Tag: Haulix Advice

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Haulix Basics: The Best Way To Assign Promos For Review

Before any of us came to be a part of Haulix, including founder Matt Brown, we all ran our own music blogs with numerous contributors scattered all over the world. At the time, there were no services like ours, so almost every promotional release was delivered via CD through the postal service. This meant site owners and editors would either have to forward the music to their writers through the mail at their own expense, or they would have to open the mail, copy the CD contents to their hard drive, upload the files to a random file-sharing service, and then a share link to download those files with whatever staffer was assigned to tackle that particular review. Believe it or not, most chose the latter, despite being the far more time-consuming option.

Haulix was created with the hope of not only eliminating the costs associated with distributing physical promos, but also to help better the security placed around unreleased music being shared online. The first goal was accomplished almost as soon as we came online, as our membership plans are far more affordable than any physical promotional distribution could ever be, but ensuring the safety of releases is something we continue to try and perfect to this day. We offer watermarking services, automated takedown tools, and a number of additional safeguards, which we hope to expand further in the years to come.

Truth be told, the most common way leaks occur is through human error or basic negligence, and we hope to correct that – to some degree – with this post.

WHEN YOU RECEIVE A HAULIX PROMO IT IS INTENDED TO BE CONSUMED BY YOU AND YOU ALONE. If you read the fine print we include with almost every invite, this information is made very clear:

Please note by accessing any of this material, you acknowledge and/or consent to the following terms and conditions.

1. You won’t share this invitation.
2. The material will be used by you and you alone.
3. The material is watermarked with a unique identifier.
4. If the material is “leaked” and traced back to you, we will seek applicable restitution.

The reason for this is not only to protect the music you have been sent, but to protect you and your reputation within music as well. As most of the content sent through our system has a unique watermark, any content you share can and will be traced back to you in the event that content leaks online. Our system injects a watermark as soon as you click play or download on our platform, and that watermark includes a bunch of information about you, including your name and IP. That information stays with the music every time its used moving forward. If you download the album, upload the files to dropbox, then allow others to download the record, every person who access those files will be using content that has your name and information embedded in the details. If they leak it, or if for some reason a third party accesses their computer and leaks the files, the only person we will be able to trace everything to is you, the person who originally downloaded the album. It doesn’t matter if you actually leaked it or not because the agreement you made by accessing the material in the first place was to keep it safe. Period.

So, how do I share the promos I am sent with the various contributors I have assigned to review each release? The answer is simple, YOU DON’T.

The best and most secure way to get your writers the promos they want and need is to request the band and/or publicist send that person a copy entirely their own through our platform. That way, any watermarks attached to the file point to the individual covering the album and not you, thus taking the responsibility for the content’s safety off your shoulders (a bit – you should still make sure your writers are not pirates in disguise).

More importantly, requesting that a copy of an album be sent to the assigned writer allows our clients to know exactly who is engaging with their content. This gives a peace of mind no amount of email promises to keep things safe ever could. It will also go a long way toward strengthening your relationship with a publicists or band as it shows you can be trusted to follow the proper procedures for handling these materials, which is something everyone working on the press side of the business deeply appreciates.

For your own safety, as well as the continued livelihood of the artists, publicists, and labels who rely on Haulix to distribute their releases, please do not share you promos. Request additional copies as needed, but never share the content you have been given with other people. The risk is simply not worth it.

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Haulix Advice: 5 Questions Every Artist Should Ask Themselves Before Hiring A Publicist

Hello and welcome back to the Haulix Advice series. We have covered a lot of ground in recent weeks, and this afternoon we’re returning to the world of PR for a quick conversation on what should take place BEFORE bringing someone in to represent your art. If you have any questions, or if you have a suggestion for a future installment of this column, please do not hesitate to email james@haulix.com and share your thoughts.

Last week we wrote to you about the roles various people can play in the life of your band. We covered lawyers, managers, publicists, and beyond, but one thing we forgot to include is how to know when the time is right to bring these people into your career. Today we aim to fix that, or at least do a better job of supplying you with the information you need by offering a series of questions bands need to ask themselves before bringing on a publicist.

