Tag: Advice for musicians

Categories
Artist Advice Business Advice Editorials Haulix Writing Tips

Learning how to fail is an essential part of succeeding in the music business

music biz, failure, learning to fail
“I have not failed. I've just found 10,000 ways that won't work.” - Thomas Edison

“I have not failed. I’ve just found 10,000 ways that won’t work.” – Thomas Edison

As much as you may like to believe your career in music is infallible, or that you have a gift for songwriting no one will be able to deny, I can guarantee you there will always be days when your best efforts come up short. Failure is an unavoidable byproduct of any creative endeavor, and regardless of what level of fame you reach in this business there will always bad days. The point of continuing to create is not to work towards perfection, but to take into consideration everything that has happened, both good and evil, and apply it to whatever comes next. Art, like life, is a constant progression, and the best you can do is learn how to frame each failure as something other that is ultimately beneficial to your career.

The number of ways you can screw up in music is numerous, and they range from writing a bad single, to performing in such a way that disappoints your fans. We cannot begin to break down every single instance of failure and how it can be viewed as a positive, but we can offer tips to help you deal with any situation where things do not go as planned. The advice that follows may seem fairly obvious to some, but if applied to your next misstep we guarantee growth will occur. It might not be easy, but it will be beneficial to your creativity in the long run, and at the end of the day that is what matters most.

Start with the truth. Accept the situation for what it is, and be prepared to face it head-on.

Everyone has heard that line about how the best-laid plans of mice and men often go awry, and the reason we’ve all heard it is that it’s entirely accurate. You might have written the best song you believe yourself possible of creating, but for one reason or another, it might not connect with listeners. Likewise, you may give what you feel is the performance of a lifetime, only to look at Twitter after the gig and read tweet after tweet complaining about the sound. In times like this it’s incredibly easy to take a defensive stance, but to do so would be an error. Accept that not everyone will experience things the way you do and try to see things from the outsider’s perspective. Be humbled by the fact you received any response at all, as most never do, and ask yourself how you could improve or change what you’re doing in the future.

The key to this step is honesty. It’s okay to say you love something that your fans do no, but do not blame them for not feeling the same. Art is subjective, but if you listen to your audience, you should be able to find a way to do what you want while still playing to their demands. You don’t have to, of course, but most great artists find a way to compromise that satisfies everyone.

Look for the positive, no matter how small it may be.

Let’s say your new album was expected to sell ten thousand copies its first week and only sold fifteen-hundred. That disappointment would be quite a sting, especially from a financial standpoint, but considering the fact that less than 1% of all the albums released in any given year sell more than a thousand copies then you’re still among the most famous musicians in the world. You may not have ten thousand people clamoring to purchase your new album, but fifteen-hundred consumers are indeed nothing to scoff at. There are towns and villages all over the world that have populations far below fifteen-hundred people, and even fewer people outside those communities know they exist. You may not be where you want to be, but you are farther along than most, and that is something you should never take for granted.

The point is, there is also an upside. Your new demo may have gone over worse than Jar Jar Binks, but at least by sharing it with fans, you learned something new about what they expect from you and what they hope to hear from any future material. This knowledge can and should inform future recordings which, in theory, will be received better than whatever came before.

Do not be afraid to take time away from the internet.

We are convinced there are at least two negative comments for every positive one on pretty much every song, video, or think piece posted online. People are far quicker to complain than they are to compliment, especially in a public forum, which is why you should consider taking time away from the constant barrage of commentary social media provides when things take a turn for the worse. If you know the incoming messages are going to be riddled with negativity, there is no reason to wallow in the hurt feelings such commentary can cause. Absorb enough to understand why people are upset, then step away and take time to reflect on how you can improve your efforts in the future. You do not need the internet to do this, and in our opinion, you shouldn’t use it. Stay offline until you have something new to share, and if that doesn’t go over then feel free to take more time away. In fact, take as much time as you need. The internet will still be here when you return.

Whatever you do, keep creating.

No matter how you initially react to failure, you cannot let the ensuing negativity defeat you. Keep producing, always, and do not stop until you decide you are finished. There will still be someone in the world who thinks you are not good enough, but you cannot let the opinions of a select few stop you from expressing yourself through art. Creativity is a gift that is all too rare in this world, and it should be shared at every opportunity. Don’t let the haters win.

Categories
Artist Advice Business Advice Editorials Haulix News

In the music business, you can never get too comfortable

Succeeding in the music business is hard work, and the only way to get ahead is by doing everything you can to consistently develop new skills.

