Tag: diy music

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Haulix News Podcasts

Inside Music Podcast #163: Drew Holcomb Returns!

Drew Holcomb, inside music, inside music podcast

Ahead of his upcoming album, Dragons, Drew Holcomb returns to Inside Music to chat about the latest developments in his life and career.

More than three years have passed since Drew Holcomb last appeared on the Inside Music Podcast. In that time, Holcomb has released another album with his band, The Neighbors, as well as an EP with his wife, Ellie. He has also toured across the country several times over, raised his children, launched a music festival, and began curating a monthly vinyl club. To say he’s been busy would be an understatement, and today, we are going to pull back the curtain to learn how he’s handling everything happening in life.

Holcomb’s currently preparing to release a new studio album entitled Dragons. The record won’t arrive until August, but the title track is already available to stream online. Check it out:

More than any previous release, Dragons captures Drew Holcomb as a man with everything most hope to gain in this life. He’s a father, an entrepreneur, a husband, and someone who can claim to be living out their wildest dreams. He has carved a path in the music industry that no one can duplicate, and he’s done it all without falling into the trappings of the music business. Dragons captures where he is in life right now, and it does so by shining a light on the many sides of his personality.

On this episode of Inside Music, Drew Holcomb chats with host James Shotwell about the latest developments in his life. Drew tells James about the new album, as well as his Moon River music festival and all the work it entails. The pair also discuss Drew’s secret to success, which can benefit any artist willing to put themselves in a somewhat vulnerable position. Take a listen below:

https://soundcloud.com/inside-music-podcast/163-drew-holcomb-returns

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Artist Advice Editorials Haulix News

Music Biz 101: Drew Holcomb and The Power of Authenticity [VIDEO]

There will always be a market for shallow songs with catchy hooks, but career musicians like Drew Holcomb know that the path to long-term success requires an embrace of one’s authentic self.

A quick Google search will tell you that being an authentic means being someone people view as being genuine. In the world of music, artists who embrace their journey are genuine. It doesn’t matter if you come from money or the middle of nowhere, as long as you share your highs, your lows, and everything in between you can establish yourself as someone who is telling real stories in a market filled with lies.

But let’s be honest: Lies can sell. Virtually everyone enjoys a good pop song about making money, having money, falling in love, or heartache. There are universal desires and pains that people relate to regardless of their authenticity, but songs lacking that element of realness rarely help an artist achieve long-term success in music.

Drew Holcomb is proof that being your authentic self can lead to a long and prosperous career in music. For more than a decade, Drew has been writing, recording, and touring outside the traditional label system. He has never topped the Billboard charts or headlined Coachella, but he has developed a deeply engaged relationship with his audience that supports multiple projects, as well as a monthly record club and a (currently sold out) music festival. Drew plays to sold-out crowds on a regular basis and rarely, if ever, has to compromise his artistic vision for what someone else deems to be “the right thing” to do instead. He is, in short, living the dream.

Recently, while promoting his new single “Dragons” and the album of the same name it hails from, Drew spoke with Haulix about his career and how he’s managed to flourish outside the normal music industry structure. We took that insight and used it to create the latest video in our ongoing Music Biz 101 educational series, which you can now view below:

Drew will also be appearing on an upcoming episode of our podcast, Inside Music. You can subscribe to that series on iTunes or you can stream it on any podcast app.

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News

The Manager’s Role: What every artist and manager should know

Managers are known to play an essential role in developing an artist’s career, but what exactly is it that they do?

As an entertainment attorney, it is amazing what I see from the sidelines of the music business. I feel like it is hard to shock me anymore due to all the craziness that has come across my desk. We have all heard horror stories about record labels label that treats a band wrong. Yet what surprises me, is how frequently I consult with a band about a bad manager experience but I hardly hear about that in public. Entertainers think it is a quasi-parasitic relationship where they accept that they are getting used for profit, but they are getting the career benefit of label support. The sharp difference for when a manager does something wrong is that they are supposed to be on your team, so the entertainer almost never sees it coming. The hit hurts most when it comes from someone you trust. 

