Hello again! We are in the midst of a completely unplanned ‘Advice Week,’ and so far the feedback from our readers has been overwhelming. We hope to continue helping guide you through the ins and outs of the music industry in the months ahead, but today we’re going to talk about the end of your career and how you can ease the pain of saying goodbye. If you have a suggestion for a future installment of this column, or if you have a question you’d like us to tackle in the weeks ahead, please email james@haulix.com and share your thoughts. You can also find us on Twitter, Facebook, and LinkedIn.
It is a hard fact to face, but just like everything else in life your group’s career in music will most likely one day come to an end. You could perform solo until you die (if that interests you, familiarize yourself with the life of Levon Helm), but it’s relatively safe to say your band will be calling it quits long before your AARP card arrives in the mail. When that happens you need to be prepared to share that decision with fans and others who are emotionally (or financially) attached to your efforts, and today we’re going to highlight a few essential steps that need to be taken in order to smoothly transition from band back to individuals who share a common bond in music.
Before we dive in it’s important to remember that every break up is different. Just like romantic entanglements that eventually fizzle, the inner-workings of groups are complex, and when it comes time to for that entity dissolve there are guaranteed to be broken heats along the way. You cannot please everyone or possibly hope to make it okay with diehard followers, but by following the three steps below you can ease the pain enough to bow out with your integrity in tact.
1. Always make an official announcement.
The responsibility of sharing your decision to quit playing music with your fellow band mates is entirely on you (the band). The only thing worse than a band break up on fans is living in fear the band they love may have fallen apart without even thinking to give notice to those who supported them throughout their career. Sit down with everyone who is still on good terms and craft an original, heartfelt message to announce the end of your time together. People need closure, and in order to have that they first need information. Give it to them.
2. Be honest, and do whatever you can to explain your decision to part ways without playing the blame game.
We all know of a band or two who parted ways on less than admirable terms, but whenever stories like that make headlines it tarnishes all the successes the group shared while together. People will always remember the way you said goodbye, so it’s important to make your announcement as informative and positive as possible. Sharing your news with fans should not be a time for finger-pointing, but rather a reflection on everything you have experienced together and a reveal as to what you each plan to do in the future. Through your musical endeavors together you have forged countless relationships the world over with people who believe in the emotions expressed through your art to such a degree they almost consider you friends, and as such they feel invested in your lives. They want to know everyone is better off for the change, and it’s your responsibility to help them feel at peace with the news. You, or at least your art, has potentially become a staple in their daily routine. Leaving things on an argumentative or otherwise sour note will spoil that connection for many who once felt close to your music.
3. Say thank you. A lot.
It doesn’t matter if you’ve been together a month or a decade, go out gracefully. There are many bands in the world, but for the time you existed people chose to give you their time (and money), and it’s important that you let them know their dedication was appreciated. Your creativity may have given you a dream to chase, but it’s because of their support that you were able to accomplish anything in this business at all. Your dreams were realized because of them. It may be over now and sure, there may be some hurt feelings, but for a fraction of their lives and yours you were connected. Don’t take that for granted.
The month of August is winding down fast, but not before we unveil the latest edition of the Haulix Advice series. If you have a suggestion for a future column, or if you have a question you would like us to address, please email james@haulix.com and share your thoughts.
Today we are going to discuss five basic things every artist can do better their tour promotion efforts. Some of these are fairly obvious, while others may be knew to you, but the hard true about both is that neither works magic over night. Social media is about more than momentary brilliance, and one of the biggest keys to any successful campaign is consistency. The following steps might not make you a rock star overnight, but in time they will assist you in cultivating a fan base that feels truly connected with (not to mention are willing to support) everything you do.
We have discussed social media quite a bit in the past, but until now we have stayed away from almost all discussion of tour promotion. We haven’t been avoiding it per se, but the variety of avenues one can take to establish their brand in territories they’ve never before explored is so vast that we didn’t want to rush any of the content we thought could be delivered. This post is a rather simple one that focuses on applying tactics that could be taken from any social media 101 book to the world of touring, but it’s great knowledge to have nonetheless. We plan to roll out plenty more on the world of touring and all the ways bands can maximize the return from such efforts in the months ahead, so consider this a primer for all that is to follow.
1. Research the local market – There are plenty of songs about how life on the road can lead every town to seem the same, but for a band just finding their footing in the industry each town you visit should be viewed as unique opportunities to build your audience. No two towns are the same, and that goes as much for the people as it does their willingness to support art, so when setting up shows it’s best to research how similar events have run in the area. Is the cover charge to your show in line with recent regional performances from other acts your size? Speak with bands who have played in the area (even better if they actually live there), scan tour forums, and do your best to work with fans whenever possible. Ticket prices are one of the biggest factors people consider when deciding on whether or not to attend live events, and as a band trying to build an audience you want to make that decision as easy as possible. This may mean you incur extra costs early on, but if you hook them with your performance the future returns from their support of your efforts will far surpass the whatever percentage you had hoped to gain off the door.
2. Always introduce yourself – When working to promote shows or tours you will likely be emailing, calling, and otherwise communicating with a number of new people in hopes of gaining additional exposure (blogs, radio, newspapers, etc.). Always assume the people you are reaching out to are not familiar with you or your music, and take time to introduce yourself properly. Offer current information about your group, releases, and upcoming gigs, as well as links to additional content such as videos, photos, press clippings, or an EPK. If they’re already familiar with you, great! If not, they can not become familiar without having to do any additional work on their end.
3. Find your audience (Do not expect them to find you) – The internet has an odd way of making people feeling like they’re more known in the real world than may actually be the case. There are exceptions to this, of course, but for the most part early on your band is only known to you, your friends, the people you and your friends have told, and anyone who just so happens to be so interested in discovering new music that they spend hours seeking it out online. While that may help you get a start with your career, not to mention almost guarantee a sold out show at whatever basement or garage in your hometown will let you put on concerts, but it does not put bodies in venues towns, counties, states, or countries away. To do that you need to seek out new listeners, and one of the best ways to do that is through social media. Speak directly to the fans of music that is similar to yours and be responsible for starting their relationship with your band. This can be done on Twitter, YouTube, Facebook, or even in the comment threads of music sites. Build an organic connection with the curious music fan and they will seek out your efforts. Even if they cannot go to a show themselves, that feeling of connection to your music may very well lead them to help promote with messaging of their own.