The goal of every aspiring professional is to land their dream job and feel secure within it. You could say the same for current professionals as well. Everyone hopes to find something to do for a living that compliments their interests and has the potential to last for many years. No one likes looking for work, and no one wants to go through life feeling as though their job may be taken away from them at a moment’s notice, especially if they’re good at what they do. 

Life in the music business is a tricky proposition. On the one hand, finding employment can mean the actualization of dreams that have lived in someone’s soul from a very early age. On the other hand, maintaining a job once employed is never guaranteed. Business come and go in this industry just like trends in music. The label that employs 300 people today could very well find themselves needing only a fraction of that staff in five years time. Consumers dictate which businesses thrive and which companies die. You can be the best at what you do, but if no one is buying or supporting that thing there is a good chance you could soon be looking for work once more.

I tell you this not to discourage you, but to reinforce the need to stay engaged in the industry.  If you want to work in music then you have to accept the fact you the hustle really never ends. That doesn’t mean you have to work 24/7, but it does mean you need to be constantly pushing yourself towards bigger and better things. Full-time employment is not enough. Paying your bills is not enough. It’s not about money and it’s not about things. Longterm success in music is about constant personal development, both for yourself and for those around you.

Several years ago the head of publicity at an iconic heavy metal label told me that he challenged himself to develop a new skill every year that would – in some way – aide him in life. The year we spoke he had set to learning video editing, and by the following spring, he was making additional money creating promotional clips and lyric videos for bands of all sizes. He was also creating more interesting content for work, which in turn helped push the label forward.

We apply a similar practice here at Haulix. We invest in the skills our marketing and sales team need, such as public speaking and graphic design. We encourage our programmers to be creative with their designs, make training available to support team members, and hold weekly meetings to discuss the economics of our market with the entire team present. We don’t want our team to understand our business alone, we want them to understand the industry and our role in it, as well as that of all our competitors.

So ask yourself: What don’t I know?

Got it? Okay. Get to work.

Categories
Artist Advice Business Advice Editorials Haulix

The importance of brand consistency in music

Your music is your business.

You might not rely on music to pay your bills, but I am willing to wager that a part of you hopes will one day provide for your needs. The fact you even consider this as a possibility should make it clear that your music is a business. Your name – be it your own or that of your group – is your brand, and your product is a mixture of music and live performance.

The term ‘brand consistency’ refers to any attempt to communicate messages in a way which doesn’t detract or wander away from the core brand strategy, values and foundation. In other words, brand consistency is all about being yourself in everything that you do so that consumers know who you are, what you produce, and what your work is all about.

To be clear, brand consistency is much deeper than remembering to use the same logo with proper Pantone color over and over again. These things are helpful, but brand consistency is an ever-evolving process that pulls consumers into your narrative and makes them feel as if they are a part of your personal journey. From your music to the photos you choose to promote your every move, and everything in between, your message and focus needs to be clear.

Without brand consistency, consumers will lose sight of the message you are trying to convey, which in turn will cause them to lose interest. If they cannot understand what you are trying to do, they will find it hard to trust your future output, thus making it increasingly hard to convert listeners to supporters.

The biggest acts of today, be it Drake or Twenty One Pilots, have impeccable brand consistency. Everything these artists release relates back to the messages they are trying to convey, and in many cases further, a narrative that the artist has been developing for the majority – if not all – of their career.

Every artist and band should establish a brand and a guideline for maintaining it as soon as possible. These efforts should include instructions on how to use all your branding tools (name, logo, typeface, photos, color palettes, etc.). Being specific is key. Know exactly how you want to be presented and find clear ways to communicate that to anyone who works with you moving forward. This includes publicists, booking agents, promoters, etc.

If you are unsure of what your brand is or what people expect from your music, do not be afraid to turn to your fans for answers. Their response may not be uniform, but it will shed light on what elements of your current output are resonating most with your audience. Embrace those things, further emphasize them, and plot your next moves with that knowledge in mind.

For help marketing your new and unreleased music to the industry at large while staying on brand, consider using Haulix for your promotional distribution needs. Haulix offers customizable promo pages and email invitations no competitor can rival. Sign up now for a free one-month trial.

J

Categories
Artist Advice Editorials News

The truth about music journalism and how to get covered in 2019

Getting press in music is harder than ever before, but with a few simple steps, you can develop a meaningful relationship with industry gatekeepers.

