The following is the latest post in an ongoing collaboration with the team at Catalyst Publicity Group. If you have a question related to Music PR that you would like us to tackle in an upcoming column, email james@haulix.com and we’ll do our best to give you a timely response.
QUESTION: My band recently signed a contract with a publicist. What should we be doing to ensure we get the most out of our money (and their time)?
Good question. There are five things you need to remember when starting a new PR campaign…
1. Return press to publicist in a timely fashion
Many artists don’t understand how swiftly press moves. Social media mentions, blog posts, and online features go as fast as they come in. In order to keep your campaign moving fluidly, you need to be turning over press quickly and in a timely manner. This means it is within your best interest to return all written interviews and schedule all phoners as soon as possible – within a few days (if not within 24 hours!). If you have a lot – get it to your publicist anyway or provide them with an update. He or she can coordinate posting with the editors to ensure not too many features run the same day, or reschedule the feature according to their editorial calendar. Editorial calendars fill up, journalists work against tight deadlines, and writers lose interest fast. You don’t want to keep press waiting, and you don’t want to burn bridges with the people who are going to define your image. This is what a publicist is working against. It’s important to make sure that press is taken care of first and foremost, and that you communicate with your publicist every day.
2. Professionalism during interviews
Yes, you are in a band. Yes, being in a band is fun. We get it. You are allowed to have fun and be yourself, but don’t be disrespectful or unprofessional. That’s when you just look silly or immature, and the media will not want to waste their time talking with an artist who doesn’t know how to show them respect. Not to mention, the writers have every right to tell the world about your sloppy demeanor, overuse of swearing, or inappropriate gestures while you were talking to them.
Be sure to show up to an interview on time or call-in to phoners on-time (and on-time does not mean 5 minutes late! Sometimes phoners are radio interviews and you only have a short time between commercial breaks to get your story across!). Dress as you would for a show, acknowledge the interviewer, thank them. Don’t show up to an interview drunk or on drugs, and most importantly, always keep your hands to yourself (and keep it in your pants! – this isn’t Rock of Ages).
3. Produce content while on the road
As mentioned before press moves fast, and people lose interest fast. Just because you are on the road doesn’t mean your job with the media is over. Continue to produce interesting, unique content while you are on the road to keep yourself buzzing and keep your fans hooked. Tour diaries, studio updates, behind-the-scenes and beyond-the-stage videos, cover songs, remixes, etc. The list goes on. Produce enough content to keep your publicist busy while you’re out playing shows. It’s okay, we like that!
4. Continue being creative and offer story angles to publicist throughout campaign
This one we couldn’t stress more. The one thing that makes you stand out against other artist is – SURPRISE! – not your music. It’s your personality, your background, and your story. Contrary to popular belief, this is not something your publicist will “make up” for you. No one can tell you who you are but YOU. Are you a war veteran? Do you support LGBT rights? Are you speaking at a domestic violence event in a few weeks? How did you get your start in music (and please don’t say my dad bought me a guitar when I was 5 – everyone says that – see where we’re going here? Be original).
What groundbreaking and unique stories can you share that will tell the press who YOU are? What makes you stand out beyond your music?
5. Trust your Publicist! And be respectful…
Leave it up to your publicist to handle PR matters and more. You hired your publicist for their professionalism and expertise, and they will never work against your best interest. Your publicist should be considered one of your best friends, your most trusted teammates – after all, they are the ones who will highlight your best assets, cheerlead you on, and even clean up your messes. If you have an emergency that requires a public statement or other remedy, notify your publicist before anyone else – even your best friend. They will advise you on how to move forward with the best intentions.
Also:
Your publicist is your cheerleader always looking out for your best interests. Don’t forget to show them respect. Be kind and remember to thank them for their time and hard work. If you have a non-emergency late at night or on the weekend (i.e. you want their opinion on your new song or video), email them. Don’t hit them up on their personal social media pages or blow up their cell phones to review your content, brainstorm, or any other work after hours. Your publicist has a life too (and even though he/she is probably working anyway, after hours is our “quiet time” to get extra work done – email us and we will get back when we can). Be courteous, and trust that we will get the job done as swiftly and painlessly as possible.
