Tag: 2016

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Job Board News

Music Industry Job Board (9/4/16)

A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2016. In this column we bring together every job opening we can find from the companies responsible for building the future of the business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.

Each week we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to james@haulix.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.

New openings:

Manager, Fan Engagement (Warner Music Group – Burbank, CA) 

Job summary: The Manager Fan Engagement & Channel Management position exists to (i) ideate and implement artist specific social media, web, and direct to consumer initiatives on behalf of a designated roster of Warner Bros. Records’ artists and (ii) drive fan acquisition, engagement, and retention across all social media platforms.  The position will be the main artist contact for all digital fan engagement initiatives.

Additionally, the Manager Fan Engagement & Channel Management position will have a high degree of visibility across all company departments and will manage all aspects of specific WBR artists’ social media projects to ensure all details of the initiatives and goals are delivered in a timely and concise manner.  This person will manage timelines, budgets, content/product development, and marketing for the various platforms.

Label Assistant (RCA Inspiration – Franklin, TN) 

Job summary: We are currently looking for someone who enjoys maintaining productive working relationships, servicing others and listening to gospel music! 

Program Director (iHeartMedia – Columbia, SC) 

Job summary: Leads all aspects of radio station’s on-air experience in a leadership and operations role, responsible for talent, content, programming, and online presence.

Responsibilities

• Reviews and determines all commercial and paid programming content; decides music play lists; schedules programming in conformance with FCC rules and regulations, company policy and applicable federal, state, and local laws; protects station license.

• Plans and oversees tone, programming, production, sound & theme, website, online presence, and social media.

• Collaborates with Production to enlist musical direction and seeks options that meet editorial scope.

• Fields record label calls, schedules music, and checks social media to ensure music remains consistent with station’s brand.

• Identifies, recruits, and coaches on-air talent, producers, news directors, and reporters, e.g., frequently listens/airchecks sessions with on-air talent,

• Provides direction to DJ and audio engineer on content

• Partners with Market President, Programming and Sales in support of local and corporate business goals to increase market share, listeners, ratings, advertiser satisfaction, and revenue while aligning programming fit with client, station, and audience; creates talent and station marketing, promotion, and image campaigns.

• Determines and maintains creative vision for station(s) to enhance station image and visibility within the community.

• Evaluates programming available from distributors, syndicators, and independent producers to recommend acquisitions for broadcast.

• Schedules staff for on-air shifts, remotes, and appearances.

• Ensures staff has taken/passed/maintained all company programs, plans, and training (e.g., RBI, Payola/Plugola).

• Prepares and manages Programming Department budget on a yearly, quarterly, and monthly basis.

• Establishes and maintains professional relationships with producers, artists’ managers, composers and other industry contacts.

Marketing Manager (The Cleveland Orchestra) 

Job summary: This position will collaborate with our team on marketing campaigns to reach new audience segments and increased ticket sales for Cleveland Orchestra performances at Severance Hall and Blossom Music Center. In addition to coordinating the production and implementation of print, direct mail, broadcast, social and digital marketing, he/she will assist with database segmentation & expense management and provide customer service and logistical support to the Orchestra’s innovative student, young professional and loyalty programs.

Production Manager (AEG Live at Nokia Texas – Grand Prairie, TX) 

Job summary: The Manager Production advances all event details for all shows. The Production Manager will be responsible for the production team and to set a plan in motion to execute the show as per the agreed terms in the contract. The Production Manager will adhere to a budget to ensure all costs are being tracked and monitored. They will ensure that all the needs of the show and performer are met.

Campaign Manager (Vevo – Los Angeles)

Job summary: As Vevo’s Ad Operations Campaign Manager you will play a key role in the functioning of the ad operations group. This role is responsible for management of digital advertising programs, custom advertising implementations and partnering with the Revenue Operations, Sales, Marketing, and Product & Technology teams and vendors to identify and implement new solutions within Vevo’s ad serving technology

Marketing Coordinator, Social Impact (Spotify – NYC)

Job summary: As the Marketing Coordinator for Social Impact, you’ll be a part of building programs that use music to change the world.Spotify is a growing global organization and social impact is becoming a larger part of our culture.  We need a dynamic, passionate, and persuasive person to lead our internal communications and employee engagement.As the Marketing Coordinator, you’ll need to work collaboratively and autonomously with every part of the organization.  You’re excited about the challenges of creating an open and compassionate culture within a global company.

Brand Coverage Assistant (CAA – NYC)

Job summary: The New York office is seeking an Assistant to work in the Brand coverage division. This team is focused on Multicultural business development within our Lifestyles Department. Our lifestyle experts work across the agency to help extend the “brand” of artists, personalities, lifestyle properties, brands, and agency clients by developing new and creative opportunities. This area has extensive crossover and supports all departments across the agency and works directly with advertising agencies and brands.

Playlist & Streaming Marketing Manager (UMG)

Job summary: Your role will include being responsible for content decisions by crunching large data sets, analyzing the results, and gaining insight across Label Relations, Artist Services, Licensing and Content Operations within the group. It is a role that requires strong communication skills across the various central, territory teams at USM as well as other parts of the UMG business. Streaming and subscription based music models now account for one third of our catalogue revenues and it is growing. We are focused on providing the right music for every moment. We connect vast numbers of people to their favorite songs and created a service that people use to discover and share music they love. Your insights & recommendations will ensure that we can execute initiatives that will help drive our KPI’s to success.

Customer Marketing Manager (Bloomfield Hills, MI)

Job summary: The Customer Marketing Manager is an individual contributor role, and part of a cross-functional team assigned to support automotive car manufacturer (OEM) customers.  Utilizing knowledge of Bose Corporation’s “Essence and Values” together with Divisional and customer team strategic objectives, the Marketing Manager will represent Bose to customers in North America.  The Marketing Manager has responsibilities that include supporting business development initiatives, defining & leveraging market intelligence in the pursuit of new business development opportunities, leading vehicle program launches, and supporting customer relationships management activities.  Travel expected is around 25%

Director Music (Paramount – Hollywood, CA)

Job summary: Support the President of Music with all day-to-day operational needs.  The primary focus will be on Television programing. Responsibilities to include, but not limited to:

  • Interact with talent to ensure that all music needs are met from pre-production thru post-production
  • Supply ideas before principle photography
  • Work on pre-records for on-camera scenes
  • Provide replacement options in post-production to ensure we meet our budget
  • Secure necessary filmmaker/TV executives’ approvalsInterface with TV Development, Production,  & Post-Production executives to service general music needs
  • Ensure elements are at the correct destination to make key deadlines
  • Ensure continuity between production & promotional activitiesSecure necessary paramount approvalsFunction as an in house “music supervisor”
  • Breakdown scripts in the creation of music budgets

Senior Manager of Live Operations (TuneIn – San Francisco)

Job summary: TuneIn is seeking a Senior Manager for our Live Operations team. You should have a strong background in building and scaling operational process, managing cross-department communication, and a vested interest in providing the best interaction with TuneIn for our users and partners.   Live Operations at TuneIn includes two main disciplines: user/broadcaster support and product operations within our application. Live Operations is a new, heavily user-focused initiative at TuneIn; you’re basically responsible for ensuring our user and broadcaster happiness from end to end.  This includes using tools like content featuring, editorial highlights, push notifications, and live event scheduling as part of product operations to deliver the world’s best listening experiences; on the flip side you’re our first line of defense ensuring our customer’s problems are heard, triaged, escalated, and resolved in a timely and efficient manner.  

