to consume, digest, and discuss as much music as humanly possible.
Music Biz host James Shotwell began his career in music journalism. For the first time, he uses this video to lay out the four essential building blocks of music reporting, influencing, and criticism. It’s easy to start, and we encourage everyone who enjoys discussing music to give it a try. You never know where your life might lead.
Music Biz is brought to you by Haulix, the music industry’s leading promotional distribution platform. Start your one-month free trial today and gain instant access to the same promotional tools used by BMG, Concord, Rise Records, Pure Noise Records, and hundreds more. Visit http://haulix.com/signup for details.
Become a better writer in less than thirty days by participating in the 2021 installment of #MWE, otherwise known as the Music Writer Exercise.
Have you ever thought of writing about music?
Did you watch Almost Famous and feel like you might like to pursue a career in music journalism?
Do you ever wish you were a better writer?
If the answer to any of the questions above is yes, then we have the perfect exercise for you. The Music Writing Exercise is a month-long event created by journalist Gary Suarez in 2015. Participants attempt to listen to one new album every day throughout February and crafting a tweet that summarizes their thoughts on the record.
#MusicWriterExercise: Each day in February, listen to one full album you’ve never heard, from start to finish. Write one tweet about it.— I’m Gary (@noyokono) January 30, 2015
The Haulix team participates in the Music Writing Exercise every year. It’s hard to know how many other writers will join in the fun, but you can follow along and engage with the global writing community by using the hashtag #MWE on Twitter.
As for the albums you cover, that decision is ultimately up to you. Some people plan out their entire month of listening in advance, while others choose to pick a record at random each morning. Others develop one or more themes for the month, such as live records or third albums.
You won’t win anything for completing #MWE, but like any other exercise, you will develop your skill set. As writers, we all fall prey to repetitive phrasing and tired wordplay. The Music Writing Exercise challenges us to create bright new ways to discuss music. It also encourages community. There is no cost to participate, so what do you have to lose?
Music Biz is brought to you by Haulix, the music industry’s leading promotional distribution platform. Start your one-month free trial today and gain instant access to the same promotional tools used by BMG, Concord, Rise Records, Pure Noise Records, and hundreds more. Visit http://haulix.com/signup for details.
Teenage star Olivia Rodrigo’s song “Driver’s License” is the biggest hit in the world right now, and its success points to a bright future for songwriters everywhere.
It seems like the news is happening too fast for anyone to follow in January 2021. Between the Capitol riots, vaccine distribution, and the presidential inauguration, life is moving fast. Nobody can blame you if music hasn’t been the first thing on your mind, but you really shouldn’t go much longer without experiencing Olivia Rodrigo’s new single, “Driver’s License.” Check it out:
“Driver’s License” is the biggest song in the world right now, and it is breaking new records with each passing day. The song recently set a single-day consumption record on Spotify with more than 17-million streams. It’s the most played track in dozens of countries, and its video has earned over 50-million views in less than two weeks. All this, for a singer-songwriter under the age of eighteen who until recently was relatively unknown to most of the world.
So how did this happen?
The success of “Driver’s License” is no fluke, but it results from several important factors coming together at the perfect moment in time. Rodrigo is a Gen Z star leading a Disney+ series with strong ties to social media, for starters. Her private life is well known to her young audience, and their belief in the starlet made the song a hit on TikTok as soon as its release. There is also a pop music drought resulting from the ongoing Pandemic, and that has left a wide-open field for new voices to gain attention.
But that’s not all. The forward momentum made possible by the factors above could only lift “Driver’s License” to the insane heights it is currently reaching if the song was good (and it is). The track taps into universal feelings of confusion, vulnerability, and heartache, anchored by a story revolving around a pivotal moment in human development that everyone recognizes. It’s a testament to the power of storytelling, and it defies the years of criticism pop music has received for being viewed as shallow or meaningless. “Driver’s License” has meaning, and it is resonating with listeners in a big way.
Music Biz is brought to you by Haulix, the music industry’s leading promotional distribution platform. Start your one-month free trial today and gain instant access to the same promotional tools used by BMG, Concord, Rise Records, Pure Noise Records, and hundreds more. Visit http://haulix.com/signup for details.
We are all suffering from the same problem, and it’s ruining our lives. Consider this an internet intervention.
Host James Shotwell opens this video with an apology. While we enjoy making videos to help you navigate the music industry and build a lasting career, we often overlook the problems people encounter on their journeys. Namely, we rarely mention the risk of technology addiction. We struggle with it, and we’re to bet you do as well.
3.96 billion people use social media today, which accounts for roughly half (51%) of the global population. The average social media user in the United States will spend more than two hours scrolling Twitter, Instagram, Snapchat, TikTok, and Facebook daily.
And why do we do this? People everywhere have bought into the lie that life without social media is incomplete. We tell ourselves that being active is the best way to engage the world, take in new ideas, and build our professional profiles. We think posting and scrolling are doing something for us, but we’re merely consumers in reality. We hope to improve or change our lives, but all we accomplish is making tech companies more money while providing them with more data to keep us glued to our screens in perpetuity.
We hate how much of our lives are being wasted by feeding the idea that whatever small amount of serotonin the internet provides is better than the satisfaction of making or doing things that bring lasting joy. If you agree, then we have a solution anyone can use to take back control of their lives.
Music Biz is brought to you by Haulix, the music industry’s leading promotional distribution platform. Start your one-month free trial today and gain instant access to the same promotional tools used by BMG, Concord, Rise Records, Pure Noise Records, and hundreds more. Visit http://haulix.com/signup for details.
The Music Writer Exercise is coming, and you would be a fool to ignore the opportunities it presents.
As the saying goes, everyone is a critic. The age of social media has given everyone a voice to talk about everything they experience. One glance at Facebook or Twitter at any time of day will reveal countless opinions about everything, from entertainment to fast food. You don’t need a degree or any amount of experience to classify yourself as a critic, just like you don’t necessarily need any measurement tools to claim you’re an influencer. Did your friend do something because you suggested it? Congratulations. You’re an influencer.
Being a music writer in 2020 is a strange thing. You believe your passion for music and your knowledge of its history are so great that people should take an interest in your perspective on an industry that millions try and fail to join annually. Everything a music writer attempts today is challenging to achieve. Successfully pitching stories is hard, securing exclusive access or content is hard, and finding an audience for your work often feels impossible. That said, there may be no more excellent feeling in this life than writing something you believe in that connects with people, even if “people” turns out to be someone you’ve known for years.
Writing about music is a passion many possess, and we want to make you better at conveying your thoughts on artists and songs with a challenge. Music Writer Exercise, otherwise known as #MWE, is a month-long writing challenge that will expand your palette and improve your wordplay. Watch the video below for more information.