ASK A PUBLICIST is a recurring column on Haulix Daily where we pose a question about music promotion and publicity in 2016 to the team at Catalyst Publicity Group. If you have a question for the team, email james@haulix.com and we’ll try to find the answer.
QUESTION: How do I know if I’m ready for a publicist?
Good question! Before you can answer that, there are a few questions you need to ask yourself: Do I have any new material being released (example: new single, music video, album/ep)? Do I have any shows/tours coming up? Do I have enough material to warrant the work of a publicist? Have I exhausted all efforts in doing this independently on the local/regional level? If so, you may be ready for a PR campaign.
At a certain point of momentum, when you begin to generate buzz, go on tour, or release an album, you are going to realize that independent publicity efforts are too much to handle. This feeling kind of just naturally happens, and without sounding too cliche, when the time comes it will hit you – you will just know. There are not enough hours in the day for musicians to handle their own media. Running a good publicity campaign is an around-the-clock, full-time job that requires a lot of attention, and a band has to also be a band. It is exhausting to play a concert performance until 2am, then have to be up by 8am to respond to important emails from the media, coordinate scheduling, and monitor the media, all while managing other aspects of being in a band. Both are full-time jobs and there will come a point when an independent artist simply cannot do it all and should seek a publicist.
If you are an artist and feel that your reach is beyond the local and regional areas it may be time to find a publicist to help. Before you reach out to a slew of firms or independent publicists, it is important to understand what a publicist’s role is. A publicist is meant to enhance your presence in a public forum. They are the catalyst to helping your band/career grow in the public’s view, they are not there to build the artist team but to attract press to cover your music and story to reach new heights. Before you reach out to a publicist make sure that you have a plan in place. If you are still recording music or filming a music video let the publicist know what stage you are in. It is important to allow enough time from the completion of the music or content before the publicist jumps on board but it is equally as important to loop in the publicist way ahead of time so the entire team can make a plan of attack. Publicists need the time to research, plan, and pitch for features, premieres, interviews, you name it and even more important time to get to know you, the artist. Every artist is different, so allowing enough time for the publicist to get to know you, your story, and music is a must. Bear in mind when selecting a publicist you are hiring them based on their expertise, their passion for you as an artist and music, and their willingness to work hard to achieve goals. A publicist comes equipped with pre-existing contacts and relationships and it should be understood from the beginning that they will work hard to connect the dots for the betterment of your career. A publicist is not a manager or booking agent. It is important to decipher the difference before reaching out. When you do reach out make sure you’ve researched the company/publicist ahead of time. It is important to interview them just as much as they interview you. Use your best judgement of character and make sure to cross check with other clients on their roster before making your final decision. Have a preliminary plan, idea of budget, and some music/content to show to the publicist you are speaking with ahead of time. If you come prepared for the meeting the publicist will appreciate the effort! Remember it is a two way street, by hiring a publicist the work of the band does not end. It is your job as the artist to work equally as hard to continue spinning the wheel and create new and innovative ideas and content for your future publicist!
On this episode of INSIDE MUSIC, host James Shotwell contacts Catalyst Publicity Group members Jen Appel and Chrissy Borsellino to discuss their team’s contribution to the world of music. Along the way, Jen and Chrissy offer advice for aspiring publicists and passionate artists to help each better navigate the modern music business. If you want to up your music industry game, then you won’t want to miss this show!
The music you hear in the intro to ‘Inside Music’ this week is “Say Anything (Else)” from Cartel. You can learn more about that song, as well as the album it hails from, on the band’s official website.
You may already know this, but ‘Inside Music’ is now available on iTunes! Click here to subscribe.
Inside Music is also on Twitter. Follow us for show updates and clues to who will be our next guest!
Hello and welcome to another exciting week of music industry insight and advice here on the official blog of Haulix. We know Thanksgiving is right around the corner, so we’re stuffing our some of our best content to date into the coming days as our way of saying thanks for continuing to support our efforts. If you have a recommendation for a future column, of if you have any question about our services, please do not hesitate to email james@haulix,com and share your thoughts. We can also be found on Twitter and Facebook.
