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Advice All Music Writers Should Follow in 2019

Music Writers, Music Journalism, 2019, Advice, Tips

The music business in 2019 would be virtually unrecognizable to the music business of 2000. In less than two decades the industry we all love has undergone an extensive transformation that has emphasized access rather than ownership, created a glut of festivals, and brought into question the necessity of quote/unquote ‘music journalists.’ When algorithms can predict success better than even the most gifted ears, and everyone with an opinion can share their thoughts on social media do we have a need for full-time music writers?

The answer, as always, is yes. There may be more people talking about music than ever before, as well as more way to access music, but that does not mean the quality of conversation around the art form is at its peak. As long as great artists are creating impossibly catchy songs that ultimately never receive the praise or support they deserve there is still work to be done on the part of music journalists. There is and will always be a need for people to amplify the voice of artists on the rise, as well as a need for experienced listeners to help those short on time make useful discoveries.

While there is a lot to be said for how music blogs and publications can better themselves in 2019, there is also quite a bit you should be taking it upon yourself to do to get ahead. What follows are three tips to keep in mind as we begin to navigate the uncertain months ahead. The future is always unpredictable, but there is a lot you can do right now to increase your chances of a better tomorrow. If you have any questions, email me: james@haulix.com.

Storytelling matters now more than ever

There was time not long ago when the vast majority of music blogs created just two pieces of content: Reviews and news. The reviews were written hurriedly by young critics trying to make their name by praising or trashing talent, while the news often amounted to little more than copy/pasted press releases tweaked just enough not to be outright plagiarism. Some of this content was good, but most was immediately disposable.

Some of those sites still exist today, but most have died due to an inability to grow their audience. If the content your creating is immediately disposable then the same can be said for your site. If, however, you can find a way to create unique content that no one else can offer then you may be able to set yourself apart.

To do this, we suggest telling more stories. Find an artist you believe in, regardless of popularity, and tell their story. Tell your story about telling their story. Tell the story of their fans and why they choose to care about this artist instead of the other million-plus in existence. Find an angle that interests you and shares it with the world. Take chances. Maybe what you uncover isn’t necessarily new or groundbreaking information, but as long as it is honest and well-written, it will entertain.

Maintain your archives, both public and private

Here’s a nightmare scenario most writers never consider: What happens to your content in the event a hacker attacks the site(s) where you contribute? What happens if the owner of that site suddenly loses interest in the publication and deletes it? What happens if for whatever reason your content disappears before you or anyone else thinks to save a copy elsewhere?

The answer is always the same: Your content is gone forever.

In 2019, there are no longer any acceptable excuses for failing to maintain a personal archive. Too many sites have gone under, and too many people have complained over social media about now permanently lost work for you to fall in line with those who the easily avoidable mistake of not keeping track of your work. After all, who else do you expect to do it? No one cares more about your career in writing than you, so you must be the one to look after and ensure its legacy.

In addition to saving your work offline, we also suggest you maintain a catalog of links to the currently active content you consider to be your ‘best’ work. Services like Contently make this easy and cost-effective. Again, there is no excuse for your archives being a mess. Get it together!

You need a website

Every time we create a post offering advice to individual professionals we make it a point to emphasize the need for a personal site. It doesn’t matter if you own a blog with a hundred contributors or you contribute to a hundred blogs, every single person trying to make it in the music business should have their website. The reasons why are as endless as your imagination, but the main reason is that you need a place where you and your work can be the focus of everyone’s attention. You need a place where your absolute best work is displayed, as well as a place where people can learn more about you and whether or not you are available for freelance work. A personal website can be anything you want it to be. Just make sure you have one.

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18 Problems Facing Music Blogs Today (And How To Solve Them)

Music blogs were once widely considered an integral part of any music promotion effort. Before the age of streaming services, dedicated genre flans turned to blogs for new song premieres, new artists, and tour information.