The competition for attention in music is fierce. Whether you’re seeking to reach consumers directly or trying to get press from genre gatekeepers, there is a countless number of competing talents vying for the same thing at any given moment. Those artists lucky enough to get ahead do so first and foremost because they possess that intangible ‘it’ factor that draws people in, but that alone doesn’t make a career. The only way to continually move forward, both with fans and members of the press, is through engagement.

You can find a million articles about engaging your audience, but far less tell you how to support the members of the press and music community who find time in their busy schedules to promote your work. It’s not hard to do so, but it does take time, and hopefully you will make the decision to engage that content more often after reading this post.

But first, a few hard truths about music journalism and promotion in 2019:

  • The vast majority of publications are writing less news posts because the traffic those posts receive is declining with each passing year. Most people get their news from artists via social media, which for many makes sharing anything that is not ‘a scoop’ or an otherwise exclusive/cool piece of information a waste of time.
  • Many publications, especially larger outlets like Rolling Stone, are featuring less new talent now than ever before. The reasons for this are numerous and unique to each site, but one common argument against new music coverage is that it often fails to generate traffic. The lucky few who do receive attention from these outlets earn their appearance by first developing a dedicated following online or creating something that is undeniably special. 
  • The term ‘exclusive’ means very little in 2019. There was a time when exclusivity existed online, but these days, most content can be embedded anywhere in a matter of seconds. What matters most is the information surrounding the content. For example, appearing in Rolling Stone may be a cool thing to brag about, but if a smaller site can offer more compelling writing to accompany your latest creation that site could potentially play a larger role in earning you new fans than RS.
  • Some sites will say yes to anything. Traffic is king online, and many sites are scrambling to grow their daily readership by any means necessary in hopes they can make a few pennies more from people viewing ads. That desperation leads many to agree to anything pitched their way, which in itself is not a bad thing. Promoting new music from young artists is something to be admired in a time when many don’t make time to do so. However, many sites who agree to everything put very little time into making any one piece of content special. 
  • Writers help artists they like before anyone else. If you’re lucky, someone with influence will discover your music and take an active role in promoting it without being asked. Most artists, however, are not that lucky. You should constantly be following and engaging with writers and publications online, as well as engaging with their content. Make yourself recognizable to them without coming across as someone trying to get something in return. Journalists are inundated with requests all day long, so try to not be another person in a long line of anonymous voices screaming into someone’s inbox for attention. In other words, be a decent human who treats others like they matter. 

Got it? Good. Back to the matter at hand.

If you can overcome the immense competition for the media’s competition it is in your best interest to show appreciation for the content creator’s work. It should be clear from the points above, but the market for coverage of new artists and music from largely unknown talent is quite small. Getting someone to pay for that coverage is basically impossible, which is why so many of the best new music writing and promotion comes from people working for free out of their home, dorm, etc. They write about the music they’re passionate about, and that passion is what their audience wants. It should be what you want, too. 

Whenever you’re lucky enough to receive positive coverage you should — at the very least — engage with the content in some small way (like, favorite, heart, etc.). That small act, which takes just seconds, tells the writer you see what they’re doing and you appreciate their effort. It tells them the time they spent crafting content to help promote your music instead of someone else was not time wasted, and it makes them feel as though they are part of something bigger than themselves. They are now part of your journey, and that connection to your career may very well lead them to cover you more in the future.

You will get further ahead if you actively engage with the content through sharing or commenting on content related to your group. These actions show appreciation for the content, but it also adds something of a personal touch, especially if shares are accompanied by original text. Like parents always tell us, saying “thank you” and being polite will get you far in this life. In music, showing appreciation through promotion and direct engagement tells writers that you respect their craft as much as they respect your art. It sends a message that their content is seen and felt, which is the same thing you are searching for as an artist.

Virtually anyone can get covered once or twice, but the key to consistent press coverage is networking and the relationships you develop over time. It’s work, but it’s work that’s well worth the effort required.

Categories
News

Music conferences you should attend in 2019

Not all music conferences are created equal. Some will change your life, but others are a waste of time.

Music conferences are an increasingly popular way to learn about the industry, network with peers, and gain access to business leaders who may otherwise be unavailable. No two events are the same, which can be a good and bad thing for consumers, but they all promise to help dreamers learn how to make their fantasies a reality.