There is a fundamental lack of understanding of the roles and duties required of a manager  – even by practicing managers today. I would argue that very few are well versed in the legal relationship that is formed between them and their entertainers, not by contract, but virtue of fiduciary duty laws throughout the country. If the phrase fiduciary duty is new to you and you are managing or being managed someone right now, start Googling for more details but please read on. I want to be clear. There are lots of good managers who know what they are doing and operate ethically and legally. Its just that there are enough bad apples out there, that folks need to fully understand what is required of them or risk getting hurt.

What does a manager do? This is a fundamental question that is so very often answered incorrectly. A manager is akin to a CEO (Chief Executive Officer) or COO (Chief Operating Officer) of a corporation. An artist hires a manager to run their business for them much like Coca Cola hires executives to run their business. Thanks to their position, a manager often has unrestricted access to a band’s money and can legally make binding decisions for them. Due to the nature of extreme trust required, the law says that positions like this have higher duties and responsibilities placed on them. For example, they can do no harm, they cannot personally benefit from the relationship other than agreed compensation, they cannot put their interests above the band and they always have the duty of loyalty. 

As an example, I recently consulted with a very successful band whose manager was attempting to start a side business with them while remaining their manager. The manager and the band were going to get equal shares in a separate company they were forming. What is the big deal? Well, how is the manager looking out for his band’s best interests when his interest now competes with theirs as a partner? Who was now looking out for the band? Who would the manager have been loyal to in this situation? The conflicts are plenty and unfortunately so are situations like this one. 

In another example, I worked with a band that was leaving a management company. The manager made a compensation claim and without permission changed the band’s Tunecore password and took the money he thought he was owed from the band’s account. Eventually he returned the account minus the money, but it is hard to imagine a court anywhere that would not have called that illegal. It is conversion (theft) at a minimum and without a doubt it is a violation of almost every legal duty he had to the band. His management company was exposed to major liability. All it would have taken is an enterprising attorney to go after them.

For an artist, it is a VERY large leap of faith that the stranger they are hiring is a good and trust worthy person who is also qualified to do the job. So what does an artist do to make sure a manager is competent or worthy of their trust these days? It seems not much. Usually they tell me,  “the manager works for this big agency so we thought they must be good.” It is hard to imagine Coca Cola’s board of directors using such logic to hire such an important person without making sure they were trustworthy or qualified. 

If you are at the point of hiring someone, there is not one all-inclusive list that could tell you what makes a great manager. Often it is a combo of the experience, their education (formal or on-the-job) and a lot of times it is just the art of being a great manager. Many times, entertainers feel lucky that a manager is even interested in them, so they think this is a take it or leave it predicament. That attitude is dangerous. Bad deals are bad deals no matter who proposes them. Taking the time to understand who you are working with and what makes them qualified to do the job are key. Determining if they are trustworthy may be the difference between a career with longevity or one riddled with problems.  

What to look for in a manager:

Resume: Request a written resume to look over. Hiring someone who wants complete access to your life and at least 15% of everything you earn should be professional enough to have one. Look for valid work experience. Business education is a major plus. 

Maturity: It is VERY important to note that age does not determine maturity. I know and work with quite a few twenty-ish year old folks who are more mature than people in their forties. As an artist you want to be sure your manager is mature enough to check emotion and concentrate on business. Your manager is often your first point of contact for the rest of the world and you. You do not want childishness or foolishness for the face of your business.

Background Check: I recommend this all the time and no one does it. I cannot fathom working with someone who has access to all of the deepest recesses of my business without making sure they have a clean record. People do not do it because they think the manager will get offended. I say if they get offended maybe you should reconsider. This is a high position of trust. You need to be sure it is well placed. This is why Attorneys and Accountants are moving into the managing game so strongly like they did in sports. The Governmental agency’s that regulate them often have very strict background checks before they are given a license. They have to maintain that clean record. Any wrong doing on their parts and they risk losing that license. If you won’t do a background check, make your manager sign and swear in a document that he has never been accused, arrested or convicted of a crime dealing with fraud, dishonestly or truthfulness.  