Everyone comes to want a life in music for their own reasons, but one thing we’ve learned through this series is that most journeys to the industry begin at a very young age. Parents fill homes with music and art in hopes of opening their chid’s mind to the creative possibility of the world, and over time those same children become increasingly fascinated with whatever form of entertainment played a predominant role at their mailing address. For Chrissy Borsellino, that entertainment came in the form of music, and today we’re going to learn how she rose through the ranks to become the Publicity Director at The Catalyst Publicity Group.
I’ve known Chrissy for a number of years, but it wasn’t until early 2013 that we had the opportunity to finally meet face to face. It was SXSW, and Chrissy had a number of artists performing throughout the city seemingly every night of the week. To say she was busy would be an understatement, but when it came to engaging her clients and the press who had come to see them Chrissy made time to make each of them feel like they were the only thing on her mind. She realizes the importance of making others feel important, and that is just one of the many (possibly countless) reasons I knew she needed to be included in this series. She’s kind, dedicated, and more driven than almost anyone you’re likely to meet.
If you want to follow Chrissy’s efforts in the music industry, be sure to follow the Catalyst Publicity Group on Twitter and Facebook. Additional questions and comments can be left at the end of this post.
H: State your name, job title, and the company your currently work for:
CB: Chrissy Borsellino, Publicity Director at The Catalyst Publicity Group!
H: When you think about your life with music, what are the earliest memories that come to mind?
CB: Oh I have lots of musical memories from my childhood. From attending local music festivals with my parents (they dressed as ZZ Top for Halloween one year, seeing my mom with a long white beard as a youngster was definitely impactful) to rollerskating around my house to Disney records. We were a huge vinyl household.
H: Do you remember the first album you bought with your own money? Do you still own it today?
CB: I can’t remember precisely the first album I bought myself, I’m thinking it was No Doubt ‘Tragic Kingdom’ with a Media Play gift card. But I can remember vividly playing my Michael Jackson ‘Thriller’, Paula Abdul ‘Forever Your Girl’, and New Kids On The Block ‘Hangin’ Tough’ cassettes until they could play no more.
H: You’ve been involved in music for awhile now, and publicity was not necessarily where you got your start. What initially attracted you to the entertainment industry?
CB: I have been insanely in love with music from a very young age. As I previously mentioned my parents were a big influence on that, filling our house will all different artists and genres. When my brother began drumming for a few local bands in high school I really started to understand the “business” side of things and was immediately drawn to it. My goal then is the same as my goal now, to discover an undeniable talent and help them break through to success.
H: From what I have gathered, one of your earliest gigs in the business was with Step Up Presents. Can you tell us a bit about how you landed that position, and what that experience was like?
CB: Ahhh my first real gig in the biz! Step Up Presents is an independent concert promotion company in the Albany, NY area. While I was attending SUNY Oneonta, getting my BA in Music Industry, I had to intern to be able to fulfill my degree requirements. After speaking with my local Syracuse promoter, he intro’d me to the Step Up owner and I was brought in for an interview. This took place backstage at a concert venue DURING a show, I believe it was The Chariot playing. Once I was given the job I spent that summer assisting with shows doing everything from catering/hospitality to settling with the bands to box office duties and more. The most ridiculous task I had was running the “shower shuttle” at a big metal festival in the Poughkeepsie area, taking smelly band dudes to the hotel a mile away to shower. The most terrifying was the amount of injuries and blood at the Slayer concert, complete with a fan climbing up into the rafters and delaying the show. After my internship was done I stayed on in a part-time capacity, driving to Albany from Oneonta a few times a week to help out. It was the best experience of my life, I met and still stay in touch with a lot of people from that time.
H: A lot of people work for little-to-no pay when they first start out in the entertainment industry. Was this the case for you? If so, when did you start earning income?
CB: I was lucky to find positions that paid when I first started out, even my internships at least gave me money for gas/travel and food. Immediately after my second internship with Cherry Lane Music Publishing ended (right after I graduated college) I secured a full-time position with ASCAP and stayed there for just under 2 years. Only after finding myself unemployed, thanks to our wonderful economic crisis, did I start having to work positions for “experience” rather than pay. And I did that just to keep my resume and network building.