We’ve said it before, but it bears repeating that every single artist’s career is different, and just because something is right for one group does not mean it will work for you. The questions we’ve put together today are relatively vague, but it’s of the utmost importance your answers be as detailed as possible. Discuss the questions below with your bandmates, debate the pros and cons of each response, and together formulate a plan for yourselves before bringing anyone else into the mix. This will save time, patience, and most likely a little bit of money as well.

Now without further ado, here are 5 questions you need to ask before hiring a publicist:

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. This means for three months you will be 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 personal 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 actually 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, and if you’re willing to put in the work yourself it’s perfectly 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/or Pitchfork not giving you the time of day you may be able to do it 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 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 absolutely 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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Haulix Advice: Overcoming Writer’s Block

Hello, everyone. Welcome to the first Advice column of the new week! We have at least two of these features planned for you, and I swear I’m being honest when I say they’re some of the best we’ve had to date. If you have a suggestion for a future advice column, or if you have a question you’d like us to address, please email james@haulix.com and share your thoughts.

It feels almost ironic to admit, but I put off writing this blog post as long as I possibly could. The idea came to me in September, and shortly after weighing whether or not I felt I could write at length on the topic I added it to the shortlist of topics to cover in the weeks ahead. Days went by, the list grew shorter, and instead of tackling the task I knew I had to accomplish I went out of my way to find friends with suggestions for additional columns to buy time. It seems foolish in hindsight, but at the time running from my need to create seemed far easier than actually sitting down to make something appear out of nothing more than the thoughts in my mind even though I knew it was something that needed to be done. This was my latest encounter with writer’s block, and today we’re going to work on overcoming this bit of mental resistance when it appears in your life.

Everyone who creates encounters writer’s block in their own unique way. Musicians find they cannot craft original melodies, painters have no visions to depict on canvas, and writers have no thoughts they feel are worth putting to paper. We’ve all been there and we’ll all be there again many, many times in the years ahead. There is no cure or escape, but with focus and dedication the walls built in your mind to stall the creative process can be knocked down in time. The following tips will help you get started:

(For the sake of simplicity we’ll use writing as an example in each of these tips, but know that the same applies to music or anything else you’re trying to create.)

1. No matter what, write each and every day. No exceptions.

The only thing worse than feeling like you have nothing to say is being forced to create something in spite of your lack of inspiration, I know, but if you ever want to overcome creative blocks you need to face the challenge presented by a blank page every single day. It’s not about creating something brilliant on day one, but rather the simple act of committing to your art. Sitting down to write even though you do not feel compelled to do so trains your brain the way running daily helps strengthen your lungs. Your mind is a muscle, after all, and with a consistent exercise regime it can begin to perform better in time. You might not create anything worth saving the first day or even first week, but by making writing a part of your daily routine you will begin to chip away at the resistance that’s holding your creativity at bay.

2. Set a schedule for when you will write and stick with it.

Building off the point above, consistency is key when it comes to strengthening your mind against mental blocks. By setting a specific time to begin working on your craft your telling yourself and the world that what you’re doing matters. It’s not a hobby or interest that can wait for whenever a moment allows, but a passion you want to be a profession and as such it deserves time in your schedule where it is allowed to be at the very center of your attention. If your art is something you can put on hold there is no reason others won’t feel the same.

3. Avoid passive justification at any cost.

The biggest obstacle between where you are now and where you want to be creatively is everything else that interests you. I know that seems silly, but those attempting to follow tips one and two above will likely find this to be the hardest of all. Passive justification is that little voice in our head that tells us slacking off, be it for a moment or longer, is okay. It’s the same voice that used to tell you going out with friends was better than doing homework, only now it’s attempting to steer you away from personal goals without you even realizing what is going on. The things we choose to do through passive justification are rarely terrible, and as a result it can take a long time before people realize just what damage has been done. Drop the risk altogether and focus on consistency. Once you work, then you can play. It’s been that way since you were young and it (sometimes literally) pays to do the same today.