Roster: Check out who they manage and maybe more importantly check out who they have managed. Ask for the manager’s alumni contact info so you can contact them and get a first hand account of his or hers performance. Anyone who won’t give you a full list and contact info is hiding something. There are always relationships that go sour so you won’t find one manager that is loved by everyone, but you will see patterns. Be fair in this assessment. One bad review is not enough to run, a couple though should raise an eyebrow.

Education/Experience: Education comes in many forms. So it is not reasonable to judge someone by how the obtained his or hers. What is important is what they know now. If someone is formally educated, that is a great start. Notice I said start. Look for business courses. Those are great building blocks. If someone doesn’t have a formal education, then the chronology and depth of their music business experience is vital. For example, tour manager is great stepping-stone position because they deal with the day-to-day business at the street level. A good tour manager is well versed in contracts, personal interactions, merchandising as well as the “it factor” of getting things done. 

Now I will offer a caveat here, there are tons of people who “manage” that are just starting out with no experience. This is a double-edged sword. If they are smart, motivated and have the ability to recognize that they don’t know everything, then you are on the right footing. If they do not possess all of the aforementioned traits, you may want to pass until they ripen a bit. They may do more harm than good.

Personality: This one is subjective. On the one hand, you want someone who is friendly and can counsel you through the ups and downs of a career. On the other, you want someone tough enough to represent your interest to third parties. It is tough to find someone who can do both well. This one is on you and what you feel matches best with you or your band. Just remember, this person is the business face of your brand; make sure he/she is a good reflection of your values and persona.

Manager Do’s and Don’ts:

Be a window – be transparent: Being transparent and telling your entertainer everything you are doing is the key to avoiding legal problems when it comes to your duty. If they know everything that is going on, the likely hood of someone finding you did something wrong is reduced significantly. You work for them. You owe them the duties of good faith and loyalty. 

Conflict of Interest: Do not put yourself in a position where you use your band for personal gain. If there is something you want to do that could possibly be a conflict disclose that to your entertainer in writing so they are on notice. They should have a say in the matter and you should come t a written agreement.

Confidentiality: You have the duty to keep the artist’s private dealings private. Seems logical, but too often I hear managers over talking about their band’s private dealings. It is an easy way to get sued.

Avoid Improper Compensation: It is too easy to cross the line here. You may have access to the bank account or the royalty checks come to your office and you can deposit them, etc. If the entertainer can afford it, higher a business manager. This is the best way to get your hands out of he money jar. You should only be getting paid what was agreed to. Your best friend is a contract. It will tell everyone how you are compensated and it is all out in the open.

Avoid Competition: It is really tempting to make money off your relationship with your entertainer. As they rise in notoriety the potential to make money off them or with them rises also. It is best to stick to your commission. If you get them better deals with more money, its stands that you are making more money. If you just have to do the deal, recuse yourself from the band for that deal, disclose the information and do not take any commission from the band’s portion of the earnings for this deal. Always put the above in writing.

STUDY: Learn everything you can about business law. Concentrate on agency law and fiduciary duty. Please remember ignorance of the law is never a defense in a lawsuit. You can’t just say I didn’t know. If you hold yourself out as a manager, you will be held to a manager standard. It is a high bar and one you do not want to take lightly.

This article is for educational purposes only and not legal advice.

This article was crafted with the help of attorney Danny Alvarez. Known to his friends and clients as Danny, he is the managing member of The Alvarez Legal Group, P.L. and President of The Vindicated Group, LLC. Danny has earned a Bachelors Degree in Journalism from The University of Florida, a Masters degree in Education from Troy State University, a Juris Doctor degree from Stetson College of Law and LL.M. (Masters in Law) in Estate Planning from the University of Miami School of Law. Danny focuses his legal practice on Entertainment, Business and Personal Injury Law and has clients as varied as actress/singer Brooke Hogan and bands such as Go Radio, Broadway and War Generation. Danny is also the full-time manager for the up and coming band, Stages and Stereos.