Opinions have changed in recent years. While some blogs are still considered gatekeepers to specific areas of music, many more have been written off as unnecessary or uninteresting (often both). Those criticisms, along with others, have birthed think-pieces, podcasts, and YouTube videos that question the relevancy of the blog market as a whole.

But such criticisms are short-sighted. Much like cassettes and vinyl before them, blogs may not be as vital as they once were, but that does not mean they are dead and gone. There are countless blogs operating today, with more launching every month. People still dream of becoming music journalists, and some even get paid to write about music regularly.

With that in mind, let’s explore the problems music blogs face today, many of which have only arisen in recent years.

1. Interviews are mostly irrelevant in the social media age. Why read an interview with someone who already shares every detail of their life on multiple social media platforms 24/7? What can blogs deliver that they can’t?

2. There will always be a need for a “water cooler” where the conversation on a band/genre takes place, but now there are more avenues for discourse than ever before. Blogs, podcasts, YouTube, Instagram live, etc.

3. Many sites have thrived by regurgitating press releases as fast as possible, but no one is faster than the artists who have likely scheduled the same announcement across all channels in advance of release.

4. Sameness is a disease that has plagued many sites for years. What does any blog offer that no one else can, and how are blogs utilizing that uniqueness to engage music fans?

5. When everyone can share their opinion all the time, why should anyone listen to a blog? Just because someone writes 1000 words on a new album doesn’t mean their perspective is better than what someone else can fit into a tweet. Creativity always wins.

6. Simply sharing content is not enough to build an audience. Where is a blog’s branding? Where is their investment? How are they making their content their own and not just another use of the same promo image every other site uses for the exact same coverage?

7. Single platform sites are dinosaurs. Does the blog have a podcast? How about a YouTube channel? Are they creating unique content for their Instagram and Twitter, or is everything the same everywhere?

8. Have sites made any effort to promote their content beyond having their contributors share links tagging talent? Artists are more inclined to engage fans than they are to try pleasing a blog that relies on them to bring clicks. Where is the authority?

9. Speaking of original content, does the blog edit their posts? Are they developing a voice? Do they curate image galleries rather than posting 50+ photos from a show they covered in 250 words, most of which can be summarized with “it was cool”?

10. What about your community? Has the site identified the type of person who reads their content? If so, have they asked readers why they choose that publication over the competition? Have they asked their audience who they want to know more about?

11. What is a site’s focus? Everyone listens to a little bit of everything, but no site is proficient or knowledgeable about every genre. Sites hoping to succeed need to identify what coverage performs the best and minimize the rest. Blogs shouldn’t trend hop just because Lil Whatstheirname is suddenly buzz-worthy.

12. Does everyone really need a site of their own, or would they be better suited for partnering with another site to create one powerhouse force? Is it ego or necessity that dictates that decision?

13. As far as advertising and promotion, what is a site’s target market? How did they identify them? What can they offer that group that other sites can’t or won’t?

14. Too many sites lack clear goals. Many are trying to be Rolling Stone, but that is a terrible decision because the business model of Rolling Stone is no longer working for that publication in today’s world. Sites need to set attainable goals and manage their expectations along the way.

15. If they do start a YouTube Channel or podcast, why? How are they working to differentiate that content from what already exists? The more specific sites can be the better. No one needs more “people who like everything talking about everything they like.”

16. Networking matters. What kind of relationships are new sites developing with PR/Labels/Artists? Are they saying yes to everything? If so, stop that. Are they only saying yes if they promise to promote? If so, top that. Are they working together to create the best possible content that can help everyone? If so, do more of that.

17. Too many sites dream big but act small. If blogs try something new, they MUST put their all into it. Why should anyone else give a damn about what a website is doing if the site owners don’t give a damn? Quality breeds community.

18. Blogs need to listen to the music community more. Find a need and fill it. Do you have any idea how hard it is to find a complete list of tours currently happening in any specific genre? How about a playlist with all the new material from any one genre each week? These ideas and many more are waiting to be utilized.

