We have featured content from Lueda Alia in the past, and today we have the great honor of being able to share another advice column from our favorite Canadian. This article is written with publicists in mind, but there is a lot artists can learn from Lueda’s words as well.
This blog exists to promote the future of the music industry, and to do that we need input from people like you and your music-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
Many years ago, reading press releases was the best way to keep updated with what was happening in the music world. Press releases were a godsend at a time when information on the web was limited, bands didn’t keep in touch with fans regularly, and more importantly, there were far fewer PR agencies around. But that time has long since passed. Most writers get ambushed by press releases nowadays, most of which are mismatched.
I realize that it’s impossible to keep up with every publication, zine or blog out there — hell, even as a reader myself, I can only keep up with maybe 3 or 4 on a daily basis — but that does not excuse making horribly misguided pitches to writers who do not care about specific artists, genres, or what have you. I couldn’t count the number of times I have received emails for hardcore or metal music — two genres I’ve never once covered in my entire career as an editor — by publicists who tell me, “I think you’ll really dig this band, Lueda!” No, I guarantee you that I won’t, and now you have wasted 2-3 minutes of my day that I could have spent reading something else in my inbox that actually interests me.
The worst part? Publicists who take the time to make pitches to the right writer get burned because someone less committed and far lazier has already wasted my time. I will go ahead and assume that I am not the only writer who can attest to this.
One of the first things I learned when I started doing PR was, “Do not send press releases to busy writers.” Who is a busy writer, though? Well, within the past year that I have been doing this, I decided that that essentially applies to every writer I know (or have an email address for, rather) because I realized that the overwhelming task of combing through a full inbox was not unique to me. It’s been a few months since I sent out my last press release, and I have since developed a different approach that involves:
1) Research
2) Appropriate target lists for each client
3) Personal emails
My approach is certainly more time consuming, but the results speak for themselves. I decided to apply my new strategy to the Arms and Sleeperscampaign, and what we have accomplished so far has blown us away: the single I blogged about last time, “Swim Team,” is now at over 52k plays on Soundcloudin just two weeks, and over 33k on a separate YouTube channel. Instead of sending press releases to 300+ writers via MailChimp, I decided to keep my target list under 100 and email everyone personally, often explaining why I decided to email them about this specific single/band/music. I have no doubt the email was ignored by many, but the number of responses I received was significantly higher than I’d ever received while using MailChimp, making the time spent getting organized beforehand and during the outreach pay off.
I won’t be doing things differently any time soon. What many people don’t seem to realize (or care about?) is that many writers do this “writing gig” on the side, and, often, for free — meaning, they simply do not have enough time in a day to read emails, let alone respond. When it’s overwhelming (if not impossible) for someone who gets paid to check their email to keep up, then perhaps it’s time to reconsider how media is approached, and how pitches are put together.
Is this strategy sustainable over the long-term? Only time will tell, but I refuse to send out press releases to a massive number of writers at once anymore. It’s a waste of their time — and mine.
Lueda Alia is a music industry professional and freelance entertainment writer with years of experience working directly with artists on the rise. She maintains a great personal blog, as well asMade Of Chalk (which we featured on this blog earlier this year).
Hello and welcome to the very first ‘Advice’ column of 2014. We have been planning a number of these articles for the weeks ahead and are beyond excited to begin rolling them out this afternoon. If you have any questions regarding the content of this blog, or if you would like to learn more information about the services offered by Haulix, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
If you read our feature with Vince Edwards from Metal Blade Records last week you may recall him mentioning how radio is still one of the best pathways to a career in music available today. This was directed towards aspiring professionals at the time, but the same applies to independent musicians as well. Radio has always been one of the best avenues to new listeners available to artists, and even though your time at terrestrial stations may still be far away, the age of the internet has created countless new stations/podcasts/outlets for reaching consumers. We cannot guarantee airplay for anyone, but if you follow the advice below you will position yourself as well as you possibly can for exposure on radio in 2014.
It’s worth noting that it is possible for artists to hire people and companies who specialize in radio promotion, but for the purposes of this column we are speaking to those who prefer to go the DIY route. It usually takes more effort on the part of the artist, but the costs are much lower (and people tend to appreciate the personal touch).