H: If you could offer one piece of advice to aspiring industry professionals, what would it be?
CB: Network. That’s the MOST important part of the whole business. Even for artists. The more time I spend in the business, whether it be at a label, management company, concert promoter, publisher, or PR firm, the more I’ve seen that having that support and rolodex is what is going to get you from point A to B, B to C. Sure being a hard worker, an expert in your field, having the ability to learn quickly, the drive to keep learning as the industry evolves and having a crap ton of patience is also important… but without that network, it’s always a blind, uphill battle.
H: At what point did publicity become your focus, and do you recall anything pointing/inspiring/leading you in that direction?
CB: I got my start in publicity during that time of fun-employment. I wouldn’t say I was necessarily drawn to the work of a publicist but rather working directly with the talent to strategize ways to help them break through the over-saturated music landscape and find their audience. Between my stint there and working for Catalyst I found myself back in music publishing for about a year. I’m captivated by so many sides of the industry, I doubt I’ll ever stay in one field permanently.
H: Who was the first artist you worked publicity for, and what was the experience like?
CB: Oh man I can’t even remember that, I worked with a lot of artists when I got my start in PR specifically. I will say that my first glimpse into the world was working as an assistant for Warren Haynes (Gov’t Mule, The Allman Brothers Band) and his management company/record label. I was the middle-man between the PR team and him, figuring out his itinerary and helping them schedule press opportunities. I remember it being very hectic.
H: What advice would you give artists about seeking publicists? Is there anything they should look for and/or avoid?
CB: Know what a publicist does. When approaching a certain publicist or firm, do your research… know what artists/clients and publications they’ve worked with, the kind of campaigns they’ve run. Do your homework! It’s money coming out of your pocket for this service and you should be extremely well versed so you can ask the important questions and not waste time on the information you can find via the google machine. Also make sure you have something press worthy to bring to the table. A record that came out months ago and a short headlining tour at no-one-cares-about-that-venue is not enough for a publicist to run a successful campaign on your behalf. If they tell you otherwise, they probably just want your money.
H: As someone who has worked with signed and unsigned talent, do you feel record labels, big or small, are necessary in the modern music industry?
CB: This depends entirely on the artist and their situation. I believe though, with the right team, strategy, and outside-the-box approach to things, labels are completely unnecessary. But you have to want to put in the work. If you’re an artist who’s main goal is to find their team so they only have to create and do none of the business, then thats not for you. I will say in this ever-changing business landscape, it’s good to at least make sure you know what your plan is and where you’re money is going. We’re at a time where the artists hold way more cards then they ever did before, why not take advantage?
H: What is the biggest mistake you see bands making when trying to market themselves?
CB: The over self-marketing on their social networks. Posting only about your record or upcoming shows to get your fans to spend money on you is not smart. Fans want the connection, not bands asking them to continuously buy their crap. There’s this great social media food pyramid that I think all artists and companies should adhere to. It outlines how many posts should be about self-promotion, direct engagement, media content and more. It’s a really useful tool!
H: As a publicist, what advice would you offer writers hoping to work with your artists?
CB: Please do your research. We send over bios, one-sheets, and links for you to make the most of your time with our clients. Asking them the same cut-and-dry questions that everyone else is asking only annoys them and hinders the experience. And never, ever, flake out on a show if you’ve been given guest list spots/tickets/passes unless it is a truly extenuating circumstance.
H: When it comes to sharing music with journalists, what services/methods do you prefer? Why?
CB: That depends entirely on the client. Some bands will want a secure, private stream sent of their unreleased record to deter it from leaking. Others don’t care and just want the journalists to be able to listen to their music. When it’s the latter I typically use my secure dropbox to send over whatever assets are needed for a particular client. It’s easy to keep track of, add/delete from instead of having to do a whole separate upload, and doesn’t “expire” until I want it to.
H: If you could change one thing about the music industry, what would it be?