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Artist Advice Editorials News

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

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

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

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

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

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

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

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

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

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

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

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News

What musicians should ask themselves before hiring a publicist

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

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

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

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

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

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

2. Can I financially afford a publicist right now?

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

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

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

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

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

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

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

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

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News Podcasts

Inside Music Podcast #140: FiXT Records

Inside Music is a podcast about the lives of professionals in the music business. Each week, host James Shotwell chats with an artist or industry tastemaker to learn how anyone can navigate the world of entertainment.

On this episode of INSIDE MUSIC, host James Shotwell chats with FiXT Records co-founder James Rhodes about his label’s big plans for 2019. Rhodes talks about the FiXT approach to finding and recruiting talent, as well as the role FiXT plays in developing talent during an age when many argue record labels are no longer necessary. The discussion continues with talk of social media tactics, the benefits of multi-album deals versus single releases, and what trends we expect to see in the business as the year carries on.

In other news, Inside Music is now available on YouTube! Click here to stream the latest episode on our official channel. You can also subscribe to the show on iTunes, as well as any other podcast streaming service.

https://soundcloud.com/inside-music-podcast/140-fixt-records-james-rhodes

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What to do after someone writes about your band

Gaining the attention of blogs and their readers is no easy feat, especially for unsigned talent with little-to-no history. You can write the best songs and have the nicest videos, but if you do not know how to network and pitch yourselves no one will ever learn about your talent. Once they do however, there will only be a small window of time for you to capitalize on having won a moment of their attention, and this afternoon we’re going to learn what you should do in the hours after first receiving media attention.

1. Take time to celebrate, but realize there is still a lot left to accomplish.

I was never in a band that became popular enough to appear on sites like Absolutepunk or the like, but I would be lying if I said I didn’t spend many nights wishing one of the influential tastemakers of the scene mentioned my efforts in their publication. If your music/video/album gets mentioned, celebrate! You’ve taken yet another step towards your goal of a career in music, and while it’s certainly not enough to pay the bills it does serve as a strong reminder other people in the world care about your art. Don’t take that for granted.

2. Tell everyone in the world about the news (and ask them to share it).

This one probably goes without saying, but the unwritten rule of exposure on music outlets is that the band featured will publicly share and/or promote the publication’s content once its live. Don’t just share link to stories with fans, but ask them to share it as well, and don’t be afraid to request they comment on the post if time allows. Sites that see a bump in traffic or discussions from coverage of your band are likely to cover your band again in the future because they believe there is a value to your content that other unsigned acts cannot provide. In order to show them that value you will need the help of your fans, and its up to you to sell them on sharing your work.

3. Engage the comments section, but don’t antagonize them.

If the reason you’re reading this post is because the first article about your music just went live, you need to understand the response in the comments section may be very slow at first. As much as sites love to help expose young talent, people are not always quick to comment (especially in a positive sense) about something they are unfamiliar with. A great way to combat this is to actively participate in discussions taking place in the comments section of articles about your band. Answer questions for people, offer insight into your creative process, and generally speaking do whatever you can to be a decent human being that is open to criticism. It’s not that difficult, but it can make a world of difference in how quickly people become engaged with your art.

4. Say “thank you” and/or support the publication that wrote about you.

You would not believe the power the phrases “please” and “thank you” have in the music industry. From labels, to bands, publicists, and everyone in between you would be hard pressed to find anyone who thinks they hear either of those phrases too often. People tend to do as they please and take what they want without giving much though to the process behind it all, but you can stand out from the countless unsigned artists of the world by voicing your appreciation to the sites that give you space on their front page. It does not have to be anything formal, but it should be sincere. People remember those who are kind to them, and they’re far more likely to want to work with you again in the future as a result.

5. Don’t be afraid to begin teasing your next announcement.

Once people learn about your art it’s very likely they will want to know everything they can about your current efforts. Using social media and the comments sections on posts about your work, take a moment to tell people about everything else you have going on while your name is still fresh on their minds. They might not buy the album or see the tour you’re trying to promote, but at least they’ll know of it and will have the ability to share that information with others if such opportunities present themselves.

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News

How to avoid getting screwed over by a venue

The following post is the latest in our ongoing content collaboration series with the fine folks at Sonicbids. 