4. Retain and engage your audience through email – Though there seems to be a million ways to communicate instantaneously these days, there is still a lot to be said for a strong email campaign. Collecting contact information from people at your shows is a great way to connect with curious listeners and work towards further developing the relationship discussed in the previous tip. You can use your email list to not only promote upcoming tours, but also push new releases, news updates, and merchandise. (Bonus tip: Hosting regular sweepstakes via newsletter is a great way to retain and build your contact list. People love free stuff.)
5. Don’t forget to promote offline – You can send all the messaging and promotionally-tinged greetings you want online, but nothing compares to the connection you are able to form with people in a face-to-face setting. If time allows, arrive in the town you’re playing as early as possible and seek out locations people who enjoy may your music might frequent (venues may be able to offer some advice). After you check in with the promoter for the evening, visit those spots you researched earlier and talk to people about your music. Share songs via headphones whenever possible and use their interest in what you’re playing to get them in the door that night. Remember: First impressions are everything. Meeting people outside of a setting typically reserved for music (venues, record stores) can be a great way to promote, but if you push too hard people will not think twice about turning away. Be polite, introduce yourself, and always do your best to let them know you’re truly interested in their opinions. They might not be able to make the show, but they may ask about purchasing music or ask how they can stay up-to-date with your future activities.
Another Monday has found its way into existence, and here we are once again with a new Haulix Blogger Spotlight. This feature is the longest running on our still-young blog, and this week it gains one of its lengthier entries to date. If you have someone you would like to nominate for a future installment of this series, including yourself, please do not hesitate to email james@haulix.com and share your story.
PropertyOfZack founder Zack Zarrillo was the very first blogger to be featured in this series, but only a fool would think everything POZ has accomplished in recent years resulted from the efforts of one barely twenty-something with a laptop and a lot of big ideas. In fact, the contributing staff that helps keep POZ atop the alternative news game numbers in the dozens, and amongst them lies one curious soul by the name of Jesse Richman. He may not be the top news writer in digital journalism, but his work on artist features has helped widen the gap between POZ and their closest competitors while simultaneously helping usher in a new wave of talent to alternative scene.
Sometimes you meet influential people in the strangest of places, and other times it’s more a twist of fate. For Jesse Richman and I the latter was definitely the case. SXSW 2013 was fast approaching and before I could log on to book a hotel I learned all rooms in the immediate vicinity of downtown Austin were completely booked. A chance conversation with Zack Zarrillo put me in contact with Jesse, and before long I had found a temporary home with him less than a mile from Austin’s biggest events. We had never met or spoken before arriving, but in the days that followed I was able to watch his masterwork first hand as Jesse prepared and conducted interview after interview with talent from all walks of life. In between press events he would catch bands, usually chosen ahead of time to maximize coverage, and on the off-chance he found himself with a free moment he would begin working on his posts for the following day via phone or laptop. His work ethic is unlike anything I have witnessed elsewhere in the industry, and it’s an honor to share his story here today.
We spoke with Jesse about his life before music, what got him interested in writing in the first place, and where he sees the music industry headed in the years ahead. You can read his thoughts on all this, as well as few details on what PropertyOfZack has in store, below. If you would like to know more about Jesse we highly encourage you to stop by his Twitter, or his personal portfolio site.
H: For those unaware, please state your name, the site you work for, and your role at said site:
JR: My name is Jesse Richman. I’m a Senior Writer at PropertyOfZack, which I’ve called home since 2010. I also do sporadic work for other sites, and maintain my own music blog as well (generally for more personal writing) at MakeupForTheSilence.com.
H: What was the first album you really connected with? How did you discover it?
JR: Music has been a part of my life since literally before I can remember; when I was a baby, I refused to sleep if there wasn’t a record on the turntable.
That said, the first album that really felt like it was mine was Live’s Mental Jewelry. I remember catching the video for “Operation Spirit (The Tyranny Of Tradition)” on MTV one afternoon and just being blown away by it – visually, lyrically, sonically. When I learned soon after that they were a bunch of 20 year old kids from a town less than two hours away, it became clear they existed specifically for me to find.
H: What inspired you to get into writing in the first place?
JR: It’s just something I’ve always enjoyed, and always had a bit of a knack for. A lot of it was just loving reading, and wanting to make something others would love and learn from too. A handful of good English teachers to encourage me didn’t hurt. That said, I never really had the creative impulse for fiction writing; expository writing, whether journalistic or biographical, has always been more in my wheelhouse.
H: You went to school to study law. What attracted you to the world of entertainment journalism?
JR: I did go to law school, and I actually still practice law full-time – it’s the day job which affords me the opportunity to pursue writing as more than a hobby despite the collapse of the marketplace. As for what attracted me to entertainment journalism, I’ve been a voracious reader of music literature for as long as I’ve been a music listener. I have memories of Study Hall periods spent in the school library, churning through decade-old issues of Rolling Stone. You’d have been hard-pressed to find a day where my backpack (covered with band logos drawn on in White-Out) didn’t have at least one music bio crammed in among the school books. I think it’s just always been in the cards that I would write about music.
H: Your work can usually be found on PropertyOfZack, a site that we have featured before. What is it about the content offered on POZ that separates you from your countless competitors?
JR: in our early days, POZ really distinguished itself with its video content – Live’s, Acoustic sessions, documentary coverage of things like the GK Holiday Fest. Over the last year we’ve made a strong push to expand our written content to match. We’ve introduced Perspective (our features series), weekly Friday Discussions, our retrospective Decade pieces, and now Inside – multi-article deep digs on key players in our scene. We’ve got a really strong core of writers, and we’re giving them the opportunities and the tools to explore their passions. Everybody wins – the site, our writers, and especially the readers.
H: The majority of your features involve interviews. Do you recall your first interview experience as a journalist?
JR: I’m sure I did some interview work for my high school paper that I’ve long forgotten, but I really cut my teeth working for the Arts section of my college paper – I think I sat down with every band on campus at some point.
H: Every writer is guilty of having stock questions they fall back on when times get tough. If you had to guess, which question do you think you’ve asked most often over the course of your career?