These problems don’t even begin to address the problem of monetization, or they need to pay contributors, but both these issues can be solved AFTER an audience has been developed.

Blogs will never die, but it’s likely many sites that exist right now won’t be around in five years’ time. If you want to survive then you must adapt. Constant evolution based on analysis of trends and tastes will inevitably give way to longevity. Complacency only leads to death.

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A simple trick for improving your relationships with publicists

Do you know what I hate? My inbox. Every single day for the last decade my inbox has been flooded with press releases, pitches, and promotional messaging from thousands of contacts around the world. A few artists and artist reps talk to me regularly, a few even daily, but the vast majority only make meaningful contact when they need something.

If you’re a music writer, you can probably relate to this struggle. You want to be someone people turn to with opportunities, but you also want to live life away from your inbox. The tug of war between your personal and professional life blurs the more you work to be diligent with responses, but ultimately you lay in bed at night and wonder whether or not your time is wisely spent.

Now if you think that is bad — imagine how publicists feel. A publicist goes through all the same struggles outlined above; only their experience is 10x worse. They know, nine times out of ten, that an email in their inbox is a request. They don’t know what the person wants or needs, but they know it is something that will add to the list of things they need to accomplish. Even if all they can do is to decline, there is still work to do, and that work never ends.

I tell you this because a surprising number of writers do not appreciate how fortunate they are to receive any response at all from most artists and publicists. Unless you a contributing to one of the top tier entertainment publications the chances your one post is going to make a significant impact on the trajectory of someone’s career in 2018 – without them publicizing it heavily themselves – is minimal. Today’s talent needs a lot of quality coverage, not to mention a lot of different types coverage, from numerous sources. There has to be a strategy to the chaos of promotion, and implementing that strategy requires someone who oversees the madness that is attempting to make people care about someone’s creative output. That responsibility almost always falls on the publicist (or, in their absence, the artist), and it is up to them to figure out how and where and when to push content.

And you know how they keep these jobs? Results. The person responsible for promotion is judged on the results of their work. Did they secure a lot of news coverage? Did the interviews go to sites who had significant influence and/or strong writing talent? Where did the exclusives premiere and why? Were there any opportunities left on the table? If so, why?

To answer the questions above publicists create reports that are regularly updated, which only adds to the workload of these already busy professionals.

This is where you come in.

Every time you write about an artist you need to send the artist’s press contact a link to the published post. Tagging the artist on Twitter or other social media platforms is not enough. Some artists receive hundreds, even thousands of notifications throughout the day. If you want your name and site to get ahead, you need to ensure your work is being seen by the right people, starting with the artist and their representation.

News post? Email.

Review? Email.

Editorial? Email.

Top 10 best hair moments? Email.

Publicists spend a significant amount of time scrolling through Google notifications, and RSS feeds in search of content relevant to their clients. The names and sites that appear through those efforts are hurried into spreadsheets so that another name can be added to the list. You don’t want to be just another name on a list. You want to be known as a writer who gives a damn, and that begins with making sure people know your work exists.

REMEBER: Relationships are everything in music, and you can further yours by helping those around you do their jobs more efficiently. In writing, that means sharing your content with the people who shared that information with you in the first place.

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Three tips for music writers in 2018

The music business in 2018 would be virtually unrecognizable to the music business of 2000. In less than two decades the industry we all love has undergone an extended transformation that has placed an emphasis on access rather than ownership, created a glut of festivals, and brought into question the necessity of quote/unquote ‘music journalists’. When algorithms can predict success better than even the most gifted ears and everyone with an opinion is able to share their thoughts on social media do we really have a need for full-time music writers?

The answer, as always, is yes. There may be more people talking about music than ever before, as well as more way to access music, but that does not mean the quality of conversation around the art form is at its peak. As long as there are great artists creating impossibly catchy songs that ultimately never receive the praise or support they deserve there is still work to be done on the part of music journalists. There is and will always be a need for people to amplify the voice of artists on the rise, as well as a need for experienced listeners to help those short on time make worthwhile discoveries.