Audio Designer (2K Games – Baltimore, MD)

Job summary: Firaxis Games is looking for an exceptionally skilled Audio Designer to help take our games to the next level. As an Audio Designer you will work closely with the Project Art Director, Lead UI Designer, Lead Producer, and Lead Designer to create compelling and original audio experiences for our games. We’re looking for someone who is excited about contributing to our unique and popular franchises and is eager to work with our experienced and award winning audio team and development teams.

Production Manager (Cleveland Institute Of Music)

Job summary: The Cleveland Institute of Music is seeking a highly organized and self motivated person to serve as full-time Production Manager responsible for CIM performances and special events on and off campus. In addition, the Production Manager is responsible for production support of all non-CIM events which take place in CIM’s facilities as appropriate.

Account Manager (SoundExchange – Washington D.C.)

Job summary: The Account Manager, as part of the Account Services Department, processes incoming registrations and supplemental documents by creating new accounts and making updates to existing accounts. The Account Manager is also responsible for the initial assignment of royalties to the accounts they create and for providing excellent customer service to their clients. The Account Manager is expected to accomplish these duties in an efficient and accurate manner to provide clients with timely service and maximized pay-through rates.

Marketing Coordinator (Guitar Center – Frederick, Maryland)

Job summary: The Project Specialist will assist in the financial management of the marketing departmental budget; in the implementation of the national and regional events; and in the execution of marketing initiatives. This person is responsible for maintaining and updating the marketing budget database with the applicable expenditures. This person is responsible for coordinating logistics, securing our registration to national conventions exhibits, and managing vendor relations. This person also assists in the execution of marketing initiatives for these events. Reasonable accommodations may be made to enable individuals with disabilities to perform the essential job functions.

Program Director (iHeartMedia – Madison, AL)

Job summary: Leads all aspects of radio station’s on-air experience in a leadership and operations role, responsible for talent, content, programming, and online presence.

On-Air Talent (Townsquare Media – Tuscaloosa, AL)

Job summary: Townsquare Media Tuscaloosa, AL includes well-known brands like B101.7, 95.3 The Bear, Tide 99.1, and 92.9 WTUG. Townsquare Media Tuscaloosa, AL has a rare opportunity to join our on-air lineup. If you have an outgoing personality and enjoy entertaining we want to talk with you! Applicants must be social media savvy, regularly contribute content to the station’s website and YouTube channel, and the successful candidate must be able to connect and engage with the station’s target audience by keeping up with relevant trends and pop culture. This person wants to be in Tuscaloosa, and is eager to build relationships and value in our community. This person also wants to be a part of a successful and growing radio company who highly values our brands, our talent and our family of employees. We take great pride in winning with radio, digital and live events.

Administrator, Call Center Operations (BMI – Nashville)

Job summary: Responsible for the daily administration of the call center technology, planning and implementing call center and workforce strategies and improving systems and processes. Essential Functions:

  • Maintains and improves call center operations by monitoring system performance, identifying and resolving problems, and providing call and agent audits/analysis.
  • Assists in managing a blended call environment; including, but not limited to, creating and loading campaign lists, managing system performance, user set-ups, creating IVR’s, and monitoring adherence to pre-set call center parameters.
  • As directed, works in conjunction with the department leadership and IT to limit dialer down time; perform system restarts and testing following an outage, planned or not, system upgrade or any other dialer affiliated system need.
  • Supports monthly and daily workforce and contact center forecasting.
Categories
News

Blogger Spotlight: Jason Bales (Face The Noise)

Jason Bales and his brother, Justin, began their adventure in music writing as a way to share their love of rock music with the world. Those simple ambitions quickly turned into something greater, and not long after an early version of what would eventually become Face The Noise was born. Covering all areas of rock, the Bales brothers use their site to connect with music fans all over the world with a clean site design and timely updates. We recognized their passion for writing the moment we set eyes on their site, and we knew immediately that we wanted to capture their journey while it was still in its infancy.

HAULIX: Thanks for doing this, Jason. Can you start by telling me the origin story of Face The Noise?

Jason: Absolutely! Thanks for having me. Face The Noise really started a few years ago under the name ‘Rokonnection.’ My brother, Justin, and I were playing video games one summer day, bored out of our minds, and we decided to start a website devoted to rock music. At the time, we were pretty one-sided with what we listened to. Both of us were still in high school, and my computer skills were at a pretty beginner level, but nonetheless, Rokonnection launched and actually had a little bit of success. It wasn’t until a couple years into my college career that I decided to take it seriously. Rokonnection seemed too one-sided, so a name change was in order. After all, there are plenty of great genres of music other than rock. I graduated with a degree in Music Business and Philosophy, and after graduation started up Face The Noise. It has actually only been active for about two months, and we are starting to get back to where we were, as far as views are concerned (content quality surpassed Rokonnection immediately), with the other website.

H: Is there any story behind the name or how you settled on it?

J: The name actually just came to me. Rokonnection took quite a bit of back and forth between Justin and I, but Face The Noise popped into my head without any warning. I loved it immediately and just stuck with it.

H: I know you cover a variety of genres/styles on your site. How would you describe your blog to someone who had never visited it before?

J: Our blog currently does not have the manpower to keep up-to-date with every little thing that happens in the music world. However, we pride ourselves on outstanding and well-written content and an as unbiased as possible view. Our bread and butter, if you will, is our reviews and interviews. We strive to make them interesting and fun to read or listen to.

H: Is there one genre in particular that you feel you cover better than others, or is there a certain type of feature that you feel is the best example of your publication?

J: Absolutely. Face The Noise covers rock and metal more than any other genre, and that is because of my background. I’ve been working with rock and metal publicists for years now, so I obviously have a lot more relationships formed in that area. I’m hoping that the other genres will catch up by 2017, so if you are a publicist that handles genres other than rock or metal, feel free to contact us!

H: What was the first thing you wrote about on your site, and how did that set the tone for what you do today?