CB: That’s a really tough question. I guess I’d have to say the value of music and the songwriter. Between consumer and certain business practices, it’s sad to see the ever growing under-appreciation for the musicians creativity and work. If you really love an artist or a song, then do the writer a solid and make sure they are compensated for their craft.
H: You’ve held a number of titles thus far in life. What is your ultimate career goal, and are there any areas of the business you’ve yet to work in that interests you?
CB: Oh that’s ever-changing for me. The situation I’m in is great, I really enjoy being able to select the artists I want to champion rather than be handed a client I had no previous engagement with. I love working with talent I really believe can go the distance and exhausting every avenue and outlet in order to help them find their success. But I think if I could do ANYTHING I would want to be a music supervisor for TV or film. Matching music to visuals to enhance the experience has always intrigued and inspired me.
H: Okay, I think I’ve taken up enough of your time. Before we let you go, do you have anything on the horizon you’d like to share with us?
Hello and welcome to the third installment of our Haulix PR Spotlight series. The last two weeks featured industry veterans with over two decades of experience between them, but this week is a bit different. Instead of highlighting someone more or less settled into an industry career we’re going to a focus on a talented individual who is causing quite a stir with a publicity company she started less than two years ago. Her journey to stability is only beginning, and we’re excited to share her progress thus far. If you have any recommendations for future publicists we should feature, please email james@haulix.com and share your story.
The age of social sharing and digital distribution has made getting your creative works to anyone willing to listen easier than ever, but that simplicity comes with a cost. As much as the ease of use helps you it also aides your numerous competitors in getting their new works out as well. This flood of content has made it harder than ever before to get noticed in the industry, and that very problem has lead many to throw in the towel altogether. Why add to a crowded marketplace when it’s already near-impossible to be heard? If you’re going to make it in this business there is only one answer: Because you have something unique to offer.
Like the rising number of musicians vying for attention these days, there has been an explosion of in the number of small publicity and management firms in recent years. To strike out on your own in the business world takes a lot of drive and confidence, especially in the music industry, and even those who find small amounts of success have a high likelihood of failure within five years time. Still, against seemingly all odds a small amount of these young entrepreneurs are finding solid ground in the industry, and today we could not be more excited to be highlighting one such talent.
Jen Appel did not always dream of being a music industry publicist, but in just over year after launching The Catalyst Publicity Group that is exactly where she has found herself. Backed by a team of hardworking dreamers with similar aspirations for careers in music, Appel has built a blossoming brand that artists big and small call home. Her drive for success is matched only by her passion for music, and it is our hope in sharing her story that another generation of young PR talent may be inspired to take their careers into their own hands.
Jen is a truly great soul who is always willing to speak with aspiring industry professionals. If you have any questions or comments for her, you can reach out via Twitter and she will get back to you within hours. While you wait, be sure to follow The Catalyst Publicity Group so you know what Jen is working on next.
H: For those unaware, please state your name, the company you work for, and your role at said organization:
JA: Jen Appel, CEO & Publicity Director, The Catalyst Publicity Group
H: Let’s start with the basics. What was the first album you connected with, and how did that record come into your life?
JA: I wouldn’t call it the first album I connected with, but Sugarcult Start Static is definitely an album that brings me back. I remember one of my friends suggested we play the album while water skiing out on the lake. I had never heard of Sugarcult before so I thought I would give it a listen. From there it stuck with me and became one of my favorite albums. There isn’t one track on the album that I don’t love, still to this day.
H: You went to school for communications, so I am lead believe you knew for awhile it was what you wanted to do in life. What attracted you to publicity as a career path in the first place?
JA: To be honest, I thought I would end up as an Interior Designer. Throughout high school I was on the Architecture/Interior Design path and quickly fell in love with drafting and building plans. When I first went to Indiana I enrolled in the Interior Design program however I wasn’t too fond of the 3D model building that would take up half of my degree so I decided to change. Halfway through my Freshman year, my advisor suggested I try Public Relations. After meeting the most incredible professor I knew PR was for me. My professor had worked at Saatchi & Saatchi for over 30 years creating some of the most well known commercials and a part of that he was their PR Director. After my Freshman year I interned at a top PR firm here in South Florida and that’s when I knew it was the right career path.