If you would like more information on overcoming mental blocks, pick up The War Of Art by Steven Pressfield.

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Haulix Advice: The Importance Of Video Updates

Hello, everyone! Welcome to the final Advice column of the week. We’ve had a lot of fun exploring various aspect of life as an artist in recent days, and in today’s post we’re going to focus on sharing your life with fans. If you have any suggestions for a future installment of this series, or if you have a question you would like to see tackled in the weeks ahead, please email james@haulix.com and share your thoughts. You can also find us on Twitter, Facebook, and LinkedIn.

People like to talk about how technology has changed the way we do things in life, but it has also dramatically impacted the way we relate and connect to one another as people. When The Beatles appeared on The Ed Sullivan Show people watching at home had to put in A LOT of effort to learn about the band who had just blown them away on television. They had to find news articles on the group in big papers, or hope someone on another television program would mention or feature them in the future. There was no internet, no text messaging program, nothing.

Back then, even bands far less popular than The Beatles had a gap in their relationship with fans that no longer exists in the modern age. Now when people see someone on Jimmy Kimmel (or Kimmel’s YouTube channel) they can immediately learn everything about them, or at least how they are perceived, with a few simple clicks. They can download their discography while visiting the band’s website, then look up reviews of recent releases, return to YouTube for music videos, follow/like social media pages to ensure they never miss another update, and buy tickets to the group’s next performance without leaving the chair they were in when they first discovered said group 5-10 minutes prior. The capabilities of the internet are no doubt amazing, but unless you take an active approach to engaging those interested in your music the perception of your work will be left to the anonymous and numerous bloggers/commenters/journalists/etc lurking online. The best way to do that for the time being is with video, and in today’s post we’re going to look at what makes the role of video so important in your future promotional efforts.

First and foremost, video is far more entertaining than pretty much any other piece of content you can put online aside from new music (and if you’re releasing music in 2013 it better have a YouTube stream included). It’s the next best thing to interacting with you in person, and it offers your fans a chance to learn about the individual personalities that combine to create the art they love. You’re a band and a business, yes, but you’re people first and your fans want to feel like they know the human beings who feel the emotions being conveyed in the music.

As you begin to plan your video content, keep in mind that quality far outweighs quantity, and the better your promotional materials look the better your chances will be of getting said material featured on news sites. Journalists, like fans, are not all that interested in grainy cell phone videos shot in areas with lots of external noise. Spend some time researching affordable and transportable video setups, then find time each week/month to focus on connecting with your fans. You can take the straightforward route of having members update supporters on the latest developments, which should at least happen seasonally, or you can take a more creative route and deliver original content on a recurring basis. For some this means running a cover song series that asks fans to submit answers via social media (great cross-marketing trick), while for others it means a monthly Q&A based on questions submitted through Tumblr (also good cross- marketing).

The possibilities for video content are relatively endless, but if you start something it is of the utmost importance that you see it through. The updates, whatever they may be, are forging new connections with listeners who will expect to be given attention on a regular basis. This means new content, and as long as you can stick with it you will see those supporters begin to grow. Like falling in love with a television show, people who anxiously await for your updates will want to share their excitement with others. Keep it coming and the word will continue to spread.

We put together a bulleted tipsheet to help get you on the right track with your own video efforts. Some of the following points were inspired by our friends at Wistia, who know more about video than anyone we know, while others were crafted specifically for this column. If you have any questions, feel free to comment at the end of this post.

  • Keep your script conversational and write it in your own words.
  • Don’t be afraid to show your personality.
  • Don’t be afraid to try new things
  • Focus on content, not on polish; don’t be afraid to show that you’re fallible!
  • View every video you make as an opportunity to strengthen your relationship with fans
  • Make video consistently.
  • Ask viewers for input, and take what they have to say to heart.
  • Set a schedule and stick to it
  • Promote your own content
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Haulix Advice: How To Deal With The Fact Your Band Is Breaking Up

Hello again! We are in the midst of a completely unplanned ‘Advice Week,’ and so far the feedback from our readers has been overwhelming. We hope to continue helping guide you through the ins and outs of the music industry in the months ahead, but today we’re going to talk about the end of your career and how you can ease the pain of saying goodbye. If you have a suggestion for a future installment of this column, or if you have a question you’d like us to tackle in the weeks ahead, please email james@haulix.com and share your thoughts. You can also find us on Twitter, Facebook, and LinkedIn.