J: Oh, wow. I honestly can’t remember what the first thing I wrote for Rokonnection was, but I do remember setting up an interview with Hollywood Undead. Remember, we were very beginner at this stage in our lives. Justin, Kyle (my best friend), and I started looking into doing interviews and what not. We had a couple under our belts, but nothing as big as Hollywood Undead. Their publicist hooked us up with an interview at the Theatre of Living Arts in Philadelphia, Pennsylvania, and it was one of the greatest moments of my life. We went backstage and met the band. The interview went well. Everyone was so down to earth. That was probably when I really realized how cool this hobby (it is a hobby until you get paid, right?) really is. I think this really pushed me to succeed because I wanted more experiences like that.

H: What separates Face The Noise from similar music blogs?

J: Going back to a couple of questions ago, our well-written content and unbiased perspective is quite unique. Without stepping on any toes, I see a few music websites and blogs that tend to look more towards what one might consider ‘click-bait.’ Face The Noise will never let that happen. Of course, our social media may attempt to intrigue a viewer to click into an article, but that article will always be exactly as advertised. The content will be relevant and well thought out. I saw an article the other day while scrolling through Facebook, by a rather large music publication, that had a title something along the lines of “[insert band name] sucks, finally set to retire.” That is as rude as it is unentertaining. I’m sure it picked up quite a few clicks, but at what cost? We treat music as art at Face The Noise.

H: On the topic of blogging, there are some who say the necessity for music sites is dwindling as social media becomes the launching pad for the majority of conversation online. Why do you feel blogs still matter?

J: I think that blogs, at least the good ones, provide knowledge and information that some random Joe on Facebook could never provide. Album reviews and interviews are engaging and entertaining. The same is generally not said of Facebook comments or Twitter tweets. This may come off as egocentric, but music websites provide a bit of expertise in the subject.  

H: You obviously receive a lot of advance music for consideration on your site. What service do you prefer and why?

J: The absolute best way to receive music is through the mail. Absolutely nothing beats opening a package and finding a brand new CD to listen to. That said, bands just do not have the money, and publicists do not have the time, to do that sort of thing any more. It is changing rapidly with streaming and what not. Haulix is great, as far as online music promotion services go. I promise no one paid me to say that! I hear a lot of good things around the publicist community about it, and it is so much better than getting an album through Dropbox.

H: Are you currently hiring at your site? If so, how can people submit an application?

J: Well, let’s define “hiring.” If by hiring you mean providing volunteer writers and photographers with a relaxed atmosphere to share their work, then yes. Money will not be involved. Simply put, we aren’t currently making any money. If we ever start, so will our staff members. An application can be submitted under the “Jobs” (and we use that term loosely) section of the website.

H: What are your longterm goals for Face The Noise? Short term (year or less)?

J: Our long-term goal would have to be to become the best music website in the world. We want nothing less. I would love for this to become much more than a hobby. As far as short-term goes, it would be cool to start picking up a couple extra writers and expand our content, increase the number of interviews we have on YouTube, get a few extra e-mails every day, finally get to exclusively premiere a song, and meet Tyler and Josh from Twenty One Pilots. The last goal is the only one that should take more than a year.

H: What’s the easiest way for people to keep up with everything you do?

J: Social media – Our Facebook and Twitter for news and reviews, and YouTube for interviews.

Categories
News

Blogger Spotlight: Jessica Klinner (Highlight Magazine)

It has been way too long since we updated our Blogger Spotlight series, but whatever delays have come up in recent months end today. We have a string of interviews with the next generation of music writing leaders to share in the coming weeks, and we think among them will be one or two people whose work you soon come to depend on in order to know everything great in the world of entertainment. We only promote the sites and people we believe in, so you can rest assured that if you’re learning of them here on Haulix Daily then there is something to their work worth reading. We get the future we support, and this is our way of hoping to influence a positive change in how we discuss music. Enjoy.

Jessica Klinner has been building her reputation in the worlds of alternative music and journalism for several years now, but 2016 has found her coming of age in a big way. After taking lead of Highlight Magazine earlier in the year Jessica has continue to carve a path for herself in this industry that has quickly established her as one of the more knowledge and intelligent voices found within the world where Warped Tour mainstays and pop-rock newcomers collide. We turn to Jessica’s work whenever we need to find the next band who will remind us of the positive power music can wield, but also to learn about the young writers she has chosen to take under her wing. Few websites have a contributing staff as talented and driven as Highlight, and Jessica’s work behind-the-scenes is partly responsible for that. Here, in a rare discussion about her journey, Jessica tells us how she made it this far, and offer a quick tease as to where she may be headed in the future.

Haulix: Hello, Jessica. How are you doing today? Is it as hot there as it is here in Minneapolis?

Jessica: I’m doing great! I don’t know how hot it’s been in Minneapolis, but it feels like Satan’s armpit here in central Alabama! The humidity is absolutely stifling. Hopefully you’re not experiencing heat to that awful of a degree!

H: You have a long history with Highlight Magazine. Can you tell us how you first learned of the site, and when you initially joined the team?

J: I’ve been involved with Highlight since the very beginning. I was brought on as a writer before the first issue launched in April of 2012. I had been following co-founder Ashley Osborn on Tumblr because I was a fan of her photography. She posted that she was starting an online magazine and needed writers and photographers to join the team. I had just finished my first semester of college and had no clue what I wanted to do with my English degree at the end of my undergraduate career. At the time, I had dreams of becoming a photographer, but didn’t think I was anywhere near good enough to shoot shows for an outlet. Instead, I submitted an essay I wrote for a college scholarship (because it was the only writing sample I had up to that point) and got an email about a month later asking me to join the writing team. They must have not had very many writers apply because I’m pretty sure that essay was terrible haha!

H: You’re a great writer, so I imagine you wouldn’t have much trouble finding a place willing to share your work. What made Highlight the place for you?

J: Thank you! At the time that I joined Highlight, no content had even been published on the site and no issues had been released so I wasn’t sure what I was getting into–I just knew that I wanted to write. Since the beginning, Highlight has been based around positivity and highlighting the genuine artists in the music industry. That was set in place when I joined the team and I loved that concept. Throughout my time at Highlight, that focus has become even more important to me because of how negative the industry can be. I also just loved the community surrounding Highlight. We were all just a bunch of kids working on a passion project. So many of our contributors have gone on to do amazing things in the industry.

H: You’re now at the helm of the site. When did that happen, and how?

J: I took over the site in April of this year. Jenn Stookey (former editor in chief) and Cara Bahniuk (co-founder and art director) had been discussing the possibility of stopping the monthly issues. They approached me to see if I was up for taking over the site because they didn’t want Highlight to end completely. I had been serving as managing editor for the magazine for over a year and was more than ready and willing to take over.

H: For those who have never run a site before, can you give us a rundown of your duties and responsibilities?