JR: I’m endlessly fascinated by the creative process – how songs are written, how bands go about arranging and recording those songs. I love to ask business-related questions, because nobody knows where the music business is headed but everyone’s got their opinion on it. And if all else fails, I ask what’s on the radio in the van/bus, partly because I’m confident enough in my musical knowledge that I can turn any answer into a launching pad for more questions, and partly because the easiest way to crack opena tough interviewee is to get them talking about something they’re passionate about.
H: There are a growing number of people who view what you do as a possible career path for themselves. What advice would you offer those who hope to make a name for themselves in writing these days?
JR: Write, write, write. Read other writers. Talk with other writers – it’s never been easier than it is right now to get in touch with virtually anyone. Debate, test their ideas, make them test yours, listen to feedback. Then, write some more.
H: You’ve racked up quite a list of interviewees over the years. Who is left on your “interview bucket list”?
JR: Anyone who’s made music that makes me feel! I don’t really have a list, but there are definitely some childhood musical heroes I’d love to really get in deep with someday – Ed from Live, Raine from Our Lady Peace, Colin and Mr. C of The Shamen. And if the ghosts of Kurt Cobain or Doug Hopkins of the Gin Blossoms feel like dropping by for a chat, I’m game.
H: What would you say is your ultimate goal as a writer?
JR: To be read. And to have something to say that’s worth reading. I might be putting the cart before the horse there.
H: PropertyOfZack is known for breaking up and coming rock bands. Where do you turn when hoping to discover new music?
JR: My fellow POZ staffers. Our fellow websites, like Under The Gun Review and AbsolutePunk. My friends in the blogosphere. I follow a list of 300+ music-related folks on Twitter – musicians, songwriters, producers, PR folks, journalists. Tumblr has a vibrant, if echo-y, critical community. Podcasts – I subscribe to probably 10 music-related podcasts.
I’ve also built up something of a mental list of must-read music critics – folks who, through their skill and insight, make me think about music in new, exciting, eye-opening ways. Nitsuh Abebe, Maura Johnston, Tom Ewing, Stephen Erlewine, Steven Hyden, Luke O’Neill, Leor Galil, Jason Pettigrew, Annie Zaleski, and many more. Everyone who posts at The Singles Jukebox. Apologies to everyone I’m forgetting. There’s so much more to writing about music well than just discovering new acts.
H: Speaking of music discovery, you probably receive a lot of submissions from young artists vying for a spot on your news feed. What advice can you offer young artists hoping to stand out in your inbox?
JR: Don’t bother. Really. I ignore virtually everything I get sent from publicists (and, sadly, from bands themselves). Write good songs, play good shows, build a buzz. I keep my ear to the ground, and if you’re doing something interesting, odds are it’ll make its way to me.
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?
JR: We wouldn’t be here doing this interview if we didn’t both think Haulix was the bees knees, right? I want tracks I can stream, and preferably download too – I’m a New Yorker and do a lot of my listening on the subway, where streaming isn’t an option. Haulix is straightforward and intuitive.
H: If you could change one thing about the music industry, what would it be?
JR: I’d find some way to put the money back into it! The last 50 years were a bubble, and that bubble’s burst, but it was a glorious bubble to live in, wasn’t it?
H: You tweet a lot about having big plans for the future. Before we let you go, can you tell us a bit about what you have planned in the months ahead?
JR: I’m really stoked for Riot Fest, both as a writer/interviewer and as a fan who never had the chance to see The Replacements live. CMJ is coming, and I’ve already started making plans for next year’s SXSW. In between all of that, I’m just going to keep writing as much as I can!
Why, hello. Thank you for stopping by for another installment of the Haulix Blogger Spotlight. So far this week we have spoken with a member of Absolutepunk, as well as one of the most widely recognized publicists in alternative music, and now we’re headed across the pond to highlight a writer who has spent the last six years developing an entertainment site for people who aren’t afraid to admit they like a little bit of everything. If you have a recommendation for a writer that should be highlighted in the weeks ahead, please email james@haulix.com and share their story.
Hailing from the UK with a passion for writing that just won’t quit, Zach Redrup has been helping spearhead a revolution in music blogging through his site Dead Press! since 2007. He recognizes that most music fans love multiple genres of music, and over the years since launching his site has continually strived to cover as diverse a variety of talent as he and his team possibly could. From Lady Gaga to Metallica, you never know who will appear on the front page of Dead Press! on any given day, but the content that does make the cut is always well worth your time. You’ll find no sugar coated or biased articles here; the good and the bad are revealed for what they are, and it’s in that unflinching honesty that Redrup has found the most success. We spoke with Zach about all this, as well as where he sees the industry headed in the years to come, and now you can read his story right here on the Haulix blog.
As always, if you like what you read be sure to reach out an let Zach know. He can be found on Twitter, just like Dead Press!, and is often found covering festivals around the UK. If you have any additional questions about Dead Press!, please comment at the end of this post and we will do our best to get you an answer.
H: For those unaware, please state your name, the site you work for, and your role at said site:
ZR: My name is Zach Redrup and I’m the founder and editor of DEAD PRESS!
H: DEAD PRESS! has been around since 2007, but you have been a music fan for many years. Do you recall the first album you really connected with?
ZR: Well, the first album that I ever purchased was ANThology by Alien Ant Farm and, to be honest, I still have a connection with that record due to the nostalgia and the fact it has some great songs on it. I really became a music fan during the surging popularity of nu-metal, so I had and still do have a great love for bands like Korn and Slipknot. However, as I’ve grown older my music taste has expanded. It’s strange to think now how close minded I was about music back in high school.
H: Though many writers seem to have similar goals, they all have a unique origin story. When did you realize you wanted to work in music?
ZR: To begin with I used to contribute towards another site, which I won’t name, but basically the management of the site changed at the beginning of 2007 and lost contact with a lot of its original contributors, myself included. I got a taste of it then and wanted to continue but more on my own terms. As such, DEAD PRESS! was born and has been going ever since. Of course, as most music fans, I’ve always had that dream of being in a big successful rock band for a living. But we can all dream, can’t we?
H: What is the story behind the name DEAD PRESS!? Did you consider any other names before settling on that one?