The truth is that no one can make your dreams a reality other than you. The best any conference can do is offer the chance to learn how to best position yourself for success. Maybe the means attending panels featuring discussions between industry figures you admire or perhaps it means submitting to showcase at a place where movers and shakers in the business may be present, but success itself is still your responsibility.

With this in mind, it’s important that aspiring professionals who want to attend music conferences select the right event to meet their needs and help their career. There are many conferences that offer little to no useful information, as well as many more who gladly take money from artists in exchange for showcase opportunities that have little to no likelihood of being attended by people who can actually boost a career. These events happen all over the country every year and will continue do so because the vast majority of aspiring professionals are so desperate for the keys to success that they will go anywhere and do anything to get ahead.

But that’s not you. The fact you’re reading this now says you’re only interested in making wise investments with your time and finances. You understand there are no shortcuts in this business, and that alone places you in rarified air in your peer group.

We’ve had the opportunity to attend music conferences from coast to coast, and though we have not been to them all, we do know several that have the potential to change your life and career. Don’t miss these events:

SXSW

When: March 11-17
Where: Austin, TX
Details: https://www.sxsw.com/festivals/music/

The largest gathering of dreamers and professionals in the world, SXSW is the go to destination for anyone trying to rise through the ranks of the music industry. There are hundreds of speakers, thousands of performers, and all the parties anyone could hope to attend. The street food is pretty good too.

We believe everyone should attend SXSW at least once in their lives. It’s a chaotic event unlike anything else that isn’t for everyone, but those determined to get their name or music in front of tastemakers can accomplish that on the streets of Austin as long as they have the confidence to step up and say something.

LAUNCH Music Conference

When: April 25-28
Where: Lancaster, PA
Details: http://www.launchmusicconference.com/

LAUNCH is the SXSW of Pennsylvania. In fact, it may be better than SXSW because those in attendance have more access to industry leaders and a better chance of seeing the next big band in music. The event welcomes thousands from around the US for four days of discussions and mentoring, all lead by some of the brightest minds in the music business. At night, the festival takes over the city of Lancaster with hundreds of live performances happening all over the historic downtown area.

Haulix has participated in LAUNCH several times and will return this April to appear on one of the many great panels curated by the event staff. We’d love to meet you, so please come out and say hello!

Music Biz 2019

When: May 5-8
Where: Nashville, TN
Details: https://musicbiz.org/events/music-biz-2019/

Music Biz 2019, powered by the Music Business Association, will return to Music City USA to unite leaders in the commerce, content and creative communities across the globe to discuss the future of the music business and to build relationships that will steer the industry for years to come. Here you can find representatives from the biggest names in music, as well as networking opportunities with peers in a city where anything can happen.

We collaborate with the Music Biz organization throughout the year on webinars and other educational opportunities. Their star power and location sure makes Music Biz an event worth attending, but it’s the fact that they care about making sure everyone gets something from their conference that places them on this list.

East Coast Music Conference (ECMC)

When: May 9-12
Where: Norfolk, VA
Details: https://eastcoastmusicconference.com

For its second year, ECMC is adding more nationally recognized speakers, such as Matt Starr; Tune Core founder, Jeff Price; and documentarian, John Rash; along with 30 other speakers and panelists. Additionally, for the live music showcases, ECMC will be adding several national acts to compliment approximately 75 international, national, and 20-30 local performers. ECMC 2019 is hosted and sponsored by a Who’s Who of innovative local companies, including O’Connor Brewing, Percolator, and Homemadesoul Music. So far, ECMC 2019 has artists booked from four nations including the U.K. and Japan. The growth has been spurred by overwhelmingly positive response of first year attendees and the successes of 2018 artists, such as being added to Warped Tour and other major events, widespread national media coverage, and the signing of licensing and other deals from the conference.

Every conference promises opportunities to get ahead, but ECMC backs their claims up with evidence of success that no one can deny. Also, it’s the only conference on this list to feature Warped Tour founder Kevin Lyman AND rap icon Ice-T in the lineup. If that’s not enough to make you want to attend, we don’t know what to tell you.

CD Baby’s DIY Musician Conference

When: August 16-18
Where: Austin, TX
Details: https://diymusiciancon.com

Don’t let the name fool you. DIY Musician Conference has something to offer artists and aspiring professionals alike. The event itself is young, but the industry talent it attracts is seasoned. You will be face to face with movers and shakers of the industry who are still actively involved in shaping the business of music on a daily basis. You will also rub shoulders with peers who, like you, are ready to take their career to the next level. 