J: Absolutely! I spend most of the day replying to emails and sending out pitches for future features. This is probably my favorite thing to do because I love connecting with people in the music industry and discovering new artists/bands. All this is done between juggling my real job functions at an 8-5. When I get home, I normally answer more emails and schedule posts for the next day. I also edit through all the posts, set up photo shoots, request photo passes for our photographers, and many more things I’m currently forgetting about.

H: How would you describe Highlight Magazine to someone who has never heard of it before?

J: Well first and foremost we are a website focused on positivity and highlighting the genuine artists in the industry. When Highlight first began, we were mainly focused on the Warped Tour scene, but as editors have changed, we have grown outside of that and now cover a wide variety of genres. We LOVE featuring up-and-coming acts and running fun features. We aren’t so much focused on news posts as we are presenting quality content to our readers.

H: Now that you no longer publish a digital monthly magazine, what are the main draws of the site that separate Highlight from your competition?

J: When we were putting out our monthly issues, we used all in-house photographers for every single feature that we did. There were exceptions at times because of scheduling conflicts and other complications, but I’d say out of the 50 issues we produced, 98% of the photographs were taken by our staff photographers. When we moved to just a website, I was nervous that we would lose that. I wanted to still be able to give our photographers the chance to do photo shoots with bands, but didn’t know if publicists would be up for it since we were no longer doing the issues. Luckily because of the history we have, our photographers have still been able to do photo shoots with bands.

Also we really try to feature all different types of artists. We want to expose our readers to artists and bands who love what they do. You won’t find us featuring a band that has a bad reputation. We really want to give credit where credit is due. We don’t post as much news as I’d like, but I’m really proud of the content that is posted on the site every day.

H: Looking toward the future, where do you see Highlight Magazine in a year from now? Two years?

J: Before the end of this year, I want to go live with a brand new website. We are in desperate need of a digital face lift at Highlight. Beyond that, I would love for us to be able to get to a point where we can pay our contributors. It’s something we’ve been trying to work out for years, but just haven’t been able to make it happen yet. And in a dream world, I would love to go back to making monthly issues and get Highlight in print. That’s the ultimate goal.

H: What is one piece of advice you wish someone had given you when you were just getting started in music writing?

J: It’s not as glamorous as you think. I was drawn to music writing because I read Alternative Press religiously and looked up to the editors and writers who were on staff at the time. But as I got more and more involved in the industry, I started to see through the facade and realized that everything is not as it seems. The bands you look up to aren’t always the nicest and people are often more concerned about money and sales than featuring bands that deserve recognition.

H: If the site disappears tomorrow (and we hope it doesn’t), what would be your favorite memory from the you spent working on it?

J: There’s been so many, but I think my favorite memory would be just getting to know all of the contributors. I’ve made some really great friends through Highlight, and I get to visit with many of them on a regular basis and meet new ones whenever I travel. I wouldn’t be who I am without Highlight, and I’m so thankful to Jenn and Cara for giving me a shot at running the site 🙂

Categories
Job Board News

Music Industry Job Board (8/21/16)

A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2016. In this column we bring together every job opening we can find from the companies responsible for building the future of the business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.

Each week we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to james@haulix.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.

New openings:

Campaign Manager (Vevo – Los Angeles) 

Job summary: As Vevo’s Ad Operations Campaign Manager you will play a key role in the functioning of the ad operations group. This role is responsible for management of digital advertising programs, custom advertising implementations and partnering with the Revenue Operations, Sales, Marketing, and Product & Technology teams and vendors to identify and implement new solutions within Vevo’s ad serving technology

Marketing Coordinator, Social Impact (Spotify – NYC) 

Job summary: As the Marketing Coordinator for Social Impact, you’ll be a part of building programs that use music to change the world.Spotify is a growing global organization and social impact is becoming a larger part of our culture.  We need a dynamic, passionate, and persuasive person to lead our internal communications and employee engagement.As the Marketing Coordinator, you’ll need to work collaboratively and autonomously with every part of the organization.  You’re excited about the challenges of creating an open and compassionate culture within a global company.

Brand Coverage Assistant (CAA – NYC) 

Job summary: The New York office is seeking an Assistant to work in the Brand coverage division. This team is focused on Multicultural business development within our Lifestyles Department. Our lifestyle experts work across the agency to help extend the “brand” of artists, personalities, lifestyle properties, brands, and agency clients by developing new and creative opportunities. This area has extensive crossover and supports all departments across the agency and works directly with advertising agencies and brands.

Playlist & Streaming Marketing Manager (UMG)

Job summary: Your role will include being responsible for content decisions by crunching large data sets, analyzing the results, and gaining insight across Label Relations, Artist Services, Licensing and Content Operations within the group. It is a role that requires strong communication skills across the various central, territory teams at USM as well as other parts of the UMG business. Streaming and subscription based music models now account for one third of our catalogue revenues and it is growing. We are focused on providing the right music for every moment. We connect vast numbers of people to their favorite songs and created a service that people use to discover and share music they love. Your insights & recommendations will ensure that we can execute initiatives that will help drive our KPI’s to success.

Customer Marketing Manager (Bloomfield Hills, MI)

Job summary: The Customer Marketing Manager is an individual contributor role, and part of a cross-functional team assigned to support automotive car manufacturer (OEM) customers.  Utilizing knowledge of Bose Corporation’s “Essence and Values” together with Divisional and customer team strategic objectives, the Marketing Manager will represent Bose to customers in North America.  The Marketing Manager has responsibilities that include supporting business development initiatives, defining & leveraging market intelligence in the pursuit of new business development opportunities, leading vehicle program launches, and supporting customer relationships management activities.  Travel expected is around 25%

Director Music (Paramount – Hollywood, CA) 

Job summary: Support the President of Music with all day-to-day operational needs.  The primary focus will be on Television programing. Responsibilities to include, but not limited to:

  • Interact with talent to ensure that all music needs are met from pre-production thru post-production
  • Supply ideas before principle photography
  • Work on pre-records for on-camera scenes
  • Provide replacement options in post-production to ensure we meet our budget
  • Secure necessary filmmaker/TV executives’ approvalsInterface with TV Development, Production,  & Post-Production executives to service general music needs
  • Ensure elements are at the correct destination to make key deadlines
  • Ensure continuity between production & promotional activitiesSecure necessary paramount approvalsFunction as an in house “music supervisor”
  • Breakdown scripts in the creation of music budgets

Senior Manager of Live Operations (TuneIn – San Francisco) 

Job summary: TuneIn is seeking a Senior Manager for our Live Operations team. You should have a strong background in building and scaling operational process, managing cross-department communication, and a vested interest in providing the best interaction with TuneIn for our users and partners.   Live Operations at TuneIn includes two main disciplines: user/broadcaster support and product operations within our application. Live Operations is a new, heavily user-focused initiative at TuneIn; you’re basically responsible for ensuring our user and broadcaster happiness from end to end.  This includes using tools like content featuring, editorial highlights, push notifications, and live event scheduling as part of product operations to deliver the world’s best listening experiences; on the flip side you’re our first line of defense ensuring our customer’s problems are heard, triaged, escalated, and resolved in a timely and efficient manner.  