There are some types of hateful screwing over that are pretty unavoidable. There are terrible people who’ll screw others over regardless of what securities are in place to prevent that. When it comes to poor treatment by a venue, though, the truly rotten aren’t the cause of most horror stories. Usually, it’s a misunderstanding that’s to blame.

Those situations are still totally infuriating, of course. These five aspects of every show are easily the most susceptible to going terribly awry due to poor communication. Make sure you’ve got them all covered in advance to better your chances of a problem-free gig.

1. Talk about money

If you’re expecting to get paid at the end of the show, then you better have discussed it beforehand. If not, you shouldn’t be expecting any payment whatsoever. The amount you make – if any at all – depends on the venue policy.

Maybe they only book bands for free on weeknights, and it so happens that you’re playing on a Wednesday. It’s possible you were added to an existing bill with a budget that’s already mostly exhausted, so they’re not planning to pay you more than $50. It could be that you get a percentage of the door. There are several different ways to work out payment, so you can’t assume anything until you’ve confirmed the logistics with whoever booked you.

It’s not gauche or taboo by any stretch to discuss how money will work when you’re a booking at a venue (or through a talent buyer), by the way. Do not be shy about it for any reason. You’ve got to hammer out the specifics of the deal before committing to anything. They won’t be surprised you asked – but they will likely be perturbed if you never ask, and then raise hell about it after the show.

2. Will they help with promo?

Bands sometimes complain that venues don’t support them in promoting the event, that they didn’t push it hard enough on social media, or didn’t have a visible poster hanging weeks in advance. Thing is, not every venue’s the same in that department. Sometimes they’ve got a public relations or social media person on that job, and sometimes they’re doing it all (like, everything) themselves.

Discuss the promo effort ahead of time. Who’s putting up the Facebook event, the band or the venue? If it’s them, can you pay them to sponsor a post? Can you do anything to help? Like, say, remind them to share your event if it hasn’t been pushed enough? How else do they normally advertise shows? Do they print posters for shows or should you provide your own? What about flyers? Not only does planning out promo with a venue or talent buyer help ensure they’re supporting you to the degree you expect, but also helps you map out your own strategy more thoroughly.

3. Is it okay to sell merch?

Most venues will say yes, no strings attached, but some charge a fee. It’s not that often that they do, but why not just ask? Avoid any potential problems by simply mentioning you’ll be bringing merch, and asking if there’s anything you should know. Here’s when they’ll alert you of whatever fee or percentage, if any.

Plus, some venues have a designated area for merch, while others set up a table – now’s a good time to ask about that. Maybe they even have a spare you can use so don’t have to lug your own.

4. Confirm all things sound-related

Don’t miss your soundcheck by waiting until the day of a show to ask when it is. (Folks are busy, you know, and they might not see your email until it’s too late.) Ask where to load in, when and how long you’ll get for soundcheck, and with whom. If your sound isn’t what you hoped for, make sure it’s not because you didn’t make good use of that chance to work out any kinks and fine-tune.

Additionally, don’t assume they’ve got a full backline. Not every venue does. Don’t show up with only cymbals and snare because you thought they had a kit, only to find out they don’t.

5. If you’re in a new city, ask around

For those touring through a city for the first time with no local contacts: do some research. Obviously, you don’t want to book at a venue that’s notorious for its poor treatment of musicians. Don’t just book the first venue you like – find one that’s appropriate for your show, first of all, then look into it a bit.

If you don’t know anybody in that particular town, try asking for insight in a subreddit or a public Facebook group. Local music coverage, whether via blogs or the culture section of a news outlet, can be good indicators of the venue landscape, too.

If a venue’s truly bad news, you won’t have to poke around much to hear about it. And if all else fails, check Yelp, where the angriest of people go to scream under the guise of warning others.

Jhoni Jackson is an Atlanta-bred music journalist currently based in San Juan, Puerto Rico, where she juggles owning a venue called Club 77, freelance writing and, of course, going to the beach as often as possible.