Categories
News

What musicians should ask themselves before hiring a publicist

Publicists can do a lot for your career, but only if you’re ready to work with them.

Every artist wants to find success in their career, but the path to success is rarely the same. What works for one artist or group may not work for another and vice versa.

For example, some artists get ahead with the help of publicist who uses their connections to land the band press opportunities that offer exposure which aide in the development of an audience. Other artists choose to promote themselves, and in doing so often find a quicker route to connecting with listeners. One way is not better than the other. Both offer success, though how it comes and what comes with may vary greatly.

The vast majority of up and coming talent we engage with mention their desire to find a publicist. Most know what publicists do or at least have some understanding of their role, but very few seem to grasp their role in determining whether or not a publicity campaign will succeed. With that in mind, we put together questions that every artist should ask themselves before investing in PR for their career.

1. Is my career even at a point where I need a publicist?

The idea of having someone in your life who spends a part of their day doing whatever they can to get the word out about your efforts sounds like a smart decision, but unless you have something worthwhile to share with the world you’re going to end up wasting a lot of money. Focus on creating the best album/single/video you possibly can, which I can tell you will likely not be your first release, and then think about bringing in someone to help promote. While many professional publicists will tell a band if they think the band is not ready for such a business relationship, there are a number of those out there who will happily take your money and never look back. It’s not on them to have something worth sharing; it’s on you.

2. Can I financially afford a publicist right now?

This may seem like a rather obvious statement, but the truth is many artists do not fully understand the costs associated with having a publicist. Most PR firms require a minimum commitment of 3-months for any project, regardless of whether it’s an album, video, or single. That means for three months you are expected to pay whatever price you negotiate at the time of signing, and failure to do so will likely result in monetary penalties being issued against your group. Avoid this unnecessary trouble (not to mention looking amateur to industry professionals) and double-check your finances before seeking representation. Set a budget and work to find someone who offers you the most ‘bang for your buck.’

3. What am I hoping to accomplish with this campaign, and do I need a publicist to pull it off?

It’s common sense that artists and bands hoping to promote their new releases turn to publicists to help get the word out, but depending on your situation you may be able to handle marketing perfectly fine on your own. There are a growing number of articles and sites dedicated to empowering independent artists, including the one you’re reading right now, and if you’re willing to put in the work yourself, it’s reasonable to assume you can gain at least a small amount of press on your own. Blogs and smaller publications usually post their contact information online, and by reading up on PR tactics, anyone can craft a pitch letter, so as long as you’re okay with Rolling Stone and Pitchfork not giving you the time of day you may be able to do it on your own.

Furthermore, you need to know what you hope to achieve with a campaign. Getting the word out about something is too vague. Do you want more followers? one-thousand plays in the first twenty-four hours of release? Ten interviews a month? All that and more? Make a list of goals and ask yourself if you possess the knowledge and means to achieve them on your own.

4. Do I have high-quality promotional materials ready to go (masters, photos, etc.)?

Publicists spend their day trying to get the word out about their clients, but that does not mean they’re going to create promotional materials to help get the job done. As the client, it is on you to provide your publicist with everything they need to promote your efforts, and it should go without saying that quality plays a big role in whether or not journalists give you some of their oh-so-rare free time. Before you even consider bringing someone else into your career, make sure you have quality materials you want to be shared with the world. If you turn in mediocre media, the returns will likely be mediocre as well. Publicists work with what they’re given, so be sure you give yours the best material you possibly can.

5. What marketing ideas do I have for the release of my album/music video?

This is probably the most important part of this entire list because it’s the area artists most often overlook. Publicists can make amazing things happen for your career, but without guidance and direction from you, they will have no idea what it is you’re trying to convey with your art. This is why when deciding to bring on a publicist it is imperative that you first come up with your own set of goals and ideas for the release. Publicists want to help you, not do the work for you, and starting the relationship with a wealth of ideas on deck will simplify the promotional efforts on their end. By knowing what you expect, publicists can work with you to craft a campaign that’s designed to accomplish your specific goals, and that will lead to better results down the line.

Categories
News

How to make the most out of a single song

In 2016, it can be very easy for artists to fall into a mindset where they believe the fastest way to gain attention is to shovel out as many songs as possible as often as their budget and schedule will allow. While this approach to releasing music certainly works for some, it’s far smarter from both a financial and promotional standpoint to only release your absolutely best material and milk it for all its worth. A song premiere and video release should be considered the bare minimum in terms of promotion, but most never know what else to do with their music. This post, written in collaboration with the band The New Electric, will hopefully help you and other creative minds rethink the way you promote your music career.