Audio Designer (2K Games – Baltimore, MD) 

Job summary: Firaxis Games is looking for an exceptionally skilled Audio Designer to help take our games to the next level. As an Audio Designer you will work closely with the Project Art Director, Lead UI Designer, Lead Producer, and Lead Designer to create compelling and original audio experiences for our games. We’re looking for someone who is excited about contributing to our unique and popular franchises and is eager to work with our experienced and award winning audio team and development teams.

Production Manager (Cleveland Institute Of Music) 

Job summary: The Cleveland Institute of Music is seeking a highly organized and self motivated person to serve as full-time Production Manager responsible for CIM performances and special events on and off campus. In addition, the Production Manager is responsible for production support of all non-CIM events which take place in CIM’s facilities as appropriate.

Account Manager (SoundExchange – Washington D.C.) 

Job summary: The Account Manager, as part of the Account Services Department, processes incoming registrations and supplemental documents by creating new accounts and making updates to existing accounts. The Account Manager is also responsible for the initial assignment of royalties to the accounts they create and for providing excellent customer service to their clients. The Account Manager is expected to accomplish these duties in an efficient and accurate manner to provide clients with timely service and maximized pay-through rates.

Marketing Coordinator (Guitar Center – Frederick, Maryland)

Job summary: The Project Specialist will assist in the financial management of the marketing departmental budget; in the implementation of the national and regional events; and in the execution of marketing initiatives. This person is responsible for maintaining and updating the marketing budget database with the applicable expenditures. This person is responsible for coordinating logistics, securing our registration to national conventions exhibits, and managing vendor relations. This person also assists in the execution of marketing initiatives for these events. Reasonable accommodations may be made to enable individuals with disabilities to perform the essential job functions.

Program Director (iHeartMedia – Madison, AL)

Job summary: Leads all aspects of radio station’s on-air experience in a leadership and operations role, responsible for talent, content, programming, and online presence.

On-Air Talent (Townsquare Media – Tuscaloosa, AL)

Job summary: Townsquare Media Tuscaloosa, AL includes well-known brands like B101.7, 95.3 The Bear, Tide 99.1, and 92.9 WTUG. Townsquare Media Tuscaloosa, AL has a rare opportunity to join our on-air lineup. If you have an outgoing personality and enjoy entertaining we want to talk with you! Applicants must be social media savvy, regularly contribute content to the station’s website and YouTube channel, and the successful candidate must be able to connect and engage with the station’s target audience by keeping up with relevant trends and pop culture. This person wants to be in Tuscaloosa, and is eager to build relationships and value in our community. This person also wants to be a part of a successful and growing radio company who highly values our brands, our talent and our family of employees. We take great pride in winning with radio, digital and live events.

Administrator, Call Center Operations (BMI – Nashville)

Job summary: Responsible for the daily administration of the call center technology, planning and implementing call center and workforce strategies and improving systems and processes. Essential Functions:

  • Maintains and improves call center operations by monitoring system performance, identifying and resolving problems, and providing call and agent audits/analysis.
  • Assists in managing a blended call environment; including, but not limited to, creating and loading campaign lists, managing system performance, user set-ups, creating IVR’s, and monitoring adherence to pre-set call center parameters.
  • As directed, works in conjunction with the department leadership and IT to limit dialer down time; perform system restarts and testing following an outage, planned or not, system upgrade or any other dialer affiliated system need.
  • Supports monthly and daily workforce and contact center forecasting.

93.1 JACK FM Promotions Assistant (CBS Radio – Los Angeles)

Job summary: Are you pursuing a career in Communications, Media, and/or Marketing? JACK is looking for reliable, hard-working, outgoing, creative individuals to join the JACK Promotions Department. Responsibilities include assisting with the daily operations of the JACK Promotions department including, but not limited to:

  • Planning and organizing events
  • Contest fulfillment
  • Listener interaction
  • Website development
  • Driving station vehicles
  • On-site execution
  • General office duties

Senior Sales Associate (Guitar Center – Orlando, FL)

Job summary: Retail Sales Associates are responsible for consistently achieving individual sales goals to support the store’’s sales and profit objectives, while providing superior customer service. Major responsibilities of the position are listed below. To perform the job successfully, an individual must be able to execute each essential duty satisfactorily. Other duties, assignments and specific projects may be assigned at the discretion of management. Reasonable accommodation may be made to enable individuals with disabilities to perform the essential functions.

Sr. Manager, Subscriptions (Pandora – Oakland)

Job summary: Pandora is looking for a Sr. Manager within the Subscription team to help lead the business strategy across internal Marketing and Product teams and our external channel partners. This analytical all-star will report to the Vice President of Subscription and be at the forefront of Pandora’s exciting new Subscription growth strategy.

Artist Management Assistant (Ineffable Music Group – Emeryville, CA)

Job summary: Ineffable Music is looking for a detail oriented, organized artist management assistant whose work ethic matches their love of music. We are a small company with a start up vibe and a family atmosphere. We are looking for a team player and out of the box thinker, who is ready to grow and innovate.

Director of Fund Development (Motown Museum – Detroit)

Job summary: Under the direction of the Chief Executive Officer (CEO), the Director of Fund Development will cultivate and solicit private contributions and investment to the Motown Museum from annual fund giving, major and principal gifts, either outright or through deferred giving, effective donor stewardship, membership and event management.The ideal candidate will have at least five years successful fundraising experience and an aptitude to lead a development team through strategic, visionary leadership. The successful professional will be a creative, enthusiastic team member with the ability to clearly communicate the mission and values of the Motown Museum. Professionals who would be fulfilled by working for a dynamic organization that is passionate about preserving and growing the iconic Motown brand should consider a career at The Motown Museum.

Account Executive – Music Licensing (Los Angeles)

Job summary: The Account Executive is responsible for increasing revenue and market share by effectively managing relationships, developing new business opportunities, and increasing music licensing with clients and prospects within television and film markets. Individuals will have the support of sales and account coordinators to provide full service infrastructure.

Copyright Analyst (Sony/Columbia – NYC)

Job summary: The Columbia/Epic Analyst will work as part of the Copyright team at Sony Music to ensure that the wide range of copyright issues related to products released by the Columbia, Epic and other labels as required are addressed in an effective and timely manner. The Analyst will be responsible for assigned releases, coordinating with several parties inside and outside of SME to obtain and properly assess the information necessary to clear rights with publishers and pay them accordingly as required.