H: At what point did you connect your interest in music with your desire to work in publicity?
JA: Music has always been a passion of mine and my family. My uncle has played in several bands and is a master on the drums. I remember from a really early age trying to learn the drums and attending as many concerts as I could with my family. From there I went on to play in band and orchestra throughout middle and high school but it wasn’t until college that I really connected the two. During my Junior year at Indiana I met one of my best friends, Steph, an incredible singer/songwriter. Somehow we decided that I would “manage” her (and I use that in quotes because I really had no idea what I was doing, at all). It became something fun for me. I didn’t do much but I knew that music was something I wanted to tackle at some point. Skip to 3 years later when I lost my job at a Marketing Firm due to the horrible economy, I decided it was time try out music PR.
H: You started The Catalyst Publicity Group a little over a year ago. What lead you to start your own business?
JA: What lead me to start my own business is simple, I found that people in this industry only cared about themselves and there was a lack of passion for the actual music and musicians. I wanted to start Catalyst to show that there are people out there that care no matter what size your band is and where you are in your career.
H: Who was the first artist you worked with, and what can you tell us about your first experiences pitching new talent?
JA: The first artist I worked with was a pop-punk band out of Dayton, Life After Liftoff. When first pitching new talent it can be difficult especially if the band is smaller. I work with my team to make sure we brainstorm every angle of the artist to ensure we are getting the right pick up.
H: There are a growing number of publicity groups working in the alternative music realm. What is it about Catalyst that separates you from the competition?
JA: We are a family. Not to sound cliche but our team is really close and we make sure to help each other out whenever possible. In addition, our talent is family to us. We make sure at every turn that they are taken care of, even if it is something outside of the PR realm, they are our number one priority. My biggest key is to make sure that everyone is comfortable with their campaign(s) and that we are having fun. Music is supposed to be fun, something that takes you away from your problems, why does it have to be any different with a PR campaign.
H: What do you think is the biggest lesson you have learned in the last year of your career?
JA: Not everyone is nice. This has been a tough lesson to learn over the last year. I’ve always been the type to see the best out of people and think they are also here to help, but that is not always the case. There are some evil crazy people out there that have no problem taking advantage of you to gain full speed ahead.
H: If you could offer one piece of advice to aspiring publicists hoping to work in music, what would it be?
JA: Get to know your local/regional music scene, try to take some of the smaller bands on as freelance clients just to get a feel for what it is like. Before you reach out to any PR firms for work remember that typically there are no days off and this certainly is not a 9-5 job. This was the most difficult thing I had to learn when transitioning into music.
H: As someone who has worked with talent both signed and unsigned, do you feel record labels, big or small, are a necessity in the modern music industry?
JA: Yes and no, I believe it is dependent on the talent. It really depends on where the artist is at in their career.
H: As a publicist, what advice would you offer writers hoping to work with your clients?
JA: Please, please take the time to research my clients before an interview. It is just as frustrating for an artist as it is for a publicist when interview questions are so generic. Be creative with your questions, it’ll take your publication and career farther. H: Do you feel album leaks are preventable? If so, how would you advise an artist to keep their music safe while still getting the word out? If you can, share an experience.
JA: I would suggest an artist pair up with a PR firm to ensure their music is safe while garnering pre-release press. This is just one way to ensure that your album won’t leak, but these things do happen.
H: When it comes to working with your clients, how do you prefer to share their music with press? What is it about this method that appeals to you the most?
JA: There is the standard press blast and pitching but I really find the best method is to actually chat with press about an artist. I try to get to know the editors I work with, figure out what kind of music they’ll like and pitch them on a case by case basis. I am all about conversing with people and if I can tell someone about a band and show my excitement it’ll take the campaign farther then a typical press release. H: If you could change one thing about the music industry, what would it be?
JA: To be honest, I don’t think I would change anything about the industry. H: Your roster is growing every week it seems. Do you have any plans or releases on the horizon you’d like to share with our readers?