As I mentioned above, the digital age has brought a wealth of new radio opportunities for artists that were not possible even a decade ago. Whether you hope to be in the mix on Pandora, spotlighted with other newcomers on New Music Inferno, or if you want to sit across from comedians like Marc Maron and talk life, the boom of internet radio has created a variety of new and innovative avenues for your music to reach people who may have otherwise never knew your art existed. Before you can reach them however, you need to set some goals. Decide what type of audiences you hope to reach and in what ways you want to reach them. Do you want to have your song added to a bunch of shows, or do you want to promote the new record with an interview? Every radio show is different, especially online, and knowing what type of programming you want to be a part of before diving any further into your quest for digital exposure will aide your efforts later on.
Once you have a handle on the type of shows you want to contact, you will undoubtedly need to research the best programs that fit your criteria. To help get you started, we’ve included a few links below:
Want to be featured on Pandora? Make sure you meet the requirements outlined in this article and then head to the official submission site to apply for placement.
Need a list of popular radio shows? Wikipedia can help get you started. We also suggest combing through the top radio stations and music themed podcasts available on iTunes.
Looking for airplay and are open to exposure from anyone will to share your art? Signing up for Music Alley will help make your media available to broadcasters in search of new music.
After your list is compiled, you will need to research each outlet individually to understand the procedures that you must follow in order to submit your music. There will likely be similarities along the way, but every station is unique. Keep this in mind and do whatever you can to personalize the messaging that is sent alongside your media. Sending a blanket message to every email you find is tempting, but crafting original messaging can go a long way towards forging relationships with hosts, DJs, broadcasters, and beyond. You never know who will read your message or who will hear music as a result of your submission. Don’t take any opportunity for exposure for granted.
Hello, everyone. Welcome to the second and final Blogger Spotlight feature of the week. We have a special column planned for later this week and thought a two-day celebration of writers would be a good way to kickoff December. If you have a suggestion for a future column on this blog, or if have questions about Haulix and the services we offer, please email james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
The best websites are only as good as their contributors, and right now in alternative music it is hard to come across a more diverse and talented team than that of Mind Equals Blown. We’ve already told you about the early days of the site, but today we’re going to learn about life in one of the industry’s fastest-growing blogs from the perspective of a contributor who is just starting to find his footing in the music business.
Tyler Sharp is one of the first writers to be featured on this blog that we discovered through our efforts with this very series. We saw Tyler’s name come up when looking at social sharing numbers from recent articles and quickly sought out his work as a writer. When we realized he was part of Mind Equals Blown we knew he had a story to share, and fortunately for us he was kind enough to let us in his journey thus far.
Making a name for yourself in music today is harder than ever, and while writing is definitely a good way to get your foot in the door it can also take years to offer any true returns for your effort. Tyler’s talents have already given him a leg up against his peers, and I have no doubt he’ll continue to succeed in whatever avenues of the business he chooses to pursue in the future. If you would like to informed on everything he has going on, make sure you bookmark and frequent Mind Equals Blown. Additional questions and comments can be left at the end of this post.
H: For the record, please state your name, position, and the site(s) you write for:
TS: Tyler Sharp, News Director, Mind Equals Blown.
H: To who or what do you attribute your interest in music? Writing?
TS: Musically, it was the band Underoath who really peaked my interest and essentially helped mold into the person I am today. They were the first band that introduced me to not only heavy music, but music outside of pop culture. As for writing, I have always been an avid reader. I love telling stories and I believe there is an important story to be told with music – I’m just trying to help write it.
H: When you think of your earliest memories with music, what comes to mind?
TS: Growing up I was always surrounded by the music my parents listened to (Led Zepplin, Stevie Ray Vaughan, Fleetwood Mac, etc.), but I never initially took a liking to music. It wasn’t until I was in the fourth grade sitting in my living room watching Green Day perform their single “American Idiot” on the Grammy’s, that I really began my journey with music. The rest is history, I suppose you could say.
H: An interest in music is fairly common, but a desire to make a career in it is something else entirely. Do you recall the first time you realized the entertainment business was the place for you?
TS: As a matter of fact, I do. I was a Junior in high school, finally realizing that performing in a band for the rest of my life wasn’t exactly the most practical life choice. I had always enjoyed reading reviews of albums and interviews with bands and it just hit me that I could do that. I had never really thought about it before, but it literally hit me like a deer in the headlights one day, and I’ve been working towards my goal of a making a career out of it ever since.