Office Manager (Loove Music – Brooklyn)

Job summary: Brooklyn based startup building a new fair-trade marketplace for media projects seeks an articulate and organized Office Manager to support a range of office activities. The Office Manager will be a driving force in keeping our office running and will be asked to be in charge of an ever changing range of projects. The candidate should be proactive, observant, detail-oriented and demonstrate a spirit of thoughtful accountability and leadership that matches our energetic, fast-moving developing business.

Business Development Manager (Redwood City)

Job summary: Shazam is looking for a Business Development Manager to come and weave some magic across the media and technology world. If you have a proven track record in sales and/or account management, great people skills and a passion for making great things deals happen with Shazam and partners, come and talk to us.To thrive in this role, you will love variety, work independently, communicate well and be super organized. Experience of working with digital media within an entertainment, broadcasting or publishing sphere is essential. The right candidate will have ability to oversee complex deals, negotiate and execute new business within a range of exciting new sectors.

Programming Manager (Kimmel Center – Philadelphia)

Job summary: The Programming Manager is responsible for booking and/or producing shows, events, and programs that meet the organization’s artistic, financial, and audience goals within the venues on the campus of the Kimmel Center of the Performing Arts. This position will also work with the Artistic Director on booking and/or producing free programming, family shows, the Philadelphia International Festival of the Arts, among others. The Programming Manager assists with all department functions and management of department budgets.

Manager, Business Intelligence (ASCAP – NYC)

Job summary: As a key member of Data Strategy you will collaborate with product, strategy, data science and data visualization teams to build innovative products and capabilities. Reporting to the Director of Business Intelligence you will be a data analytics thought-leader in designing and developing innovative analysis that will allow internal users to make data-driven decisions faster than ever before. The Manager of Business Intelligence will also present highly technical analyses and recommendations to senior executives.

Sr Label Relations Manager (Amazon – Seattle)

Job summary: Amazon Music is fast becoming one of the major global players in digital music. We are changing the way customer enjoy music through Amazon Prime. This team is responsible for innovating on the content in the service and managing strong relationships with our external Music partners. As a Sr. Label Relations Manager, you will partner with our key label partners to provide the best music experience for our customers. Label Relations own the existing music relationships, drive collaborative efforts internally and externally around content launches, events, and promotions, and negotiate business terms to drive healthy margins. Label Relations Managers work closely with Marketing, Merchandising, Content Acquisition, Operations, and International teams.

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News

The problem with live albums (and what you can do to avoid it)

(The album from Drew Holcomb used for the image above is fantastic. We need more live albums like it.)

To attempt a live record is to try and not only capture, but preserve, lightning in a bottle. The beauty of any live show is the element of surprise. Regardless of whether it’s the first date of a tour or the last, there is an unknown component in every performance that tells the performers and audiences that absolutely anything could happen. If all goes well, great. If all goes awry – well, at least you made it through together with a story to tell.

The problem inherent in most live recordings is that they fail to capture that magic in a way that translates to the audience. Sometimes this is due to the punch-ups recorded after the initial performance to promote the idea the artist is somehow infallible, but other times it can be something as simple as a lack of diversity in the set list. After all, not many people have any reason to own a live version of someone’s greatest hits, especially if a regular studio version already exists.

People buy live records for the same reason they pay to see someone live, and that is the desire to connect with that group or individual in a way not made possible on most (if not all) studio recordings. That intangible element of unpredictability is what people seek in any live recording, and capturing it is your responsibility. The ways you can do this are numerous, but here are a few ideas to help get you started:

Diversify your setlist

Any live recording is destined to have a few fan favorites on it, including your biggest song(s), but you should feel comfortable in sharing rare cuts as well. Bob Seger, a legend in the world of rock, has released several live albums over the course of his career. There are certain songs that make basically every release, but what sets each apart is a combination of deep cuts and off the cuff covers. This material not only showcases the music and art that influences Seger as a performer, but also tells listeners what songs mean the most to him from his own catalog. We fans assume our favorite artists love their biggest songs most, but a decade in music has taught me that is rarely true. Artists have their own tastes and as such they gravitate towards the material that most appeals to what they were hoping to accomplish on a particular record. Those songs don’t always translate to commercial hits, so the live show may be one of the few times that material is given the respect and attention is deserves from the bulk of an artist’s fan base.

Special guests never hurt

On his recently released live album, Drew Holcomb invited his wife, Ellie, to join him for performances of songs they originally recorded together. This collaboration made the night one fans in attendance will never forget, and it adds something special to final recording as well. You can use this same idea to build interest in your live recording by inviting guests/friends of your music to join you on stage. If you have a track that features a guest vocalist, invite the vocalist to join you for the show. If you don’t have a track with guests, invite someone fans will know to join you for the performance.

Don’t clean it up

Some artists choose to use a recording studio to improve or otherwise punch-up live recordings in order to maintain the idea they are flawless musicians incapable of error, even in concert settings. You and I both know that no one is perfect, and your fans know this as well. They don’t expect perfection in concerts or live recordings, but they demand energy and excitement. If you miss a few notes, that’s okay. If you stumble on a line and rely on the audience to sing it for you, that’s fine too. Those moments are what make each show something special, and while they might not seem that way to you they are going to be stuck in the minds of your fans for a long time to come. Your fans will tell others of the time they saw you and [insert something unexpected] happened. To cut those moments from the live recording would be to offer consumers less than the full experience. Embrace your flaws. Your fans already do.

Engage with your audience

We’ve all been to a concert where someone on stage shouted something along the lines of, “this is without a doubt the best city we have played on this tour!” That sentiment may be well-intentioned, but anyone who has been to more than one concert in more than one city knows that every town hears that same line every night from every artist on tour. This doesn’t mean artists don’t mean it when they say it, but it does mean that music consumers have grown to take such compliments with a grain of salt. Separate yourself from those who repeat one another and simply be real with your audience when recording your live album. Be specific, and don’t forget to have fun. Blink-182 famously added more than a dozen bonus tracks to their live album just to make room for all the dialogue from the shows used to create the record. Take a listen:

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Job Board News

Haulix Weekly Update #140: “Okay, the trampoline was a bad idea.”

Hello, everyone! This has been a week we will not soon forget. We have had so many ups and downs it is hard to keep track, but the weekend is here and we can finally breathe a sigh of relief. This song is making our day:

Each and every weekend we like to take a brief break from our regularly scheduled programming to update and reflect on everything happening at Haulix HQ. We are far more than a music blog, as many of you already know, and posts like this give us an opportunity to share more our efforts with all of you.

Development news:

Unless you have been sleeping under a rock this week you no doubt heard (and possibly saw) that the launch of our new platform did not go as planned. We tested our system thoroughly prior to launch, but a lot can change when we push something as large the our updated system out for the first time. In an effort to get things working properly once more as fast as possible we ultimately decided to roll back to our classic platform, which is what you will now see if you visit haulix.com. Our current plan is to retool the updated platform and try for a second launch once the industry has taken its holiday break in late December, but that might change between now and then. We will keep you updated.