It is a hard fact to face, but just like everything else in life your group’s career in music will most likely one day come to an end. You could perform solo until you die (if that interests you, familiarize yourself with the life of Levon Helm), but it’s relatively safe to say your band will be calling it quits long before your AARP card arrives in the mail. When that happens you need to be prepared to share that decision with fans and others who are emotionally (or financially) attached to your efforts, and today we’re going to highlight a few essential steps that need to be taken in order to smoothly transition from band back to individuals who share a common bond in music.

Before we dive in it’s important to remember that every break up is different. Just like romantic entanglements that eventually fizzle, the inner-workings of groups are complex, and when it comes time to for that entity dissolve there are guaranteed to be broken heats along the way. You cannot please everyone or possibly hope to make it okay with diehard followers, but by following the three steps below you can ease the pain enough to bow out with your integrity in tact.

1. Always make an official announcement.

The responsibility of sharing your decision to quit playing music with your fellow band mates is entirely on you (the band). The only thing worse than a band break up on fans is living in fear the band they love may have fallen apart without even thinking to give notice to those who supported them throughout their career. Sit down with everyone who is still on good terms and craft an original, heartfelt message to announce the end of your time together. People need closure, and in order to have that they first need information. Give it to them.

2. Be honest, and do whatever you can to explain your decision to part ways without playing the blame game.

We all know of a band or two who parted ways on less than admirable terms, but whenever stories like that make headlines it tarnishes all the successes the group shared while together. People will always remember the way you said goodbye, so it’s important to make your announcement as informative and positive as possible. Sharing your news with fans should not be a time for finger-pointing, but rather a reflection on everything you have experienced together and a reveal as to what you each plan to do in the future. Through your musical endeavors together you have forged countless relationships the world over with people who believe in the emotions expressed through your art to such a degree they almost consider you friends, and as such they feel invested in your lives. They want to know everyone is better off for the change, and it’s your responsibility to help them feel at peace with the news. You, or at least your art, has potentially become a staple in their daily routine. Leaving things on an argumentative or otherwise sour note will spoil that connection for many who once felt close to your music.

3. Say thank you. A lot.

It doesn’t matter if you’ve been together a month or a decade, go out gracefully. There are many bands in the world, but for the time you existed people chose to give you their time (and money), and it’s important that you let them know their dedication was appreciated. Your creativity may have given you a dream to chase, but it’s because of their support that you were able to accomplish anything in this business at all. Your dreams were realized because of them. It may be over now and sure, there may be some hurt feelings, but for a fraction of their lives and yours you were connected. Don’t take that for granted.

(This column was made possible thanks to creative input from Jen Appel, founder of The Catalyst Publicity Group.)

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Haulix Advice: 4 Reasons Buying Followers/Likes Is Always A Bad Idea

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. 

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Haulix Advice: Defining the roles of a manager, tour manager, publicist, & lawyer

Hello and welcome to return of our Haulix Advice series. This column is dedicated to helping developing artists and industry professionals navigate the waters of a DIY career in music. If you have an idea for a future installment of this series, or if you have a question you’d like us to tackle in the coming weeks, do not hesitate to email james@haulix.com and share your thoughts.

As your career in music begins to develop, you will eventually reach a point where you will want to at least consider hiring other people, such as publicists and managers, to work with and for your music. This can be a very exciting and fast-paced time if you surround yourself with the right team, and in this post we aim to help you understand the roles those individuals will fill so that you can determine what you need when the time comes.