ZR: I’m quite a fan of having duality within meanings or representation. Essentially, DEAD PRESS! has several meanings, the main one all comes down to personal preference. Originally, the meaning behind the name was due to our unbiased and honest nature and views with our articles. We don’t like to sugar coat things due to popularity or to bulk up numbers/readership because of an artist or band being ‘the next big thing’. Lots of publications, including some of the biggest ones, do this and as such the true press is dead, so therefore the name DEAD PRESS! fits with that. Another meaning some have interpreted it to be is the fact that it’s online and printed press is dying, put simply it is a DEAD PRESS!. A lot of people chuckle at the initials of the site too, DP!. It does mean double penetration in some contexts, but that only helps people to remember. Besides, music penetrates both ears, so the humorous side still rings true.
H: There are a growing number of sites attempting to cater to people with a wide variety of tastes. What is it about the content on DEAD PRESS! that sets you apart from the competition?
ZR: As I mentioned before, I think something that sets us apart from a lot of other publications out there is that we cater to the readers who want a true and honest view on new music and acts both established and up-and-coming. No one likes trashing the little man, but if we sugar coat that and let the (pardon my language) filter through, we’ll end up with even more of those bands you absolutely loathe. If they’re bad, we’ll say so. If they’re an incredible talent that deserves your attention, we’ll make sure you know their name.
H: The site’s bio says a revamp in 2010 lead to a new drive to contribute to the music scene. Aside from the design of the site, what changed?
ZR: The biggest change that happened in 2010 was that the site truly evolved from a portfolio of articles (mainly reviews) from myself and instead into a fully functioning site. From 2010 we shoved the site over to a professional host, gave it a full domain, began contributing news on a daily basis, included features and also recruited a bunch of both writers and music fans to help contribute towards the site and encourage people to listen to the great music out there and avoid the dirt.
H: You were a lone wolf when the site started, but now have a team of contributors. At what point did you begin to build your team, and how did you go about finding new writers?
ZR: As I said before, this was one of the biggest changes to occur for our revamp back in 2010. In the beginning, I recruited a few people from my Music Journalism course at university at the time of the revamp to help contribute and build the site to new heights. As the site developed and grew, so did the readership interest along with people who also wanted to get involved with things.
H: You offer a variety of content on your site, including reviews. Some have said the rise of social media in recent years has lessened the need for critics. Do you agree?
ZR: I both agree and disagree at the same time. Social media in terms of media critics acts as a double-edged sword. On the plus side, it helps to promote the names of bands who may have otherwise struggled and even disbanded without the aid of social media to widen their name. In turn, that also raises the awareness of the more underground publications such as ourselves, allowing readers to know there are alternatives out there. However, this also encourages people to start up a quick blog in minutes, shove up a few articles and instantly brand themselves as a ‘music journalist’.
H: Whether or not reviews are always a part of DEAD PRESS!, you will certainly continue to feature new bands. Where do you go when you want to discover new talent?
ZR: There are many ways I find out about new bands. The power of word of mouth will never die and should never be underestimated, but again, social media is a great way to uncover new bands and talent you may otherwise have been none the wiser to discover. From a quick tweet, a little song posted on Facebook or a recommended song/video off the back of a band you already love on YouTube can help you find a new favorite. I’ve always personally found the recommendations on Last.fm a great source of new music too, and of course due to the nature of DEAD PRESS!, I manage to discover a lot of great new bands who have sent in their material for me to check out. It’s one of the better perks of the site.
H: Let’s turn the tables and talk about the bands who come to you. What advice would you offer someone who wanted to increase their chances of sticking out from the plethora of bands vying for your attention?
ZR: It’s rather cliché but it’s true; originality is one of the biggest keys to getting some extra attention towards your band. Though you want to get your music heard, don’t nag and don’t spam. You don’t want to start off with a bad reputation. However, you want to keep yourselves active and constantly doing stuff. With such a grand amount of bands forever boring born, it’s easy for you to be lost in the shuffle. Work hard on your music, get rid of all of the tweaks, be original, keep your name out there, play as many shows as possible, appreciate your fans and keep professional.
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?
ZR: As I’m old fashioned, if bands offer a physical copy of their record is always a preference, but as we all know digital download is the future. The best thing to offer to me personally is great, professional and enjoyable music. The more information provided without sending the equivalent of a novel is the best procedure. Be detailed yet straight to the point.
H: If you could change one thing about the music industry, what would it be?
ZR: It saddens me how the pleasures of a physical record, where you can hold the music, enjoy the artwork, study the lyrics and learn the band and their material inside and out is quickly dying. It’s never going to happen, but if the CD could come back in true force that would be fantastic. That, and if anyone could get Reuben to reform, I’d really appreciate it.
H: Before we let you go, can you tell us a bit about what you have planned in the months ahead?
ZR: We have a lot planned for DEAD PRESS! over the coming months. Along with bulking up our content in both quantity and potency we’re also getting a full site redesign soon, hopefully starting to get some shows on the go, sponsoring some of the better festivals and tours coming up, having some merchandise available, continuing to promote and push the talented artists out there and always delivering content that people would want to read and check out.
Welcome to the second installment of the Haulix PR Spotlight. The purpose of this column is to highlight the people who work behind-the-scenes to help your favorite bands gain exposure in the media. Some will be business owners, while others grind away their days for a larger corporation, but the one thing they all share is a drive to succeed that knows no bounds. If you know someone who fits this description that you feel deserves to be highlighted in this column, please email james@haulix.com and share their story with us.
If you are hoping to work in the alternative music realm, you will not get far before hearing the name Mike Cubillos. A publicist for over a decade, Cubillos has built a reputation through his company Earshot Media as one of the most influential publicists in the music industry. In our interview, Mike opens up about his early days in the business, his decision to leave the world of major labels and start Earshot, the problems he sees young artists make, and what advice he has to offer others hoping to have a career in this often tumultuous industry.
On a personal note, I have worked with Mike on a weekly bases since I started in the music industry over half a decade ago, and I cannot begin to think of everything he has taught me in that time. There are some people in life you look to as competition, while others you see only as who you hope to one day become. Mike Cubillos is the latter of those two for myself and many others, and it was honor to work with him on this feature.
As always, if you would like to learn more about Mike and his current projects, be sure to follow Earshot PR on Twitter and Facebook. If you have any additional questions for Mike, please do not hesitate to mention in them in the comments section located at the end of this post.