Blog news: 

Our blog took a backseat to our development needs this week, but we did manage to run a few posts that are worthy of note. If you missed anything as of late, especially our podcasts, please head over to our archive and catch up ASAP.

That’s all we have for this week. Check back here on Sunday for an all-new music industry job board.

XOXO

Haulix

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Job Board News

Haulix Weekly Update #139: “One o’clock, still just a potato.”

This is the weekend we have all been waiting for! After months of promises and continued teasing we are finally launching our brand new, completely overhauled digital distribution platform. Yes, the wait is (almost) over. Join us in celebrating, won’t you?

Each and every weekend we like to take a brief break from our regularly scheduled programming to update and reflect on everything happening at Haulix HQ. We are far more than a music blog, as many of you already know, and posts like this give us an opportunity to share more our efforts with all of you.

Development news:

The new age of Haulix is almost here. Tonight, at 6PM CST, we are taking our site down in order to launch the new platform. We expect to be out the majority of the weekend, but our team will be working as fast as possible to get things up and running once more.

We say this a lot, but thank you for your continued patience and support throughout the development of this platform. We have spent over a year on this project, and we honestly believe it was time well spent. This is the best platform we can possibly give you, and we cannot wait for the full reveal this coming Monday.

Blog news: 

You know what? Aside from highlighting this week’s podcast, which you really should here, our blog has remained a little quiet. It’s all hands on deck as we prepare to push out this massive update, but starting next week things should return to their usual routine. If you missed anything as of late, especially our podcasts, please head over to our archive and catch up ASAP.

That’s all we have for this week. 

Check back here on Sunday for an all-new music industry job board.

XOXO

Haulix

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News

7 things to keep in mind when pitching music bloggers

As any music blogger will tell you, the quality of pitches sent from both aspiring artists and PR professionals often run the gamut from gorgeous to outright embarrassing. Some pitches are creatively designed emails with elegant text and photos, while others are one or two paragraph emails that highlight a few recording details. Some others are little more than a hello and a hastily copy/pasted link, but thankfully those are typically few and far between. 

What makes one blogger click a link others might overlook is something we don’t really have time to get into because the possibilities are essentially limitless, but there are ways to hedge your bets. If you keep a few key things in mind when crafting your outreach to the press your chance of getting noticed will be as high as anyone else, leaving it to your music to do the rest.

1. Know who you are talking to

This one may sound obvious, but as a guy named James who has received emails addressed to everyone from Sean, to Beth, David, Matthew, and even Topher, I would argue it’s something too many take for granted. The importance of knowing who you are talking to in a pitch and gearing the conversation towards them cannot be overstated. If I see an email addressed to anyone other than myself I immediately send that message to my trash. It’s not for me, and if it was the person sending it didn’t both to double check the one line where they address me directly, so why give it my time?

You also need to remember that many writers are as younger, meaning they don’t necessarily prefer to be addressed as ‘Mister’ or ‘Miss.’ In fact, I haven’t encountered a single music journalist at any age that people refer to as Mr, Mrs, or Ms _________. Learn the first name of your contact and use it whenever possible. Be personable. It makes you, and your music, come across better.

2. Make sure the person you’re writing covers your style of music

In a decade of writing online I have never been associated with a site that regularly covers dance music or black metal, nor I have written about either topic at length, but every day without fail I receive a number of press releases trying to sell me on the latest talent from each genre. There are things I admittedly spin out of curiosity, but the vast majority of these release go directly to the trash bin. I have enough talent to engage and cover without wasting time on material that fall outside the coverage area of the sites who accept my work. You or your client may be talented, but I simply have no way to help you, so don’t waste your time or mine with an unnecessary pitch.

3. Read the submission guidelines

Most, not all, music blogs have some form of submissions guidelines buried on their site. Do your research before submitting your music to ensure your pitch has the best chance of being considered for coverage.

4. Always keep it simple

Everyone in music is busy. It doesn’t matter what day of the week you reach out, or what time of day your email is read, the person on the receiving end will always have a million tiny tasks awaiting their attention, including several other hopefuls such as yourself. Play into their lack of free time by finding concise and exciting ways to sell yourself. Long emails are only read in full when the recipient has a deeply vested interest in what is being conveyed. That is rarely, if ever, the case with reading new music submissions. Keep it simple and keep it fun. Tell who you are, what you create/represent, and where that art can be found. If you have something new you are trying to bring attention to, highlight that in its own short paragraph, along with any related links/embed codes.

5. Be respectful

Knowing the blogger’s name and the kind of content found on their site is one thing, but you can win over a writer much faster if you also show a true appreciation for their work. Comment on specific articles you enjoyed, or mention topics you know they have covered in the past. Bloggers, like anyone else, love to know their work is actually being enjoyed. Tell them.

6. Provide the blogger with everything the need to create a post in a single email

As noted above, time is of the essence when it comes to music blogging, so any pitch you send should provide the recipient with everything they need to cover your music. Building a relationship is important as well, but when it comes to actually getting featured on a site you can help yourself quite a bit by providing bloggers with any and everything they could need up front. This means providing everything from details behind an LP/EP (studio name, producer), to store links, tour dates, social links, and – most important off all – a proper promotional photo. Writers don’t have time to scour social networks for the most recent professional-looking image of your band. Do the work for them and they will love you all the more for your effort.

7. No one likes spam.

As you build a list of blogger contacts it will be increasingly tempting to blast every single email you find with the same promotional messaging, but believe me when I say doing so will win you no friends. Promotional messaging should only be directed to people who have covered your talent before, as well as those who have experienced any interest in covering that particular artist or release moving forward. Not every site will work for every piece of news and information you develop, so be smart about who receives what and you will have a much easier time maintaining strong relationships with those in the industry.

James Shotwell has over a decade of professional experience in the music industry. He has worked in journalism, marketing, publicity, and tour management. His current title is Digital Marketing Coordinator for Haulix. Bylines include Rolling Stone, Substream Magazine, Alternative Press, Sonicbids, Under The Gun Review, Tuned Up, and PropertyOfZack. You should probably follow him on Twitter.

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News

Finding magic in the business of music

The first half of 2016 has burnt out everyone I know. Okay, not everyone, but a bunch of people I’ve spoken with have talked about the jobs that are gone, cruel bosses, dried up press opportunities, all while rents keep going up.

Facebook is changing their algorithms again (and Instagram, which they own), and Twitter is filled with countless tragedies – and we keep seeing “NEW SONG!” competing with that. Good luck with that.

Are we just going to refocus efforts on Snapchat? Get more into email marketing? Develop 16 cool new ways to reach music blog editors (all while we mourn the death of music blogs)?