JA: Right now we have several artists on tour so make sure to check out our blog section on the Catalyst site and see if they are coming to a town near you. September will be one of our biggest months to date. Not only are we celebrating our one year anniversary but for the first time Catalyst will be sponsoring the Driven Music Conference in Atlanta Sept 26-29. If any artists are interested in showcasing please head over to DrivenAtlanta.com.
To keep up with everything Catalyst head over to our website: TheCatalystPublicityGroup.com.
The latest edition of our Blogger Spotlight is not exactly a fitting title. You see, even in 2013 not every journalist working in music writes solely online. A very select few have been able to find lasting work in print (ie those newspaper-like things you see in bookstores that are now on ipads, only in paper-form), and today’s featured interview is with one of our personal favorites.
In an age where it seems everyone is rushing to digital, Substream Music Press is one of the few remaining print publications in the alternative scene. It’s not that they don’t appreciate digital, and they certainly recognize the changing times, but they also know how actually holding a magazine can add weight to words. Managing Editor James Ketchum is today’s featured writer, and his insight offers a unique look into a part of the music journalism world that may not be around much longer.
As always, if you like what you read, please support our featured writers and the publications that post their work. Follow Jameson and Substream on Twitter. If you’re not a twitter person, Substream also has an entertaining Facebook page as well. Click here for information on subscribing to Substream Music Press.
H: For those unaware, please state your name, the publication you work for, and your role at said site:
Substream: Jameson Ketchum and I’m the Managing Editor at Substream Music Press Magazine.
H: Everyone’s backstory is different, and from following your adventures on Instagram it’s clear you have had many titles during your time in the music industry. What inspired you to seek a career in music, and how did you get from that initial inspiration to writing?
Substream: I remember being 15 years old, sitting in my English class, writing Dashboard Confessional (“This Ruined Puzzle”) lyrics in my notebook. Yeah, I was that kid. It was this feeling where I couldn’t write anything of my own just yet but I had to write. More honestly, I wasn’t confident enough yet to put my own thoughts or poetry down on paper, but I just had this itch where I had to write, even if it wasn’t my own words. There was some kind of magical therapy in the act itself. I always knew that, even if I didn’t become a “real writer”, that writing was my jag that I loved more than anything else in school. It took me a very long time to figure out where I was best suited as far as actually striving to make a career in music. I don’t know if I’d say I set out initially to create a career out of what I was doing. I did freelance work for a few years while I ran an online publication with a friend and business partner. Looking back now, I owe a lot to that first publication as it allowed me to make more contacts in the industry as well as learn how each different job worked. The sentiment with that first publication was “Well, I don’t have the experience yet to start applying to be a paid or full time writer, so I guess I’ll just do it myself until someone notices”. That is a philosophy I highly recommend!
H: You are the first of our featured writers who currently works for a publication that still thrives in the physical form. How does Substream make physical work in a digital era, and do you have any plans to move completely online in the future?
Substream: That’s the continual thought rolling around in our minds. Obviously, other publications have seen success having moved completely to digital, which was a move made out of financial necessity, even if they claim otherwise. It’s been interesting to see the competition make cutbacks to their product while doing their best to showcase these downgrades under the guise of “improvements for the readers”. Meanwhile, Substream has added more pages, improved the design work, became a bound publication and snagged bigger and bigger acts. Being a physical magazine is nowhere near as easy as it used to be. I get so excited if I see a kid reading a ANY magazine at the store because that’s such an antiquated notion these days. We do have a digital side of Substream. We use our website to not only post up-to-the-minute news but to give readers a further insight into their favorite article or interview. We post “Continuations” on the site so that whatever we had to cut from the physical mag, will still have a home somewhere. The key is quality and consistent content.
H: What would you say separates the content offered by Substream from other publications covering similar areas of music, beyond having a physical product?
Substream: We’ve always been known as the magazine that really spotlights the up and comers. We pride ourselves on showing you a band before anyone else does. We gave now vastly successful acts such as Paramore, Owl City and Travie McCoy their first covers. We genuinely love working with the bands personally rather than going through a hundred handlers to get an interview completed. We care about the music AND the people and I think that shows in our pages.