While there is a lot to be said for how music blogs and publications can better themselves in 2018 (click here to learn more), there is also quite a bit you should be taking it upon yourself to do in order to get ahead. What follows are three tips to keep in mind as we begin to navigate the uncertain months ahead. The future is always unpredictable, but there is a lot you can do right now to increase your chances of a better tomorrow. If you have any questions, just email me: james@haulix.com.

Storytelling matters now more than ever

There was time not long ago when the vast majority of music blogs created just two pieces of content: Reviews and news. The reviews were written hurriedly by young critics trying to make their name by praising or trashing talent, while the news often amounted to little more than copy/pasted press releases tweaked just enough to not be outright plagiarism. Some of this content was good, but most was immediately disposable.

Some of those sites still exist today, but most have died due to an inability to grow their audience. If the content your creating is immediately disposable then the same can be said for your site. If, however, you are able to find a way to create unique content that no one else can offer then you may be able to set yourself apart.

To do this, we suggest telling more stories. Find an artist you believe in, regardless of popularity, and tell their story. Tell your story about telling their story. Tell the story of their fans and why they choose to care about this artist instead of the other million-plus in existence. Find an angle that interests you and share it with the world. Take chances. Maybe what you uncover isn’t necessarily new or groundbreaking information, but as long as it is honest and well-written it will entertain.

Maintain your archives, both public and private

Here’s a nightmare scenario most writers never consider: What happens to your content in the event a hacker attacks the site(s) where you contribute? What happens if the owner of that site suddenly loses interest in the publication and deletes it? What happens if for whatever reason your content disappears before you or anyone else thinks to save a copy elsewhere?

The answer is always the same: Your content is gone forever.

In 2018, there are no longer any acceptable excuses for failing to maintain a personal archive. Too many sites have gone under and too many people have complained over social media about now permanently lost work for you to fall in line with those who the easily avoidable mistake of not keeping track of your work. After all, who else do you expect to do it? No one cares more about your career in writing than you, so you must be the one to look after and ensure its legacy.

In addition to saving your work offline, we also suggest you maintain a catalog of links to the currently active content you consider to be your ‘best’ work. Services like Contently make this easy and cost-effective. Again, there is no excuse for your archives being a mess. Get it together!

You need a website

Every time we create a post offering advice to individual professionals we make it a point to emphasize the need for a personal website. It doesn’t matter if you own a blog with a hundred contributors or you contribute to a hundred blogs, every single person trying to make it in the music business should have their own website. The reasons why are as endless as your imagination, but the main reason is that you need a place where you and your work can be the focus of everyone’s attention. You need a place where your absolute best work is displayed, as well as a place where people can learn more about you and whether or not you are available for freelance work. A personal website can be anything you want it to be. Just make sure you have one.

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3 Tips for improving your music blog in 2018

The new year is almost here, which means right now the music business is largely silent. Industry professionals at all levels tend to lay low in the days between Christmas and New Year’s day, which in turn leaves music writers with little to discuss aside from their picks for the best album, song, new artist, video, etc. of the preceding year. That content is good and expected, but if you really want to make the most of this time you should be putting the majority of your effort and focus into deciding how you will further your work in the new year.

The world of digital music writing has changed immensely over the course of 2017. Dozens of sites went under, leaving writers at every level looking for steady employment, and several sites combined forces because doing so was the only way to stay afloat. The value of digital advertising also fluctuated more than ever, which in turn made it increasingly difficult for sites to cover their costs. 2018 will likely be no different, if not worse, so those hoping to do make it through with their job and sanity intact need to embrace the constant state of change we now exist within and use it to their advantage. Here are three tips to get you started:

Get (more) social

The constant battle to always be producing quality content became even more complicated in 2017 as it seemed every social media platforms was working hard to make their platform the go-to destination for all young people. Snapchat has stories, Instagram has stories, Facebook has stories, and two of those platforms also offer live broadcast options. This, in addition to Twitter, Tumblr, and any other site/platform where fans of music exist.