H: For those unaware, please state your name, the company you work for, and your role at said business:
MC: My name is Mike Cubillos and I own and operate Earshot Media a independent publicity company.
H: We have a lot of ground to cover, but there is not better place to start than the beginning. What was the first album you remember truly connecting with?
MC: I’d have to say the first album I remember connecting with as the Ramones Rocket to Russia. My brother brought home a European import copy and something about the simplicity of the songs and those great melodies drew me in as a kid.
H: Do you recall when you first realized you wanted to work in the entertainment industry? What was the initial inspiration to start down this path?
MC: I initially wanted to get into to TV Production or something on the programming end of the TV business, but in college I did a few internships at record labels since I’d always been a big time music geek. Even as a kid I subscribed to magazines like Rolling Stone and I’d read Billboard at the library whenever I could. When I realized I could parlay my obsession with music into a career, I ran with it.
H: You started Earshot back in 1998, but you had a history in the industry before that point. What was your first job in the industry?
MC: My first real job after interning was working as an assistant in the PR department for a label called Zoo Entertainment which was part of BMG. It was sort of a “mini major” with acts like Tool. Matthew Sweet, Killing Joke, Green Jello, etc. I learned so much from my time at Zoo and I’m really glad I was able to get that in house label experience. I have very fond memories of that job and all of the people I worked with, many of who I still keep in contact with today.
H: Before stepping out on your own you were a member of the Mercury Records team. What lead you to go independent?
MC: I was one of the west coast publicists for Mercury Records and most of the west coast staff was laid off when the label went through a major merger. It was a blessing in disguise because it was the push I needed to go out on my own.
H: Where did the name Earshot come from? Did you have any other names in mind before settling on that one?
MC: I just felt the name had a bit of a ring to it and liked that it had some sort of vague connection to music/listening. Not long after I started a nu-metal band came out with the same name which was a bit of a bummer, ha… but I don’t think they’re around anymore so at least I can say I outlasted them. : ) I had a few other names I was considering but I don’t even recall what they were. If I could go back and pick another name I probably would, but it’s too late now I suppose.
H: As someone who has worked in and deal directly with major labels for a number of years, what do you think about claims they are no longer a necessity in the modern music industry?
MC: I think that major labels definitely still serve a purpose. The marketing push that major labels can give to an artist is invaluable. That said, I think an artist can achieve great success without being on a major. There are a ton of examples out there of indie acts that are proving this to be true.
H: You were pitching bands to publications long before anyone heard of Myspace, and certainly before the term social media was as prominent as it is today. Do you have any nostalgia for those early years of PR, or do you prefer the quicker pace of today’s media?
MC: I definitely do get nostalgic for my early years doing PR. It’s sad that so many great print magazines have gone under. Publications like Meanstreet, Bam, Flipside, etc are sorely missed. Also, the idea that we used to fax press releases and media alerts or send them via snail mail seems so archaic but it wasn’t that long ago that this was the case. There’s no question that social media and the Internet has made a lot of aspects of a publicists job much easier but it’s also brought along a lot of new challenges.
H: As a publicist, what advice would you offer writers hoping to work with your clients?
MC: I would say be professional. A lot of people assume that since it’s the “music business” that some of the general principals of professionalism don’t apply, and that’s far from the case. Remember that no one owes you anything and if you want labels/publicists/managers to trust that you are a legit writer or blog or publication, you need to earn that trust.
H: We would never ask you to give away your secret to success, but what advice would you offer to aspiring publicists hoping to make a career in today’s music industry?
MC: Again I would go back to being professional. Be willing to work hard and prove yourself. Make yourself indispensable to your employers/clients. Read a lot–especially anything related to the music scene/music business. Do your research.
H: Piracy is one of the most discussed topics in the industry today. Do you feel album leaks are preventable? If so, how would you advise an artist to keep their music safe while still getting the word out?
MC: I don’t know that album leaks are 100 percent preventable, but tools like Haulix have become invaluable in helping to control who gets advance music and gauging if the people you sent music to listened to and if so how often. I would advise artist that is concerned about their album leaking to take a precautionary approach to servicing the music out to the media, ie…sending music out to a very targeted list of trusted contacts and outlets rather than mass servicing it to everyone at once.
H: When it comes to working with your clients, how do you prefer to share their music with press? What is it about this method that appeals to you the most?
MC: Again, Haulix has been a godsend in that it’s a secure and fast way to get music out to the people who need it. I like that you can also gauge who downloaded the music once it’s sent and can monitor when they last listened to it.
H: If you could change one thing about the music industry, what would it be?
MC: I wish some people would be a bit more open minded. People seem to have pre-conceived notions of what they think a band is based on the label they’re on or what they look like and sometimes that gets in the way of discovering great new music. I also wish more people were willing to take chances on helping to “break” artists rather than waiting around until someone else helps “break” them before they jump on the bandwagon.
H: Your roster is as eclectic now as ever before. Do you have any plans or releases on the horizon you’d like to share with our readers?
MC: I just hope Earshot can continue to grow. In addition to music, we’ve worked with clothing companies, websites, artists, charitable organizations, tours, events, books etc. and I hope to do more of that in the future.
This article is a continuation of a series we started last week. To maximize your entertainment (and education) value, click here and review the first part of this feature. More installments will likely follow, so make sure you join us on Twitter and Facebook to ensure you never miss another update.
Last week we started taking a look at various aspects of artist branding, and this week we have returned with three additional points to consider. The best brands are the ones built from the heart, and the same applies for art. Some of these points may seem fairly obvious, but if even one category strays too far from the others artists may soon find themselves fighting an uphill marketing battle. Recognition is key in today’s hyper-connected society, and it all starts with how an artist chooses to brand themselves. Read through these points, then sit down and figure out what you need to do to convey what you see in your head to the rest of the world the best way possible. Know who you are and what you stand for before you ask others to follow.
As always, if you have any questions or comments, please don’t hesitate to add them at the end of this post.
1. Merchandise – Fans buy merchandise because they not only want to see you further succeed, but because they want to prove to the world that they’re a part of your global community. When they’re seen in a shirt with your name on it, or holding a phone protected by plastic barring your logo they’re no longer a single entity existing amongst billions of other separate individuals, but one piece of multi-faceted human promotion machine that relies on your gift for songwriting in order to survive. They might not tell everyone they see to listen to your music, but with your merchandise in hand or on their body they do create a phenomenon known by many parents as “the human billboard.” Where they go, the possibility someone may be lured into googling or further inquiring about who you are goes with them. What message do you want sending into the world on your behalf?