In order to clarify their roles, I asked Jen Appel, founder of The Catalyst Publicity Group, What artist’s expectations should be in regards to the work performed by managers, tour managers, publicists, and lawyers. This is what Jen had to say:

Manager: When a band can no longer scout for new opportunities at the level they are at or handle their current work load a manager would be the next best step. A manager can be as in depth as arranging the day to day duties of each member to shopping for labels and networking the band around the industry professionals. A band should only actively seek management assistance when necessary. Having the band well organized and in place before reaching out for management will only make the working relationship a lot easier.

Tour Manager: A tour manager represents the band while on the road. The tour manager is the right hand man for the manager, merch person, crew and publicist. They are in charge of many items while on tour such as making sure the band arrives at the venue on time, they get paid at the end of night, and set up any press while on the road.

Publicist: A publicist is necessary to bring on to a bands team once all assets are solidified (music, branding). A band shouldn’t approach a PR team if they have no content ready to release. Once a band has a nice marketing package ready to go and they feel they’ve hit a wall with setting up their own interviews a PR team can help package a marketing plan together and focus on securing press. The goal of a publicist is to properly present the band to the public/press/fans.

Lawyer: A lawyer is a great person to have on a team when it is necessary. A lawyer is able to negotiate contract deals on behalf of a band and make sure that a band isn’t get screwed over in a deal. The lawyer looks after the bands best interest and is there to lend advice along the way.

It’s important to note that every business relationship is different and the deals you develop with the individuals you choose to surround yourself with may not match these guidelines exactly. Before adding anyone to your team take time to figure out exactly what you want to accomplish and research who would be be suited to assist you in accomplishing that task.

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Haulix Advice: Making The Most Of Cover Songs

Hello and welcome to a brand new edition of Haulix Advice. This column exists to offer guidance to independent artists and those hoping to better their careers through the use of insight given by people currently working in the music industry. If you have a suggestion for a future installment of this series, or if you would like to add your advice to an upcoming column, please do not hesitate to email james@haulix.com and share your thoughts.

Moving away from the festival-related pieces we offered throughout September, today’s Haulix Advice column is on an area of music people often write-off as a mindless gimmick: Cover songs.

Having spent the better part of the last decade working in music, I don’t think a single week has gone by without a reputable artist releasing, or at least performing a cover that made national headlines. It may seem like a cheap ploy to ride someone else’s coattails, but as proof by the continued success of Fearless Records’ Punk Goes… cover series it has become alarmingly clear in recent years that the market for good covers is far more serious than previously believed. Almost every solo artist and band has performed and/or recorded covers in the past, but from what we’ve seen it seems far less understand the proper way to use this marketing tactic to their advantage. So, without further ado, we’d like to present you with 4 tips for making the most of your future cover songs.

1. Timeliness is next to godliness, but nobody like a rush job (aka Nobody cares how well you cover Rebecca Black). When choosing a cover to record or perform, it’s important that the song you choose has not already worn out its welcome with mainstream pop culture. Your goal with this recording is to attract people already addicted to the original by offering them a variation of something they know they enjoy, but if you wait too long to cash in on any particular hit you’ll find yourself with a great reinterpretation that no one has any interest in hearing.

On the flipside, you have to be careful that any cover of a recent hit isn’t pushed to the public before its ready for consumption. One of the biggest mistakes bands tackling covers can make is not putting enough of themselves into the material, and when you rush to complete a cover you run a high risk of glossing over the aspect of originality all covers need to succeed. This actually works perfectly with our next point, which is…

2. It’s better to pick the song you can perform well than the one currently topping the charts. It does not take a rocket scientist to conclude that those hoping to piggyback off the success of other with a cover would be wise to pick the most popular songs, but the truth is that could very easily be a recipe for disaster. Covers should lean on the popularity of other’s work, but if you’re unable to make their music work for the sound you create then your efforts will not get you very far. Think about what you (or your band) could bring to a song before choosing to cover it, then make it a point to work at refining that cover until your vision for a new version is fully realized. Covers delivered without an original twist, just like those boasting a sound that is unusual for the band delivering the cover, drives away far more listeners than it attracts.