People “binge watch” seasons of TV shows. Like, hour upon hour of staring at Netflix. They’re listening to more podcasts than ever. They’re watching Game 7 of the NBA finals. Heck, they’re in the streets staring at their phones while catching Pokemon.

Tweeting “check out our new song" worked in 2008 when not a lot of bands were on Twitter, but now every band and every label is on everything, everywhere, all the time.

So it’s fun seeing people deliberately move away from that. Shops that have ignored the allure of social media (and promoted posts), and instead focus soley on the people that walk through the door. Some bands aren’t even online but they still maintain a buzz. People have quit paid music industry jobs for simpler lives without the 24/7 grind. Life goes on even when we’re not trying to keep up with the never ending flurry of VEVO video, new songs, and the latest “gossip.“

But music can always make someone’s day, so it’s worth fighting for. Even if Spotify won’t compensate you fairly for it, find ways to present it in a way where it has more value. Think beyond a music video, think beyond albums. Create things people will find on their iPhones, then be so compelled to get their friends together and stream it on their Apple TV connected big screen. Just as strumming an acoustic guitar and singing a melody ain’t all that special these days, neither is a music video of four dudes playing a song in a room. That’s what led to bands like OKGO and Hollerado pushing the term “music video” to new heights.

Neither of those bands sat around waiting for their break, they just made fun stuff that went along with their music. Making that sort of magic doesn’t come from how-to guides, but from trial and error, and making it up as we go along. If there were a manual, a map, then everyone could do it, and even “hit song writers” don’t get it right 100% of the time. Put your slant on it, work with good people, and do the best you can. There’s magic in that.

Seth Werkheiser is the quiz master of metal trivia at Skulltoaster. He’s also the founder of some music sites you may have heard of, including Noise Creep (2009) + Buzzgrinder (2001). He’s anti-Facebook, anti-clickbait, and anti-growth hacking. You should most definitely follow him on Twitter. Yes, right now.

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Job Board News

6 Rules to ensure you stay BFFs with your bandmates while touring

The following post is the latest in our ongoing collaboration series with the team behind Sonicbids. Enjoy!

As fun as it may seem, touring can be a grind and it’s hard on your physical and emotional health. I mean, don’t get me wrong – it’s fun. But it’s also weird and not very glamorous.

Touring has given me the strangest and most challenging experiences of my life (so far). From being flown down to LA for a weird, weird birthday party, to losing the only key to the van at the base of a mountain with no one around, I would never have had these experiences if it weren’t for the band.

It’s both a blessing and a curse that you’re forced share these experiences with bandmates. Sometimes, all you want is a little space. Sometimes, a little silence. Sadly, these things are in short supply when you’re on the road. On the other hand, sometimes you need someone to talk to about how weird everything is.

In our second year of being a touring band, we played 130+ shows and were on the road traveling for many more days. We’ve remained best friends and learned some valuable lessons about how to get along on the road.

People often ask if we ever get sick of each other. And honestly, we don’t. Here’s how:

1. Approach challenges with a sense of humor

Over the past few years, each of us has made some incredibly dumb mistakes. For example, as I mentioned above, I lost the only set of keys to the van while snowboarding on a mountain. Not only were we unable to go anywhere, but we couldn’t even get our gear in the van. Stuck at the base of a mountain with no one around. Not my best moment.

There are just too many of these situations to deal with when you’re in a band. If everyone got super stressed out and grumpy every time something ridiculous happened, we would be a very grumpy group of individuals. Thankfully, we all have a very healthy (sometimes too healthy) sense of humor. This has gotten us through countless stressful situations.

Sometimes, you just have to make a joke, find a hot tub, and let the situation work itself out.

2. Approach each other’s strengths and weaknesses with understanding

Everyone has a “thing.” That thing that’s super annoying. That they do all the time. I think mine is absentmindedness. I forget things… a lot. This is a weakness of mine, and something I’m working on. And while the other guys aren’t quite as bad, we’ve all forgotten things, big and small, at various points in our career.

No one gets upset or irritable when something is forgotten. It’s not productive, and it doesn’t help anyone. Instead, we figure it out. Together.

If you’re getting annoyed because a bandmate has done that “thing” again, remember that you also have a “thing.” Realize this, and try to approach the situation with a light, compassionate touch. The band’s relationship is far more important than the bass player’s smelly feet. (But seriously, dude, get some insoles or something.)

3. Sometimes, you don’t need to talk about stuff

There comes a point in our touring schedule (usually right about now, in fact) that we literally run out of things to talk about. We made a 16-hour trek to a festival in the Kootenays last weekend and barely talked the entire way.

It may sound strange, but if you’ve ever done a long tour, you’ll know what I’m talking about. Each band member has something they like to do in the van. I like to write these articles or drive. Dylan likes to play Grand Theft Auto (or similar) on his phone. Roman sleeps a lot (I’m jealous of this ability).

It can be nice to just leave each other alone and do those things. This generally keeps us all happy, and then when we don’t see each other for two or three days, we can talk for four hours straight!

4. Develop your own personal routines that give you space

Routines are important, and it’s hard to maintain even simple routines (e.g., brushing your teeth) while on tour. However, when I manage to get out and run every day or two, I am a much happier person. Similarly, a solo walk and phone call with the significant other, a morning bodyweight workout, a quiet work session, or whatever you prefer are super important for maintaining a healthy relationship.

Everyone needs to be alone sometimes. Respect that.

5. Brunch

I’m not talking “let’s go get mimosas and pay $25 for french toast” sorta brunch. I’m talking “let’s save money and eat breakfast and lunch at the same time” sorta brunch. But still. We find great satisfaction on eating a somewhat healthy breakfast/lunch, reflecting on last night’s gig, planning the day, and chatting.

We usually try to find the hippest (or cheapest) local breakfast spot with the best bottomless coffee. Then, we hit the road again.

6. Take the “highs” and hold on to them for dear life

Things are getting better now, but there were a lot more lows than highs when we were starting out. Now, our tours are a lot more fun.

However, we’re starting fresh in some brand new markets and experiencing some of those same lows, like poor attendance and terrible accommodations, all over again. The difference is, we know how to deal with that now.

Every musician knows that the good shows outweigh the bad ones. For us, that’s what keeps us touring. We love touring, and we love playing. We love when a gig goes “just so.” We also love seeing beautiful scenery, meeting beautiful people, and the wonderful hospitality of so many venues and fans.

Seriously, as weird and challenging as it can be, touring is the best job ever. A grateful attitude and an optimistic worldview will change the way you tour.

Do you have any tips for getting along on the road? I have another long drive coming up next week, so let me know in the comments if you have some advice!

Liam Duncan is a full-time musician from Winnipeg, Canada. He likes to record music with friends and tour with The Middle Coast.

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