You will never be able to be everywhere all the time, but if you focus your efforts on maximizing the return from a single platform in the new year your brand is likely to go far. Look at your followers and figure out where you have the most engaged followers. From there, outline weeks or months worth of content that can be created exclusively for that service. Maybe you do artist takeovers, or perhaps you host a weekly talk show. The sky is the limit!

Start a podcast (and if you already have one, keep at it)

The podcast medium garnered a lot of attention in 2017, and it is likely to see even more growth in the new year.

The possibilities with podcasting are seemingly endless; You can record a conversation about a single topic, offer regular news updates, interview people, or simply talk to the world at large — all from the comfort of your home (or anywhere else, for that matter).

Podcasts can be as long or as short as you want, and there is no limit to the number of podcasts you can record. Find a niche that has not yet been filled an fill it with your voice.

Simplicity is an art. Quality > Quantity.

When everything is available with a few clicks and keystrokes the temptation to try and cover all corners of the entertainment world at all times can be great, but for the sake of your health and sanity, you need to resist giving in to such ideas.

There is no way anyone or any one team can cover everything and do a good job. You can cover everything and be pretty mediocre, sure, but being the best at everything just isn’t in the cards.

Find what your audience wants and serve that to them as often and as well as you possibly can.

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Music Writing 101: Coverage Confirmations

If the first goal of every young music writer is to gain access to albums from their favorite artists before those records arrive in stores, then the second goal is usually to see those artists in concert without paying the cover charge. Yes, free admission to concerts and festivals is one of the perks of writing about music, but just like advance access to music it’s a perk that doesn’t necessarily have to be extended to you.

No show or event is truly free to writers. Your currency in these exchanges is your voice and whatever audience (aka reach) you have through the outlet that shares your work. Upon receiving confirmation that you have been added to the list of any event you are entering into an agreement that you both will attend said event and that you will write about that event in a timely manner. For example, if you attend Van’s Warped Tour on Monday after promising a review to PR then it should not take a week or more to post that review online. If it does you will risk straining your relationship with the PR that granted you access in the first place. More importantly, you will develop a reputation that extends beyond that one relationship and follows you where you go in music. The industry may seem large to outsiders, but it’s actually quite small, and everyone who knows anyone will come to learn of your lack of follow through.

This is about good business as much as it is respect. People will get upset if publicists do not reply to their requests in a timely manner, but see no problem dragging their feet to complete content that was promised in advance of receiving a coverage confirmation. Those who respect others and their time/work will in turn receive the same respect.

Rey Roldan, founder of Reybee Inc., recently wrote the following on coverage requests and confirmations from the perspective of a publicist:

If you request music or tickets from a publicist and promise or confirm coverage, it’s your duty to make good on it… and if, for some reason or another, you can’t keep your side of the deal, it’s only respectful to let the publicist know. Don’t ghost them.

It’s understandable if you hated the show or the music and you don’t want to cover it because of that reason. But let the publicist know, so they don’t constantly hound you for the link.

If you confirm an interview date and time but something comes up and you can’t make it, let the publicist know ASAP. Don’t wait for the time of your interview to tell them that it’s a no-go. It only makes the publicist look bad and could create tension in your relationship moving forward.

If you get confirmation of guest list or photopasses to a show (especially the bigger, higher profile shows) and can’t make it, let the publicist know as soon as your can. There’s a chance that the publicist can use your spot to give to another writer/photographer who was cut from the list. We publicists do sometimes check guest lists after the show to see who showed up and who didn’t.

If you are requesting tickets to a show with multiple artists, either send one email with all the publicists on copy or make sure if you get confirmed on one list to let the other publicists know you’re all set. If you are on multiple lists for the same show, it can prevent other writers/photographers from covering that show. Or if we publicists cross-check our lists and see you on it more than once (or worse yet, see multiple names for the same outlet on different lists), it looks bad for you and/or your outlet.