2. Image (Video) – Ten years ago it would have been far easier for a talented artist or band to rise from obscurity to relative fame without releasing a single music than it would be today. YouTube changed everything when it launched in 2005, and now everyone who wants to be anyone online is rushing to put out as much visual content as possible. While connecting with fans through music videos, tour diaries, and behind-the-scene footage is a fantastic way to build a relationship with listeners, too many artists look at this content from a quantity over quality perspective. Fans want you to work on your music until it’s the best it can possibly be, so why skimp in other areas of your brand? Now that seemingly everyone has a camera in their phones that offers far better quality than digital cameras from even five years ago, there is no reason to offer low quality content (poor audio/video, messy editing, etc) other than laziness. If it doesn’t look like you cared that much doing whatever it is you’re putting out, people will show similar enthusiasm in return.
3. Online Presence – This one work as an accompaniment to video, but in all actuality cover a much larger array of topics. You never know where someone will first come in contact with your music online, so it is in your best interest to ensure every aspect you can control is executed in the highest quality possible. This means having complete profiles on all relevant social networks, a digital press kit filled with resources for industry-related contacts, and your own custom website that stands separate from all the worlds of Facebook, Twitter, and the like. Every social network will one day go the way of Myspace circa 2008, and it would be a shame if the hub for all things related to your art went down with it. Visit Hover, find a domain that works for you, and get started carving out your own digital hub. It will take more time and effort than setting up a classy profile page, but the longterm benefits far outweigh the short term costs. If you need help building your site, we suggest visiting Squarespace, Wix, or Weebly for easy to use design tools and guides.
Beyond the creation of your own central hub for information, make sure you’re using tools like GoogleAlerts to know when your name comes up across the web. If a site you’re unfamiliar with is running an article with an old picture or incorrect information, reach out with the correct information and politely ask if they mind updating their story. Some may groan at the request, but most bloggers will be delighted to see a band taking an active interest in how thy are being received online.
Finally, pay attention to the way your music is received when being distributed for coverage/performance consideration. Services like Mediafire, Sharebeast, and Sendspace may offer free services and relatively quick downloads, but your music is reduced to a download icon buried amongst another company’s branding (not to mention the ads said company relies on to continue offering “free” services). Haulix, on the other hand, allows complete customization of the way your music is presented, as well as tools for crafting eye-catching emails. Do you want your music to be received the same as any other artist simply for the sake of convenience, or would you rather deliver your latest creation in a way that better conveys the art that lies ahead? If your answer is the latter, click here for more information.
In an attempt to split the information shared into easily digestible pieces, this discussion on branding is being spread across the next few weeks. This is part one, and next Friday part two will go live.
Branding may very well be the buzz word to end all buzz words, but when you get past its overuse in the business world you find it is a very real topic that many artists struggle to grasp. We want to help with that, and today we’re looking at 4 aspects of branding that effect all artists. There will be plenty more to come on this topic in the weeks ahead (3-4 at a time), but for now this should at the very least point those completely lost in the right direction. As always, if you have any questions or comments, please don’t hesitate to add them at the end of this post.
1. Music – This one is a given, but it bares repeating. Your music is your brand, and every element of it that finds its way to your fans will leave an impression on them. With that in mind, make sure what you’re putting out is the best representation of who you are (or want to be seen as) possible. This needs to be at the forefront of your mind from the first time your pen touches paper, to the moment you’re sitting in the studio mixing your completed tracks. Does the recording sound the way you hear the music in your mind? Am I being honest with myself and fans through these lyrics? Shallow, cash-grabbing efforts will almost always yield short-term returns, but those last make a career out of this business do so by being themselves. Always.
2. Image (Photos) – There is nothing worse than discovering a great talent who has no idea what they’re doing with their image. Fashion may not be your thing, and it certainly doesn’t need to be in order to take control of this of your brand, but you do need to recognize there is more to being an artist than simply creating great art. For all intents and purposes, you are a business, and as such you need to present your product (the music) in a way that is appetizing to as many of the senses as possible. There may not be a rule book for how any one sound needs to look, but I am sure we can all think of artists who have gotten it wrong from time to time. Remember when Garth Brooks thought he could have emo bangs and release an album as Chris Gaines? Yea, I tried to forget too.
3. Social media presence – I feel like we are getting close to beating a dead horse with this topic, but not a week goes by that I do not see a talented band or artist who fails to grasp the purpose of social media. It is not a soapbox for product promotion, though it can help your sales. Sites like Twitter, Tumblr, and Facebook exist for the purpose of creating new communities based on interests, and artists need to learn to see their presence on these sites as the hub of their online community. Don’t just talk at fans, engage with them. Listen to what they have to say, reply to their questions, and in between that get the word out about your latest promotions. If your fans feel like they are in fact a part of the community, they are far more likely to help with promotion than someone who feels as if they are receiving a steady stream of advertising. No one wants a wall of ads on the browser, and even if they like what you do they probably won’t stick around that long if sales are all that’s on your mind.
4. Stage presence – There is no better environment to get the word out about your brand than the concert setting. Even if the audience did not specifically come to see you, they are in the venue to hear great music, and if you can provide that they may very well become fans before heading home. In addition to following the golden rule to “practice, practice practice,” make sure you and your bandmates have an idea what the audience will see while you’re on stage. It may be all about the music, but in this setting the visual element can play a large factor in how the audio is received. Don’t be someone you’re not just for a few extra claps, but do make an effort to engage the audience with what is happening on stage so they feel compelled to see it again the next time you’re in town.
Today’s Haulix Advice column is intended for artists with more than one tour under their belt. We understand those of you just getting started may be excited by notion of having press cover your first tour, but we highly recommend waiting until you’ve crossed stateliness a time or two before taking the following steps.
As you move forward in your pursuit of national acclaim, touring offers a number of unique promotional opportunities that will help drive awareness to your music and (hopefully) add a little boost to ticket sales. In oder for any of that to happen, however, you will need to put together a plan of attack far in advance of your first date, and that is what we’re going to discuss today.