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5 Tips For Improving Your Social Media Presence

Social media is more important for brands and bands now than at any other point in its existence. The vast majority of conversations and consumer engagement taking place online today happens across the numerous social media platforms that have risen to popularity over the last decade, and those numbers are likely to increase in the years ahead. If newspapers and town halls were the hubs of community and discussion one-hundred years ago, Facebook and Twitter are their modern replacements. You probably have several social media accounts right now, and you probably feel a slight shiver run down your spine every time a new service begins gaining a lot of popularity. We feel the same, and while we never want you to feel like you need or even can be everywhere at once we do feel you need to position yourself to handle whatever the quickly changing digital landscape throws your way. The following tips should help any person or group familiar with these services improve their digital marketing efforts, but only if you make them your own. Find what works best with your audience and use that knowledge to build a community around your art.

Real-time posting is for people who can afford to spend hours online every single day. Schedule your content in advance and lose the need to be constantly connected.

Manually posting updates to Facebook, Twitter, Tumblr, and the like in 2016 is the digital equivalent to rubbing two sticks together in hopes of creating fire in the new millennium. Both approaches eventually get the job done, but they are far from the easiest way to handle your business. Services like Hootsuite and similar social-delivery systems allow you to schedule your content several days, sometimes even weeks, in advance. You can set your latest song premiere to hit your blog at a specific time, as well as set all your social networks to link to the track, all long before the day of the premiere arrives. This allows you more time to work on outreach to publications, songwriting, or anything else you desire without having to sacrifice an ounce of your marketing efforts. You should still log on to see how people react to your news, of course, but you can do that whenever time allows instead of creating space in your already crowded schedule to dedicate to sitting on social networks hoping for engagement.

Incorporate concert listings wherever possible

Every artists hopes that by making their music easy to find online that they will be discovered by the masses in time, but history tells us there is no faster way to build a relationship with music fans than by getting them to see you perform in person. To do this, setup an account with Bandsintown or a similar concert listing application and connect it to all relevant social media networks. Services like Bandsintown will maintain your concert listings, as well as tweet out relevant performance information in advance of your gigs. Like the scheduling tools listed above, these services cut down on the total amount of time artists need to spend focusing on things outside their music, which in turn allows for more creativity.

Want more engagement? Ask questions.

Only a fool would approach their digital presence with the belief people online a looking for one-sided conversations. As much as fans may follows your accounts in hopes of hearing what you have to say, the real reason anyone follows anyone online is the hope that a deeper connection may be formed. Fans don’t want to simply hear about your career, they want to know about you as a person, and they hope you want to know about them as well. The quickest way to appease this desire and raise engagement for your digital presence is to pose questions to your audience. Who has the new album? What is everyone’s favorite song? What tracks do they want to see you perform on tour? Who else are they listening to? These questions and more can help you not only retain fans through engagement, but they can also help you understand your audience in ways the simplify future promotions efforts. If your fans like Song A more than Song B, play Song A last. If they keep comparing you to another band at the same level in their career, consider touring with that group so that you can both help one another by sharing listeners. Again, it all comes back to building and retaining a community around your art.

Update your profile as often as you do laundry

Most profiles have an incredibly short shelf life in terms of offering unique information or media. When was the last time you changed your profile picture? How about the link in your Instagram profile? Have you updated your bio in the last year, or ever? Making small changes to your profiles on a regular basis can give the appearance of being busy even when you’re scraping together change to get to your next gig. Profile updates tell fans there is a reason to continue checking your pages and activity because you’re being active and working toward the future. Stagnate pages give the illusion of death, and you definitely do not want that kind of attention.

Try new tools and platforms as they become available, but only stick with what works for you

Have you tried Facebook Live yet? What about Periscope? Have you created a geofilter on Snapchat so fans can brag about being at your next gig? There are new tools, tricks, and platforms to help raise awareness for your efforts going public every week. We do not support attempting to use all in addition to your current channels, but we do encourage you to try everything that makes sense for your band. If you try something and see no results, delete your presence and move on. When you find something your fans enjoy, add it to your ongoing marketing efforts. 

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The 10 Essential Steps You Need to Take to Get Your New Band Off the Ground

The following post is the latest in our ongoing content collaboration with the fine folks over at SonicBids. If you ever need advice on life in the industry and you cannot find it here, we highly suggest giving their blog a shot. In fact, just bookmark both our sites and improve your quality of digital life tenfold.