Making relationships in this industry can be difficult. Maintaining them is easy. Just don’t fuck them up.

Respect and follow-through are everything in this business. Do your best to follow the golden rule (treat others as you want to be treated) and you’ll do just fine.

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Can someone create a successful, sustainable music blog in 2017?

Not long ago the idea of launching a music blog was thought to be a smart way for aspiring music professionals to network and get their foot in the door of an otherwise hard to access industry. Anyone living anywhere who could string together sentences and navigate a ‘create your own site’ type blogging platform (WordPress, Tumblr, Blogspot, etc.) was suddenly able to be a part of the entertainment business, and many signed up to do just that. Sites of all sizes were creating original content, building communities, and – in some cases – catching the attention of the business world at large. Some site owners sold their creations for thousands of dollars, while others built writing teams largely funded through click-driven ad revenue.

Over the last few years however, things have gone downhill. Sites have been folding by the dozens, and any newcomers who dare try to launch a new project without some kind of celebrity backing or association often struggle to develop an audience. Patreon has helped in some cases by making it easy for consumers to support content creators, but when the majority of a site’s content (news) is easily available for free on a hundred other sites convincing people a single blog deserves even a dollar a month can be an uphill battle. This is especially with younger audiences, who have likely never paid to read news or opinions in their life. That demographic has only ever known the news to be something that was available on demand, for free, 24/7.  To make them think otherwise requires original thinking, innovative content, smart marketing, and relatable voices with in-depth knowledge of the subject matter.

But there’s a problem: All of those things require money, and anyone who is actually getting paid to write about music right now will tell you there is little of that to be found. Advertising revenue has been falling for years, which has no doubt killed many publications and forced others to drastically downscale their operations.  In turn, the rate(s) freelance writers receive for their work has continue to fall year over year. Some have found success by selling music related content to brands and social platform as a form of marketing, but even those jobs are increasingly hard to find.

With all of this in mind one has to wonder: 

Can we create a successful, sustainable music blog in 2017?

From my experience, the responses to this questions can best be described as coming from either optimists or realists. The optimists will tell you that people will support something they believe if it is done well. Realists will tell you there is a lot of great content from great writers available for free all the time, so why do you think anyone’s work deserves more than theirs?

It really comes down to money and content. If you ask former music bloggers why they quit the first response they are most likely to offer will relate in some way to money. Maybe they needed more of it, or maybe they never made any at all. Maybe they made it work for a minute, but in order to have any kind of life as a functional adult they needed to seek additional employment. That secondary job inevitably paid more than writing so, over time, writing faded into the background.

Seriously, you would not believe the amount of great music writers who would love to continue writing about music, but due to the simple fact they have lives they cannot reason the time needed when no payment is involved. It’s not a matter of whether or not they are writing for the right reasons, but that our society is not one where credits can sustain one’s continued existence. Clicks don’t put food in writer’s stomachs or pay for their kids to have school clothes. People need money to live and asking for it in exchange for their time and creativity should not be something they hesitate to do. They deserve it.

The other factor, as mentioned above, is content. What kind of content can a publication offer today that cannot be found elsewhere for free? The answer is two-fold: The voices of the writers involved, and the type of content they are able to create because they have funding. The possibilities are endless as long as their is support for the creative endeavors of those involved.

If it mainly comes down to money, how much do we need?

This is a good question. Perhaps, the only question. There is no exact answer, but reliable monthly income is a good place to start. The amount a writer feels their work is worth and the amount they’re willing to accept to create said work is often two different numbers. Those with a passion to develop a sustainable brand and home for their work will be willing to take less to begin if they believe in what is being created. With the backing of an audience that reenforces the necessity of their work through financial support writers can be positioned to do great things on even modest budgets.

The thing is, most career writers will not jump into a non-paid project for an unknown site if there is no guarantee of money down the line. They may be willing to contribute an article or two, but they are likely too busy with paying work to take on something for credit.

How do we get around this?