3. People like videos. The availability of digital recording technology has made it amazingly simple for anyone who thinks they can carry a tune to churn out a cover of their favorite track. If you want to stand out from the sea of voices hoping to gain exposure from cover efforts, you will need to do everything in your power to get the word out about your work, and one of the best ways to do that in 2013 is through videos. You don’t have to recreate the clip released for the song you’ve chosen to cover, but you should release some type of stream through video networks such as YouTube and Vimeo. This can be a full-on music video, or something more akin to an intimate acoustic clip. Either way, make it happen. The easier it is for people to find your music is always better.

4. You’re not Elton John, Freddie Mercury, or a member of Led Zeppelin. Get over it. There are those who believe there are ‘untouchable songs’ that should never even be considered as candidates for covers. I’m not going to say whether or not this is true, but as an artist hoping to make the most of a cover you would be wise to steer clear of songs considered classic or ‘known to all.’ It’s not that these songs are incapable of being redone, but like songs who have run their course at radio these tracks have worn down listeners to a point where they no longer desire to hear another person’s reinterpretation (unless, of course, it’s being half-screamed at them from a dingy karaoke bar).

Insight from around the music industry:

“I think the key in picking a solid cover song for your band to record or crank out live lies in the emotion that you can add to the song. You have to be able to make it yours. So, it is important to pick something that you really love. Pick something that moves you. No one has ever said, "Man, I really wish there were more cover bands and lounge singers.” So, if you’re going to take someone’s art and put it out there you have to be able to put your thumbprint on it. It has to floor your audience. Make sure that it not only connects withy our listener, but it also connects with you.“ – Josh Hammond, Publicist (Another Reybee Production)

"If you plan on releasing your covers on YouTube, there are two really important factors to consider, timing and consistency. If you want any chance at viral success, make sire you put out a high quality cover, within a fees days of the song’s release. If you’re looking to gain a substantial following, give the viewers a predictable experience by releasing videos on a strict schedule. That way, people know when to expect a new video to enjoy.” – Joshua Weilding, Digital Tour Bus

“When covering a song it should ideally sound like something you wrote, in your style and with your own spin.” – Jen Appel, The Catalyst Publicity Group

“If you decide to cover the hottest song on the radio, you have to assume that several other bands are going to have the same exact idea. If you’re going to follow through with it, you better make sure that your cover brings something fresh to the table that the slew of other bands may not be delivering otherwise it’ll be lost and forgotten just as quickly as the original topped the charts.” – Brian Lion, Under The Gun Review

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Haulix Advice: 3 Tips On Retaining Fans Following A Tour Or Festival Appearance

Welcome to another edition of our ongoing Haulix Advice series. Last week we discussed how to better market yourself going into a tour or festival appearance. This week we’re staying in line with that idea and looking at what needs to be done after your set. Your songs may win over the crowd, but if efforts are not made to retain those newly interested music fans your growth will be significantly stunted.

One of the biggest problems young artists face after developing a live show is how to retain new listeners they engage during performances. Fans who comes to see you will (in theory) remain fans following your show regardless of your direct interaction with them, but those unfamiliar with your music prior to seeing you live are far more fickle. They may be interested in what you have to offer, but to them you could be any one of the countless bands they’ve yet to discover and if you do not act fast you’ll lose their attention as fast, if not faster than you earned it.

We are not exactly known for our work with touring, but we realize how vital the live performance is in the career of artists who use our service and wanted to do our part in helping the talent we love further develop. To do this, we spoke with a number of industry professionals and put together a list of ___ tips to help better your fan retention efforts. You can read our advice, as well as insight from a number of our friends in the industry, below. Any questions or comments can be left at the end of this post.

1. Never underestimate the power of a strong email list – Email marketing is one of the oldest forms of digital brand promotion, and to this day it continues to be one of the most effective. Permission-based email marketing has a higher return on investment than unsolicited email, direct mail, or traditional advertising and has revolutionized the way we do business. Having an email list signup at shows encourages fans to become involved in future efforts at zero cost to them and essentially removes any major barriers to entrance someone interested in your art may encounter. It’s the easiest way for someone to show an interest in getting to know more about you, and if used properly can yield a dedicated and engaged following. That said, if used for spamming and/or endless product promotion the same list that once held a world of potential could be the first step toward failure as annoyed music fans begin sharing their bad experience with others. We suggest using lists like this or this to refine your email marketing skills before diving too heavily into this area of fan engagement, but cannot emphasize enough how important of a role it can play in long term retention.