Our story is one of a group of hard working guys who managed to push two singles into billboard charting positions independently.

Now the first ingredient was the music! The product, the everything. How do we write, record/make great music? The answer is, we work with great songwriters and great producers. “Well, are we not great songwriters and producers ourselves?” We might be, but everyone needs a co-writer and a producer, even writers and producers themselves.

Once we had music that we thought was great we decided to hire a radio tracking team to push our single for us. It was a pretty penny but ended up being well worth it in the end. The trackers sent us on a radio tour where we traveled across all of Canada going to every station meeting every program director and music director and DJ and at 3 or 4 stations a day.

Knowing we were going on a radio tour, we devised a strategy to make a chart with every stations socials, info and notes about who we talked to and what we talked about. We also planned to look like stars walking in, full wardrobe and hair no matter how early or how tired or worn out we were. We also did vocal warm ups before every radio performance stop. We did our best to charm and make relationships with these radio people in the short time we had with them. As we did this across the country our radio team pushed. We were featured, then some ads but nothing huge.

We started reaching out to fans of other bands on Twitter and started talking and building relationships with them. We eventually had a solid group of fans that we talked to daily so we started holding Twitter requesting contests. The stations were getting bombarded with requests for our song and then with a little luck and a lot of push from our team we won two radio competitions in the same month, Next Big Thing and Future Star. These put our song on the map and it started charting in the top 50! It climbed all the way to #16 over a 6 month period. We made a music video for the single that got picked up by Much Music we also toured give the single as much “Life” as possible.

To sum it up, we did a lot of work! We engaged fully on social media and found unique ways to interact. We looked and sounded our best at all times and always greeted everyone with a smile and a warm heart. I would say that It’s all about relationships and being someone that people want to work with. I can’t say if this will work for anyone else or why it did for us! We’re just doing our thang. Thanks for reading!

Categories
News

Should Artists Pay to Get Access to Influencers?

This post is the latest in our ongoing content collaboration with Sonicbids. Enjoy.

Your music isn’t being heard by bloggers, journalists, editors, or those in positions of power within the industry. Either you’ve been pitching them yourself, or you’ve hired a PR firm to reach out and get them to listen, but for some reason, it just isn’t getting through. You’re spending time or money (or both), but not getting any real results. Should you scale back your expectations for a response from the media and the industry? That might be possible; it depends on what they were to begin with. Should you stop trying to get your music heard by influencers? Of course not! Just because things aren’t working right now doesn’t mean you quit – you just might want to change tactics.

The truth

Those people you’ve been sending your music to – the journalists, bloggers, and everybody in all the different facets of the music industry – are pitched constantly, and usually indiscriminately. Ask anybody at a well-known publication or who works for a successful label, and they’ll tell you about the incredible amount of music that gets sent to them every day. I, for example, receive somewhere between 150 and 200 emails a day with new music, and I rarely even cover that space, so I can hardly imagine what the inboxes of some other writers looks like.

While you may not want to hear it, here’s the truth: there just isn’t enough time in the day for everybody to hear all the music they “should,” and no matter how good it is, there’s a really good chance that people are simply going to skip past your new single or album. With hundreds of submissions and only so many hours, it’s extremely tough for almost any artist to be heard these days, let alone newcomers and unknowns.

A solution

First, you should keep pitching your stuff to the people you think should hear it, and you should be smart about it. Make sure you’re contacting the “right” people (those who might actually be interested in it), or make sure your PR team is doing just that.

In addition to the tried-and-true methods, you may want to start investigating a new online world that allows you to pay people to listen to your music. Now, I can already hear some musicians and singers groaning and getting upset about this idea, and I understand. Making music, recording it, touring, and all the other responsibilities and necessities that come along with being a professional musician are all expensive and the income is sparse, so why would you pay for one more thing, especially when it’s something you shouldn’t have to pay for?

My reasoning is twofold: first, realize that you already are paying for people to hear your music. You’re either paying PR people to reach out to press for you, or you’re doing it yourself, which is taking up time you could be using to make new music, creating stronger relationships with fans, or pretty much anything else. Both of these options are costing you, but they may not be giving you a good return on your investment.