H: When it comes to planning content for a publication that runs online and in the physical form, how do you decide which artists make it to the actual magazine?
Substream: We have a few guidelines that we’ve honed over the years. Say we give a lesser known act a smaller feature online. If we see the band really backing us, promoting the piece, keeping up with us, seeing what other opportunities we have for them, then of course that makes us happy and more likely to feature them in the future. But let me speak to bands for a moment, you HAVE to have something going on. If you’re still playing in your garage, your promos were taken by a girl in your yearbook class, have no releases and no future plans, then we’d really be doing you a disservice by featuring you. It won’t get you anywhere and it only makes the both of us look bad. I mean that with the utmost respect because we truly do want to see these smaller acts grow.
H: You also happen to work in public relations with a number of rising artists. Which came first: The journalism or the publicity?
Substream: The journalism definitely came first, but it was because of the journalism that I was able to dip my toes in the waters of another endeavor. By being a writer, I was dealing with publicists all day long, making sure I met their needs when it came to chasing down an interview or review. I really listened to what they wanted and what they expected. Since at the time I was working for such a small publication, we made it a point to really learn as much as we could from each contact. Eventually, I began to think that I had learned their side of the transaction so well that maybe I could try my hand at it. Not only had I been working as a journalist, but I was also touring at the time so I was learning first hand what the band themselves expected from those working for them. The more experience you can gain firsthand, by touring and working very closely with the bands themselves, the more you’re going to put your heart into what you do in this industry. I didn’t start in publicity in a very conventional way. I work with some of the most talented publicists in the business and I still learn from them everyday. It’s a good balance of book smarts and experience.
H: As someone who not only covers new music, but actively works to get it exposed in multiple ways, how do you go about seeking new talent?
Substream: It’s an ever-changing mission. When I started out, it was all about referrals from friends or bands you had worked with early on. You have to always be asking around, going to festivals and scouting nonstop. It’s nice to have publications and websites that largely feature unsigned acts. If it’s a reputable site or publication, you can bet that they did their research which will lead you to a potentially great find.
H: Let’s say the artists want to come to you. What advice would you offer a band hoping to stand out from the countless others vying for coverage?
Substream: As a publication, you’re so inundated with bands requesting coverage through social media (not the most professional of ways) or cold emails, so it’s become tougher and tougher to sift through the acts that aren’t quite up to snuff. Bands really have to create a personal and professional email pitch when approaching a publication in that medium. Do not blast out an impersonal email to 100 outlets, do not send unsolicited attachments or download links as these will often go to spam or will simply not be read because of all the red flags. I cannot stress this enough; do your research on the outlet you’re pitching to. Nothing is worse than getting a pitch from a band that is nowhere near what your publication usually covers. Be creative but again, be professional. Do not pitch to a major publication if you do not have quality promo photos and recordings. I have to state this again; it will do you no good to be featured in a publication if you don’t have any skin in the game.
H: When it comes to receiving music for review and feature consideration, which services do you prefer and why?
Substream: I swear I’m not just saying this, but Haulix really is the best. I’ve never had any hangups with it unlike many of the other services. I always get a little extra excited when I see I have new music through Haulix because I know I can jam it in mere seconds with no hassles.
H: If you could change one thing about the music industry, what would it be?
Substream: I recently, independently from Substream, wrote an article for Heartsupport.com on the lack of leadership in this particular music scene. The egos on some of these bands that have been publicized and seemingly encouraged lately has been pretty upsetting to witness.
Secondly, while the internet and social networking has no doubt been an amazing tool for the music industry but it has also somewhat devalued the job of the journalist. Just as digital cameras made everyone a photographer, blogs have made everyone a writer. I don’t believe I’d change it though as competition just creates a better product.
H: You write a lot about having big plans for the future. Before we let you go, can you tell us a bit about what Substream has planned for the remainder of 2013?
Substream: We plan on rounding out the year with some big names on the cover including at least one that you will not see coming! We’ll be amping up some of our less music-oriented sections in the hopes of expanding our reach and fan interest. It’s a really exciting time at Substream. We can’t wait to show you what’s next!