H: You’re currently a resident of Indiana, which is not exactly the first place that comes to mind when people think of the music industry. What can you tell us about your local scene and how you first got your start networking in the business?
TS: I live in the Northwest part of the state, about an hour outside of Chicago. The music scene is somewhat confusing around here. Allow me to explain: Unfortunately, there is a lot of judgement and division. We have the hardcore kids, pop-punk kids, deathcore kids and everyone in between, but it just doesn’t seem like anyone can find a common ground. If your band doesn’t sound a certain way and or you don’t dress a certain way, then you don’t “fit in.” I know this situation isn’t unique to NWI, it’s just extremely disheartening to see so much seclusion in a scene that is supposedly built upon acceptance. Don’t get me wrong, there are some very good-hearted, reputable people here (kids, bands and promoters alike), it’s just discouraging that you have to search for them.
H: Onto your work with MindEqualsBlown. When did you first learn of MEB, and what lead you to apply for a contributor position?
TS: It was around January of last year when I first heard of MEB. At the time, I was operating my own music news-based website, The Scene As We Know It. I realized that while I loved owning a website and having others writing for me, I just wasn’t happy with the situation anymore – it wasn’t what I wanted to do. I felt like TSAWKI had run its course and I had the opportunity to open a new door, so I began searching around for a new website to contribute my efforts to. I first came across MEB in a forum on AbsolutePunk. I checked out the site multiple times before applying, weighing my options. I finally decided that I really liked what they were doing and felt as though I could bring some new opportunities to the table for them – so I applied and am currently coming up on my one year anniversary.
H: There are a lot of sites in existence covering the areas of music MEB is known for. What is it about the content offered by MEB that sets you apart from the competition?
TS: A good portion of our content is editorial based. I’ve noticed a lot of sites out there right now are more concerned about quantity, rather than quality, in regards to content. We try to tackle the major stories and issues in the industry today, but with a more in depth look than other sites may offer. Even our news stories offer not only the story itself, but our opinion and the chance for you to voice yours as well.
H: Like many bloggers, you do not get paid your efforts. Why do it?
TS: It may sound cliche, but I really do just love it. I love working with bands and PR people and setting up exclusives and premieres. I always get this underlying excitement when we break a huge news story or premiere a brand new song for a band. Seeing how much impact I have as a writer on the industry, even if it’s just a little bit here and there, just makes it all worth it.
H: What is the biggest misconception people have about the music industry?
TS: I think a lot of people see the music industry as this idealistic place where everyone plays nice and there’s never any controversy. The music industry is essentially a battle ground and you have fight for everything you can get, because there are a hundred people right behind you reaching for the same goals.
H: In addition to working on MEB, what steps are you taking to further your pursuit of a career in music?
TS: I’m currently attending Purdue University North Central for a degree in Communications. I’m really hoping to make a career out of writing, and I thoroughly believe music is where I’m supposed to be – so we’ll just see where it goes!
H: As someone who writes a lot of news, what is the most comment mistake you see artists make when trying to get the attention of journalists?
TS: Being unsociable. Let’s face it, a generic press-release template that says your band rocks like so-and-so and has shared the stage with so-and-so really doesn’t have much impact on me – and I’m sure I’m not alone. Bands need to get more personable; talk to me about your band, ask about the website, show me that you actually care about getting your name out there. There are too many outfits out there that just assume they deserve all the publicity in the world because they released a somewhat well-produced single, or went on a two week run with one of their “biggest inspirations.” It’s okay to be confident about your band (that’s good), but when you come off as arrogant or conceited, you’ll soon find that you’re not going to get anywhere fast.
H: If you could offer one piece of advice to artists hoping for more exposure on sites, what would it be?
TS: Like I said above, get personable. Talk with people and make connections. Meeting people and making new acquaintances is a huge perk about being involved in music, and I think a lot of people overlook that sometimes. Almost everyone involved in the industry has some sort of online presence, get in contact and open some doors for your band. Sending me a mass message on Facebook telling me to check out your band because you saw that I ‘Like’ this band or that band doesn’t exactly make me want to look into yours. Spark up an actual conversation and see where it goes.
H: When it comes to receiving music for review purposes, which services do you prefer and why?