It may seem a bit premature, but artists hoping to maximize the exposure they are able to pull out of a single tour would be wise to begin planning those effort almost as early as they begin booking said shows. As a band, you should work together to develop a list of everyone you want to invite to a show, all the content you hope to create during the run, sites that offer pre-tour promotional options (playlists, interviews), and a list of potential sites and publications who may be interested in hosting said content. Be specific. Know when you plan your tour to start, as well as the promotion, and use a calendar to plan when you would ideally like your content to run. Once you’re on the road, finding the time to plan is going to be near impossible, and you’ll likely have a number of other issues and needs to attend to as well. Having a plan helps to not only suppress the stress of last minute organizing, but also creates a blueprint to follow if/when things do go off the rails (and let face it: they probably will).
As soon as you confirm your dates, take time to research writers who may work in the vicinity of your shows and email them with details on your performance no later than one month prior to the tour. Invite them to come, but be careful to not beg. Writers want to believe they’re either going to see the next great band no one has heard, an underrated juggernaut deserving of more attention, or an established act whose live show is even better than their album, not a group of musicians trying too hard to be famous. Pick an angle that works for you and use it to entice the reader. Remember: This may be your first time interacting with this individual, so make sure your initial impression is a good one. Being friendly and concise goes a long way.
A month out from your first date also happens to be the ideal time to begin locking in your tour content exclusives. This could be any number of items, but the two most popular tend to be tour blogs and acoustic performance videos. Both are great tools for furthering awareness of your efforts, and neither is all that difficult to create. Once you know what your content will be, develop a list of sites you would like to partner with for the premieres and begin contacting them. Again, being specific is key. Make sure your message includes information about your efforts, the tour, and as specific details regarding the content you would like to share with their readers. If it’s a tour blog, tell them how often you were hoping to run it. If it’s a performance video, give them a target week for release. Being too specific may turn some away, so make sure you allow room for customization. The sites you want to work with have a lot of experience in this type of content, and more importantly they know what works best with their readers. Trust them.
When you’re a week out from the tour, send reminders to outlets you have not heard from and check in on everyone who said they may attend. Provide contact information, including a phone number, and request the writer do the same. Every venue is different, and you nerve know when your press plans may have to change on account of an outside force.
Check in with your contacts again the day of the show to confirm their travel plans, as well as yours. Coordinate a time that works with your schedule for the day and do whatever you can to be early. If you’re completing an interview with said writer, check in advance for type of interview (voice or video) and prepare accordingly. We’ll have more tips for video interviews in an upcoming edition of Haulix Advice.
As with every Haulix Advice column, we asked a number of industry professionals to offer additional insight on setting up tour press. You can read what they had to say below.
If you have any questions or comment, feel free to leave at the end of this post and we’ll do our best to reply soon.
“My best suggestion to any up and coming artist who is looking to do their own press would be to 1- know their music websites and 2-Contact as many journalist as possible. Start off with doing a google search to see who has covered artists like you, or other artists you have toured with. After making a list of what outlets covered those artists, as well as their contact information, reach out to each journalist individually. Tell them about your band, when your last release came out, send some examples of music as well as tour dates. Always include the best way to reach you! It’s a ton of work but absolutely is worth the effort. Also, whenever you send physical music to a journals ALWAYS include contact information and a bio. The worst thing you could do is waste your time sending a CD to a writer and then them having no clue how to contact you” – Jenna LoMonaco, Kobalt Music Group
“As a smaller band, especially without a publicist, getting press for your tour is a daunting task. Even if you’re only playing 10-15 cities, that’s 10-15 unique local markets that you have to sift through and try to find the best way to promote your show. The best thing for your band is going to be getting local newspaper and radio stations to run any sort of coverage *before* you play your show in the area, to try to encourage turnout. However, many writers will only want to cover your show post-event and many radio stations will ask for tickets to give away in exchange for coverage. This shouldn’t be a worry for you – you’ll want to commit press passes and free tickets at each show in exchange for promotion. In terms of national and online media, make sure you know where writers are located, especially the ones that like your band. If a website gives your EP a good review, make a note that the writer is located in X market so you can offer him a free ticket to review your show. Keep an organized list of contacts that help you out in each local market, too – this (hopefully) won’t be the last time you play in that area, so you’ll want to hit these people up again in the future.” – Thomas Nasiff, Fuse/Bad Timing Records/Paper+Plastick
“There are two sides of tour press: Before, and after. Before you go on tour, you should be setting up press with sites that do pre-tour features. PropertyOfZack does Playlists, a way for touring packages to let us know what they’ll be listening to on the road. We include the tour dates in there for extra press.
Then for after, you have Road Blogs, interviews, acoustic sessions, and more. Make sure people haven’t forgotten about the tour once it ends. Keep the content coming” – Zack Zarrillo, PropertyOfZack
“Always plan to start your tour press no later than a month out from the first date. The less time you give yourselves, the less chance of an effective press campaign. The less effective your campaign is, the less impact it will have in show attendance.” – Patrick Ryan Williford, Persistent Heart Media
“No outlet is too small – if you’ve got the time and a .blogspot-type writer has reached out, make the relationship and take the interview. Any press is good press, and you never know where a writer will end up – taking that interview when a site is small could benefit you tenfold down the line.” – Jack Appleby, Siren Records
The last few editions of our Haulix Advice column have focused on making introductions and getting your music in front of people who will [hopefully] share it with their readers. Today we’re focusing on selling what lies behind the music: Yourself.
Once your music begins getting traction online, the time will come when you desire to setup additional features for your band with notable publications. Interviews are always a great route to go, but all too often the bigger outlets do not have the free time needed to execute a face-to-face feature with rising acts and an email interview (sometimes referred to as a form interview) may have to suffice suffice. This may seem like a negative, as everyone tends to express themselves better through conversation than statement, but with careful thought and consideration fill-in-the-blank questionnaires can be a gateway to a deeper relationship with your fans, as well as an effective marketing tool. After all, any opportunity for exposure is better than none, and rarely will you come across an opportunity as customizable as this.