Getting your new band off the ground isn’t exactly as easy as it sounds, and it doesn’t sound that easy in the first place. So where do you start?

With so many great bands out there, it’s not always easy giving people a reason why you’re special or why your songs are worth their precious listening time. However daunting it may seem, it ispossible, and you can do it. Follow these essential first steps to get your band off the ground now.

1. Choose a strong band name

The first thing you need, of course, is a name. A great band name should be catchy, original, and above all else, it should give an accurate picture of what your band is all about. Try not to stress out about finding the perfect band name instantly. Relax, jot down ideas when you have them, and take your time choosing a name you’re going to be proud to stand behind.

2. Decide on your sound

One of the biggest killers of bands with great potential is when “creative differences” arise and completely destroy productivy and your momentum. When you’re first starting out, it’s a great idea to make a simple decision as a group as to what you want the band to be all about. This will sidestep a ton of confrontation down the line and provide direction to work with. As time goes on, it’s important to keep an open mind to healthy change and growth, but in the early stages, it’s a wise choice to agree on focusing the group’s energy in a particular direction.

3. Decide on your image

Hand in hand with the sound of your band is your image. Ideally, the musical decisions dictate the branding ones, but either way, image really is half the experience. By taking the small amount of time necessary to decide how you want the band to look, you’ve suddenly doubled your marketability. You don’t need to all wear matching bowties like a barbershop quartet, but hey, if it’s appropriate, go for it!

4. Create and sign a band agreement

Sooner or later, you’ll thank yourself for writing up a band agreement. A band agreement is a contract agreed upon by all members of the band that can outline responsibilities, schedule commitments, song ownership, finances, and more. You may never need to use it, but it’s always a smart choice to be prepared.

5. Write your first songs

Once all the preparations are set, it’s time to get down to the music and start writing songs with your new band. Songwriting can sometimes be intimidating because you’re putting yourself out there to be judged by anyone, but try your best to keep those thoughts out of your head when writing, as they’ll only hold you back. Don’t get frustrated if things don’t come out perfect on the first try. As time goes on, you will undoubtedly progress and grow as a songwriter. In the beginning, focus on sending people a clear, honest message on what your band is all about.

6. Agree on a rehearsal schedule – and stick to it

Just like how you’ve gotten good at your instrument by practicing, your band can only get good by rehearsing consistently. The sooner you schedule regular rehearsals, the sooner your band is going to be on the fast track to glory (or at the very least, stop sucking). Round up the crew, fire up iCal, and set those biweekly dates ASAP.

7. Get your online presence up and running

You’re a band in the 21st century – act like it! Bands communicate the same way as everyone else: the internet. Set up a tightly knit social media presence, website, and EPK, and use them to their full capacity to reach out to potential fans and industry people. Just make sure you follow these steps in order and have your image planned out before you go posting bathroom selfies to your Instagram.

8. Create your email list

The wise older brother to modern social media, the email list is the old-school steadfast method to reach out to your soon-to-be fans. In a world where organic Facebook reach is dwindling more and more, this is a tried-and-true method to reach out to fans directly – don’t sleep on it.

9. Book your first gig

The time has come. You’re ready for the stage. It’s time to book your first gig, but the most important thing is to do it right. Choose the venue, the line-up, and the date wisely. You want people to go home talking about how it was the night of their lives, how they can’t wait to do it again, and mostly… about you! Don’t rush your first gig. Make it a memorable occasion, and you’ll have many more to savor.

If you’re short on personal connections with venues, Sonicbids is the easiest way to get your music in front of a network of 20,000+ promoters and talent buyers who are looking to book up-and-coming bands. Get more details here.

10. Record your music

Finally, the recording process. You gotta have music to get your band off the ground, and that music’s gotta be good. Before you record, find yourself an engineer you trust. This is going to make the difference between an amazing experience and a near-death experience. You might get a couple gray hairs during the recording process, but when you hear the final product of something you wrote, there’s truly no feeling like it.

Max Monahan is a bassist and a writer living in Los Angeles. He spends his time working for an audio licensing website and shredding sweet bass riffs.

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