TS: To be completely honest, Haulix is the only one I’ve ever used! I really love how all the materials are so easy to access and the new password integration is a very nice addition. It’s simple, straight to the point, and just enjoyable to work with.
H: What is your ultimate career goal?
TS: This is a tough question considering I don’t know exactly where I want to go with my career as of yet. I suppose in a perfect world, after I graduate I’ll find myself working for a large music-based publication, following bands around while they’re on tour and writing feature articles on them. Traveling is something I’ve always wanted to do, and fortunately enough, it seems to go hand-in-hand with music.
H: If you could change one thing about the music industry, what would it be?
TS: I would definitely change the divisions between genres and fan bases. I mean, I get that if you’re a Trapped Under Ice fan, you’re not necessarily going to jam the new Black Veil Brides record and actually enjoy or respect it. Nonetheless, that doesn’t mean there has to be this large gap between fan-bases. If you don’t like a certain band or type of music, don’t listen to them; don’t discriminate against a person because of their musical likings.
H: Before we let you go, do you have anything else you would like to share with our readers?
TS: Come talk to me about your band, who knows, maybe you’ll end up on MindEqualsBlown!
Hello and welcome to the beginning of an all-new week of music industry insight here on the official blog of Haulix. We’re turning the tables just a bit this afternoon and kicking things off with a brand new Advice column that aims to put one digital debate to rest for good. If you or someone you know has an idea for a future installment of this column, please do not hesitate to email james@haulix.com and share your suggestion.
Like it or not, there is definitely something to be said for artists who have the ability to amass a large online following without the help of a record label or top 40 single. Labels and managers love this kind of artist because it paints the perception of a successful, or at least well-liked artist even though everyone knows Facebook likes and Twitter followers do not correlate in any way to sales or actual financial success. Still, in a business where image means a lot there are those who are willing to do anything to raise the numbers associated with their so-called digital ‘supporters,’ and all too often that means turning to companies that offer guaranteed likes/follows for a price. These businesses may seem legit, but today we’re going to look at 4 reasons why going this route almost always ends badly for the artist.
1. Engagement means more than your like or follower count ever will.
You know that saying about how you can lead a horse to water, but you cannot force it to drink? The same goes for gaming your social media stats. You can make it seem like 25,000 people love your one-man band from the middle of nowhere, but you cannot force their nonexistent bodies to show up at your next gig. Likewise, unless you go all-in and decide to buy followers as well as social engagement (plays on Youtube, streams on Facebook, etc. – it’s all possible for a price) it will not take long for the actual, living people who view your profile to notice a severe discrepancy between followers and people interacting with your account.
2. You increase the risk of spamming actual fans.
The idea of giving some unknown entity twenty dollars in exchange for 10,000 followers seems relatively catch-free, but anyone digging into the agreement users make when signing up for these companies will notice they more often than not require clients to allow the company to post on their behalf. That mean that at some point down the line, likely when you expect it the least, messaging will be blasted from your account to everyone connected with your group. If you’re on Twitter, this often means mass private messaging, which most people will report as spam. When that happens enough the fine folks at Twitter HQ will shutdown your account, and upon review of your activity it’s likely your recent ‘social boost’ will come to light. That will result in the loss of your account, and at that point you’ll be even worse off than when you began.
3. No one wants to work with someone who is trying to game the music industry.
No one holding a position in music that can help your career is stupid. That should go without saying, but click around the social media accounts of unsigned artists long enough and you’re bound to find dozens boasting followings that in no way reflect their actual status as performers. These people brag endlessly about their hype ‘on the streets,’ and for awhile this tactic may work, but there are a growing number of tools that industry professionals are using to unmask those hiding behind fake followers. People who are caught or discovered to be engaging in this practice of gaming social stranding are often blacklisted from many press outlets, and we’ve even heard from multiple PR reps who claim they have refused to work with artists in the past because they suspected them of boosting their stats.
4. You will get caught.
Music is hard for everyone, and that includes both professionals and artists. Those who make a career in this industry have worked extremely hard to get that far and they do not take kindly to people who try to cheat the system. Do the work. Post interesting content whenever you’re able, engage with the people who are already following your efforts, and over time you will begin to organically develop an online following. Anyone promising you a massive social media change over night is either lying to you or withholding key details that will eventually come back to haunt you.