It is possible that there are consumers who want quality content related to alternative music/entertainment enough to financially support a site at launch. With the right team of influencers, each bringing their own audience to the site, a community of passionate readers could theoretically support a new site from launch.

Right now, the best way to approach this appears to be through a funding site like Patreon, which allows consumers to give creators a few dollars a month, every month, in exchange for continued content creation. One could create a Patreon page promoting the launch of a new music site from a group of writers who have agreed to write as long as the page maintains X amount of money per month. Readers wishing to see the site launch agree to contribute a few dollars a month, and once a certain threshold is reached the site goes live. From that point, the amount of money generated per month directly correlates to the amount of content created.

For example: Let’s say MUSIC BLOG X starts a Patreon Page promising to launch once the site is receiving $250 a month in contributions. Prior to reaching this goal, all subscribers who sign up to donate early will receive a weekly newsletter with headlines and short reviews. Once the page is bringing in $250 a month, the site goes live. At this point all money donated to MUSIC BLOG X is split into three groups: Site costs, operational fees (taxes), and paying contributors. The first two groups could be covered with $100 a month. If the site continues to generation $250 a month, this leaves $150 to pay contributors. If the site pays writers $15 per feature (a low rate), the site can run 10 features that month. As more contributions come in, more content can be afforded. Writers get paid, readers get quality content. Everyone wins.

But we still come back to the first problem: Finding consumers who ‘give a damn’ enough to pay for a new publication.

It’s one thing to find subscribers to established brands, even if you have to lowball yourself to do so (Example: Alternative Press selling $5 subscriptions), but starting something new is an entirely different story. Many people equate something new with presenting risk, and no one likes to think they are risking their money. It may take a ‘proof of concept’ beta site to win over consumers, and even then it will be an uphill battle to gain followers.

This does not mean we should not try.

If you look around the digital space you will find there are small revolutions happening all the time. Every week there is a new idea or site or trend that grabs a corner of the internet by the collar and hooks them into whatever is being sold. It is unclear how large the market for a music blog is in 2017, but suffice to say there will always be an audience for quality music journalism. We as creators have to believe there are consumers who understand that the content we provide is not created out of thin air, and that every keystroke comes at a cost of time and money to the content creator. Just because consumers cannot hold our creations does not mean they do not have value, but convincing a generation of consumers raised to believe otherwise is a problem plaguing much of the digital space. The answer appears to reside in people and the community that can be created around their voices, as well as through empowering those who support them. When everyone feels like they are not only being heard, but respected, then we can move forward a global music community.

We need a revolution. Who will lead us into the future?

James Shotwell is the Marketing Coordinator for Haulix. He is also the host of the Inside Music podcast and a ten-year veteran of music journalism. You should probably follow him on Twitter.

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Bloggers: Bands and their management owe you NOTHING

This time last year the alternative music world was embroiled in a number of controversy involving musicians and allegations of sexual misconduct made about them from young fans. The debate over whether or not these stories should be covered and how the allegations could be authenticated waged well into 2016, but now we face a new type of monster who is further threatening the way people feel when engaging with the modern music industry.

This is a story about a blogger, just like you or me or someone you know who dedicates way too much time to writing online, who found a way to piss off the entire alternative music community through a single interaction with one artist on one day that they will now never forget. At the request of the people involved I am not using any names or dates, but know the following story – which is posted as it was received – took place within the last two weeks somewhere in the United States:

‘…a TM (female) that unfortunately missed an interview for our client due to a simple time zone mistake. Instead of the interviewer cancelling or rescheduling, he took it upon himself to ask her for inappropriate photos of her in order to move forward with the interview.’

I reached out to the publicist in question to gain some clarity on this message. Apparently, the interview was scheduled for a specific time that was not met by the band. When the group finally reached the individual, he suggested the group’s female tour manager share nude photos of herself as an apology before he would proceed with the interview. I’m told the TM laughed the incident off in the moment, but the individual in question – a personality from an online radio show – pressed the issue further. The band completed the interview without incident and immediately phoned their publicists afterward to film them in on what had happened.