The second part of my reasoning is that while you may not want to hear that this is going to cost you, it does, and that’s just the world we live in. If you’ve decided that getting these groups of people to hear your music is really that important, put your money where your mouth is or start reprioritizing what you want and what you “need.”

How to do it

I am certainly not suggesting you start emailing bloggers and A&R execs and begin offering them cash for plays, because that’s not how this works, and you probably won’t make any friends. In the past few years, a handful of platforms have popped up that are actively recruiting writers and industry people to join.

Fluence is the best option for this, and it’s pretty easy to get started. Influencers set their hourly rate, and when you submit a song and choose who you’d like to hear it, the site automatically calculates an exact cost per listen. For example, most three- to four-minute songs I listen to cost the musician around $5. From there, the influencer gives feedback, and they’re encouraged to share the track on social media. Newer sites like Promeo have also popped up, and the idea is gaining traction with people in the industry and up-and-coming musicians, so it’s likely that both of these sites will grow, and that some new ones may continue to emerge in the future.

Now, will this ensure press coverage or a record deal? No. Is it certain that the editor-in-chief of Rolling Stone or the CEO of Sony is going to hear your new single? Nope, sorry. The idea of paying people to listen to your music is one that’s really best for those just beginning in the industry and who simply need a way to get their foot in the door. It’s all about getting the momentum going, so once a few cool bloggers have heard your track and shared it, you can go from there (and to be honest, it’ll probably cost less than a several-month-long PR campaign).

Readers – what do you think? Sound off in the comments below!

Hugh McIntyre is a freelance pop music journalist in NYC by way of Boston. He has written for Billboard, The Hollywood Reporter, and MTV, as well as various magazines and blogs around the world. He is also the founder and editor-in-chief of the blog Pop! Bang! Boom! which is dedicated to the genre of pop in all of its glory.

Categories
News

ADVICE: Coming To Terms With Failure

As much as you may like to believe your career in music is infallible, or that you have a gift for songwriting no one will be able to deny, I can guarantee you there will always be days when your best efforts come up short. Failure is an unavoidable byproduct of any creative endeavor, and regardless of what level of fame you reach in this business there will always bad days. The  point of continuing to create is not to work towards perfection, but to take into consideration everything that has happened, both good and bad, and apply it to whatever comes next. Art, like life, is a constant progression, and the best you can do is learn how to frame each failure as something other that is ultimately beneficial to your career.

The number of ways you can screw up in music are numerous, and they range from writing a bad single, to performing in a such way that disappoints your fans. We cannot begin to breakdown every single instance of failure and how it can be viewed as a positive, but we can offer tips to help you deal with any instance where things do not go as planned. The advice that follows may seem fairly basic to some, but if applied to your next misstep we guarantee growth will occur. It might not be easy, but it will be beneficial to your creativity in the long run, and at the end of the day that is what matters most.

Start with the truth. Accept the situation for what it is, and be prepared to face it head-on.

Everyone has heard that line about how the best laid plans of mice and men often go awry, and the reason we’ve all heard it is because it’s absolutely true. You might have written the best song you believe yourself possible of creating, but for one reason or another it might not connect with listeners. Likewise, you may give what you feel is the performance of a lifetime, only to look at Twitter after the gig and read tweet after tweet complaining about the sound. In times like this it’s incredibly easy to take a defensive stance, but to do so would be an error. Accept that not everyone will experience things the way you do and try to see things from the outsider’s perspective. Be humbled by the fact you received any response at all, as most never do, and ask yourself how you could improve or change what you’re doing in the future.

The key to this step is honesty. It’s okay to say you love something that your fans do no, but do not blame them for not feeling the same. Art is subjective, but if you listen to your audience you should be able to find a way to do what you want while still playing to their demands. You don’t have to, of course, but most great artists find a way to compromise that satisfies everyone.

Look for the positive, no matter how small it may be.

Let’s say your new album was expected to sell ten thousand copies its first week and only sold fifteen-hundred. That disappointment would be quite a sting, especially from a financial standpoint, but considering the fact less than 1% of all the albums released in any given year sell more than a thousand copies you’re still among the most popular musicians in the world. You may not have ten thousand people clamoring to purchase your new album, but fifteen-hundred consumers is certainly nothing to scoff at. There are towns and villages all over the world that have populations far below fifteen-hundred people, and even less people outside those communities know they exist. You may not be where you want to be, but you are farther along than most, and that is something you should never take for granted.