For everything a form interview lacks in terms of human interaction it more than makes up for in the endless freedom offered to the artist. The questions outlined should be viewed as starting points for conversation with the reader rather than individual bullet points. Make your introductions quick and be sure to answer everything clearly, but keep in mind every response is another opportunity to connect with listeners on a deeper level. They want the details (that’s why you’re being asked you questions), so make sure you take your time to answer everything in full. That may sound fairly obvious, but having spent last half decade in journalism I cannot count the number of one-word or single sentence responses I’ve received from artists of all sizes. It’s not engaging or entertaining to read. Ever.
In terms of reaching new listeners, form interviews offer you the opportunity to discuss elements of your art that may pull in the casual webzine reader. In depth information regarding your inspiration, goals, antics on stage and behind-the-scenes, views on music, and the like can offer the publications printing the article an angle to sell, and with the right hook you’ll be reeling in new listeners in no time (pun unfortunately intended).
To offer additional insight on how artists can make the most out of email interviews and the reasoning behind why it’s important, I turned to a few notable members of the music world for advice. You can read their insight below. If you have additional tips for artists reading this column, please feel free to comment at the end of this post and add your two cents.
“I think the short responses in interviews via email are not because the artist or musician doesn’t care, it’s because either: 1) The artist feels as sense of entitlement because someone cares enough about their art to interview them about it. OR 2) They aren’t viewing their art as a business. If you want to be taken seriously, you need to act professional. no one wants to work with unprofessional artists who are flakey and don’t care about their perception to the public. – Mike Sacchetti, Bad News Bears
In the unfortunate event that an interviewer is left with no other option but to send out an e-mail interview as opposed to doing a phoner or in-person, it’s important that the artist(s) being questioned elaborate on their answers to make for an interesting and insightful read. There is generally no way for the interviewer to anticipate how the artist(s) will respond so more often than not, an e-mail interview will not flow as well as an in-person or phone interview would, as the interviewer doesn’t have the opportunity to ask follow-up questions in regards to the artists’ answers.
I would suggest that the interviewee read all of the questions before they begin answering because it has been my experience that the artist will answer with similar responses multiple times throughout the interview due to the order of the questions. Many times, the artist(s) will answer a question as well as a succeeding one at the same time which isn’t always necessarily a good thing in terms of length and an engrossing read. This also falls into the responsibility of the interviewer to ask engaging and unique questions to hopefully get the most out of the interviewee, in way of in-depth responses.
In some instances, an artist will be cooperative enough to allow you to send some follow-up questions if you’re unclear on something they answered or you feel that you need to expand on something that could ultimately make for more piquant content. It would be nice if all artists offered this option knowing that an e-mail will typically need a little more life than what is breathed into it in the initial transaction. – Brian Lion, Under The Gun Review
When filling out digital interviews, every band should take the time to make sure they not only hand in thoughtful answers, but responses that are professional. Time and time again, I read and put together interviews where artists don’t take the time to even run spell check over their answers, which can reflect poorly on your band. Put in a few extra minutes, look over your answers and make sure what you’re saying is representative of how you want your band to be perceived. – Tyler Osborne, ToZ Productions
In recent weeks we have talked a lot about breaking the ice with journalists, and the reaction from all of you has been overwhelming. We want to continue helping you lay the groundwork for a genre takeover, and today we’re outlining one avenue to ensuring your music reaches as many potential new fans as possible: Setting up exclusives.
This probably will not come as a surprise, but bloggers LOVE exclusives. It’s the only original content aside from opinion pieces they have to get ahead of the competition, and if you play your cards right they may see your music as the latest ‘must hear’ piece of content on the net.
The first thing you need to know about setting up exclusives is something everyone who succeeds learns early on: Relationships are everything. While bloggers are always open to discovering new music, but using their brand to back a new project is serious business, and most are not likely to jump at an offer from someone they are not familiar with. Before you even consider attempting to setup exclusives, make sure you’ve taken the proper steps to first introduce yourself and your efforts to the publication in question. This can be as simple as an email with a link to your music, or as over-the-top as a physical press kit sent to their home office. Either way, first impressions are everything. Journalists will associate everything you do and offer moving forward with however you first came on their radar, so make sure your introduction is fitting for the brand you’re trying to promote.
Secondly, make sure your requests provide the publication with everything they need in order to create great content. If you offer a song, make sure there is an mp3 and Soundcloud link ready to go. If it’s artwork or other information not available when making the initial offer, outline when the content will be available and provide as much supplementary information as possible. Keep in mind that time is something no journalist has to waste, so doing as much of the legwork as possible ahead of time reads to them as less work required on their part. It doesn’t guarantee they will bite, of course, but it never hurts to be present yourself as prepared as possible.
Finally, always keep in mind that every publication is different and not every piece of content you create will be loved by everyone. Even major artists sometimes struggles to lock in exclusives, so don’t be discouraged if your initial efforts fail. It can take awhile to properly network within the music industry, especially when you’re trying to get new content to people who are metaphorically drowning in unheard music, but with patience, kindness, and just a bit of chivalry you will see doors open in time.
I know some of you may be reading this and thinking, “As much as I love your attempts to help, nothing in the preceding paragraphs is all that description.” If that applies to you, pat yourself on the back because you, my friend, are correct. The reason we kept things vague this week is because there is no one way to setup an exclusive. Every publication is different, and the variety of things they each look for in potential exclusive content is as numerous as the number of sites in existence. Following our guidelines will aide you in getting your foot in the door, but after that point your continued success is on you. Still, in an attempt to be slightly more helpful, we asked a number offer industry peers to send us advice they had for bands hoping to setup exclusives. Here’s what they had to say:
“Be sure your pitch includes all the key information that the website will need in order to run the exclusive including what they’re premiering, when you’d like it to run, what you’re promoting and a bio/fact sheet on your band.” – Jamie Coletta, SideOneDummy Records
“I would highly recommend researching the proper editor (plus contact information) and send them your best pitch that exemplifies what the band has going on and showcases your top accolades.” – Jen Appel, The Catalyst Publicity Group
“Clear subject. Realized intent. Short body. Social links.” – Zack Zarrillo, PropertyOfZack.com
“I prefer to write about and promote my friends. Reach out to me on Twitter, start a conversation about a mutual interest. That’s a good place to start.” – Jacob Tender, Underthegunreview.net
“What I do is this: I approach a publication with an album, telling them that I’m seeking an exclusive with them. I allow them to listen to the album. I tell them they have 24 hours to say pass or take before I move on to the next publication.” – Josh Hammond, Publicist