To be as clear as possible: You, a writer, are owed nothing by the bands you cover or the people they hire to represent them. Even if an artist is late or otherwise misses a prearranged event, you are owed nothing as a member of the press. Common courtesy is always nice, but again – it should not be anticipated.

Furthermore, there is no reason for anyone to treat anyone this way in any circumstance I can imagine. People do not owe you photos of their naked body just because they or someone they represent were unable to make good on a promise. They may owe you an apology, but to infer that you deserve more or that you may write something mean if a deal is not made only reveals your lack of professionalism and respect for other people.

If you think stories like this do not make their way around the industry, you’re wrong. Publicists, musicians, managers, and all other professionals constantly talk about the members of the press they interact with and what their experiences with those individuals is like. If word gets out that you or someone associated with you is behaving in a manner at all like what is describe in the above story then you will not be a part of this industry for long. There are more than enough to good and kindhearted people to fill the jobs we need filled. All others can find another line of work.

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7 things to keep in mind when pitching music bloggers

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

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

1. Know who you are talking to

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

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

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

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

3. Read the submission guidelines

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

4. Always keep it simple

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

5. Be respectful

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

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

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

7. No one likes spam.

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

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

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Medium is hoping to change (music) blogging forever with their latest news

Some of biggest problems facing music blog editors today is how to best manage their content and how to afford the costs associated with running a digital publication. As time passes and sites begin to age, these needs continue to grow, and the costs associated with handling them increase as well. Hosting in particular can be extremely costly, and most publications resort to banner ads or other intrusive/distracting money-making ideas that ultimately lower the quality of the site they’re trying to maintain.

Medium, which has been growing in popularity over the last few years, may be the solution to both these problems. Earlier today, April 5, Medium announced it had released a new set of tools to empower digital publishers. A blog update announcing the new features reads:

Medium is already home to the best writing on the internet. For publishers, we want it to feel even more like home. That means giving publications a way to express their own identities on the platform. This week we are rolling out new branding tools that will allow publications to customize color, layout, and navigation.

Right now on the web, publishers are forced to spend time and money maintaining their aging content management systems. Expensive redesigns inevitably fail to keep up with the rapid pace of technological innovation.On Medium, publishers have full control over their content and spend exactly zero time, money, or effort on tech and hosting, instead focusing their resources on producing great content and reaching new audiences.

As if free hosting, customization and content management were not enough, Medium is also introducing tools to help migrate content of all sizes, as well as advertising solutions that the company promises will be far less intrusives than the ads most sites currently rely on for income. 

Along with these announcements, Medium took steps to prove people outside the company believe in its future as well by sharing a list of popular sites that had already made the decision to switch. These companies were selected and contacted by Medium over the last few weeks, and many already have sites live on the platform, including Film School Rejects.  The Awl, Pacific Standard, and Electric Literature are also on board.

While these tools and the idea of no-cost hosting are pretty sweet, there are still drawbacks to using Medium that may make it hard for some to consider the switch. Specifically, the lack of customization. The sites already active each have a branding banner across the top of their sites, and from what we’ve seen it appears the layout of content is customizable to an extent, but at the end of the day it’s hard to tell one premium publishers from another with the current system. This may, and most likely will, change in time, but for now it’s hard to ignore that almost every publication hosted on Medium looks pretty much the same.

Also, Medium has not revealed any information regarding the process of migrating off their platform. The company has undergone many changes in its short life, and while the future seems bright now it may not always be that way. Should you choose to move everything to Medium, there is a chance – as there is with any platform (Tumblr, for example) that offers a solution to hosting – that you will need to come up with yet another solution down the line. You’re not exactly paying to use Medium, so you don’t get a say in how things work. By moving everything to their platform you’re putting your faith, hard work, and industry future in the hands of someone else. Is it worth the risk? That’s not for us to say, but you should give careful consideration to every decision related to hosting as will ultimately impact every other aspect of your publication.

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