The point is, there is also an upside. Your new demo may have gone over worse than Jar Jar Binks, but at least by sharing it with fans you learned something new about what they expect from you and what they hope to hear from future material. This knowledge can and should inform future recordings which, in theory, will be received better than whatever came before.

Do not be afraid to take time away from the internet

We are convinced there are at least two negative comments for every positive one on pretty much every song, video, or think piece posted online. People are far quicker to complain than they are to compliment, especially in a public forum, which is why you should consider taking time away from the constant barrage of commentary social media provides when things take a turn for the worse. If you know the incoming messages are going to be riddled with negativity there is no reason to wallow in the hurt feelings such commentary can cause. Absorb enough to understand why people are upset, then step away and take time to reflect on how you can improve your efforts in the future. You do not need the internet to do this, and in our opinion you shouldn’t use it. Stay offline until you have something new to share, and if that doesn’t go over then feel free to take more time away. In fact, take as much time as you need. The internet will still be here when you return.

Whatever you do, keep creating

No matter how you initially react to failure you cannot let the ensuing negativity defeat you. Keep creating, always, and do not stop until you decide you are finished. There will always be someone in the world who thinks you are not good enough, but you cannot let the opinions of a select few stop you from expressing yourself through art. Creativity is a gift that is all too rare in this world, and it should be expressed at every opportunity. Don’t let the haters win.

Categories
News

PRO TIP: Think Twice Before Attacking Your Peers

If there is one thing we can probably all agree on about life on the internet it’s that those who fuel the content generation machines that keep the web buzzing with viral sensations love nothing more than drama. It can come in any form, from political to celebrity, as long as its captured on camera or in sound bites. Those bits of media are then uploaded, streamed, remixed, and shared on a plethora of clickbait hungry blogs hoping to grab a few more easy clicks from someone else’s pain. It’s a long-running and admittedly sick trend, but a trend nonetheless, and earlier today one of metal’s best underground acts were found cashing on our collective love for all things dramatic.

Partnering with the fine editorial team at Faster Louder, the member of Thy Art Is Murder released a collaborative feature on the popular music blog detailing the best and worst bands they have toured with up to this point. The list named several artists, praising some and trashing others, all with seemingly no concern for public or professional backlash that may occur. The band highlights 3 genre peers as being ’the worst,’ each of whom have fans around the globe and international touring experience, as well as 3 they consider ‘the best.’ While those regarded in high standing are certainly given some well-deserved praise, the acts the band chooses to look down upon are essentially bullied for an entire paragraph. Volumes, for instance, are referred to as follows:

The “homies.” The billionaire rich kids. Their dad is like some Grammy-award winning producer. Fully don’t like these dudes that much. The last time I saw the singer I told him I was going to beat him up, real bad, to his face.

There is also an allegation of wrongdoing on the part of someone associated with the band, as well as a story of a near physical altercation from a previous tour.

The band given the worst treatment is Within The Ruins, a metalcore act found on Victory Records, who Thy Art Is Murder claim “fully suck.”

While there is certainly nothing wrong with having an opinion or sharing it, the members of Thy Art Is Murder are not doing themselves any favors by conveying their thoughts and feelings in this way. The band comes across as bullies at best, and at worst they appear to be cocky assholes who believe the best way to raise awareness for what they are doing is by stepping on bands who have shared time with them on the road. Nothing could be farther from the truth however, as it is the bonds built through working in music that ultimately propel artists and professionals forward. The music community is surprisingly small, and everyone knows someone who knows everyone else. When you talk poorly or act out of line towards someone or some group, there are repercussions down the line the offender may have never thought possible. Maybe the person who books Within The Ruins also heads up a major festival that now will never work with Thy Art Is Murder, or perhaps they rep a band that would have otherwise served as a perfect tour pairing. Now the possibility of that happening is gone, and for what? A few clicks?

If I had a say in the happenings of Thy Art Is Murder I would urge them to consider finding a new publicist, as the person who encouraged them to create this feature obviously did not have their best interest in mind. The popularity of their rant against other bands will fade within a day, but the damage done from trashing their peers may linger for the rest of their career. The situation could be made better with an apology, but given the brash way the band described those they consider ‘the worst’ I doubt we will be hearing anything akin to “sorry” from them in the near future.

Let this be a lesson to all artists: Tearing one another down is never going to help you get ahead. You might grab a few fleeting bits of attention, but the longterm impact of publicized negativity is rarely good for business. As your mother always said, “If you don’t have anything nice to say then don’t say a word.”

James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.

Exit mobile version