2. All hail the mighty power of social media – We often open these lists with the most obvious answer, but this time that title moves to tip number two. Social media is the easiest, fastest, and most direct way to engage those who are just discovering your music following a live event. By reviewing your tagged messages and searching social feeds for non-tagged mentions of your name you are able to see and interact with music fans curious about your future efforts. This opens a direct line of communication between you and music fans that, if used for conversation and not hard selling, can yield dedicated and engaged new listeners. Much like email, however, incorrect messaging and/or a perceived lack of interest in who listeners are as individuals will only serve to hurt you in the long run. The people you’re hoping to reach know that you know they liked your music, but that doesn’t mean they need to sell them on purchasing whatever you have available. They’re looking for a relationship. Give it to them.

3. Post media from events and request those who attend do the same – Nightly gigs may become a way of life for you, but for the people who attend your shows any night may be the only night they see live music all year. Concerts are not a regular occurrence in life for most people, so when they do have the opportunity to attend something special they like being able to keep that memory with them for as long as possible. Blurry cell phone photos hastily posted to Instagram are one way to create such keepsakes, but your band can help fans keep their memories near by actively posting your own imagery and video from each performance. By hosting such media on your personal accounts, you establish a connection with fans who spot themselves as having been part of something that will never happen the same way again. It also promotes engagement on updates (likes, comments, etc.) and encourages those who see themselves to tell others about the image, which in turn brings additional new eyes to your page.

Additional insight from around the industry:

“Talk to them! Utilize social media to build relationships with new fans. That doesn’t mean you’re tweeting kids to buy your album – you’re talking to them as fans of all music. Plus, you can make someone’s day just by talking to them – everyone loves when a band responds.” – Jack Appleby, Siren Records

“We live in a social media world these days. Fans have access to bands in a way that is accessible like never before. I think because of this the industry is now driven just as much by the fans connection to the band as the music itself. So having band some time and reach out to their new twitter and facebook followers on a personal level is a quick way to cement a solid relationship following a fest. It is a simple gesture to show the new fans that they are just as important to the band as the band is to them.” – Josh Hammond, Publicist

“I would say whatever you do, do not let too much time pass between ending your festival run and getting back to every city you just played. Even if it means playing your new fans basement. Be humble and remember your fans don’t owe you anything, you owe it to your fans to over deliver every night.” – Danny Fonorow, Jonas Sees In Color

“This one is probably a no brainer, but stay incredibly active on social media. It’s really easy to take "time off” after a long tour or festival, but you want to stay in people’s minds, so they can continue to connect with you, the first week or two after a tour is crucial in getting people to not just enjoy your band, but want to support your band.“ – Tyler Osborne, Under The Gun Review

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Haulix Advice: 4 Aspects Of Artist Branding

In an attempt to split the information shared into easily digestible pieces, this discussion on branding is being spread across the next few weeks. This is part one, and next Friday part two will go live.

Branding may very well be the buzz word to end all buzz words, but when you get past its overuse in the business world you find it is a very real topic that many artists struggle to grasp. We want to help with that, and today we’re looking at 4 aspects of branding that effect all artists. There will be plenty more to come on this topic in the weeks ahead (3-4 at a time), but for now this should at the very least point those completely lost in the right direction. As always, if you have any questions or comments, please don’t hesitate to add them at the end of this post.

1. Music – This one is a given, but it bares repeating. Your music is your brand, and every element of it that finds its way to your fans will leave an impression on them. With that in mind, make sure what you’re putting out is the best representation of who you are (or want to be seen as) possible. This needs to be at the forefront of your mind from the first time your pen touches paper, to the moment you’re sitting in the studio mixing your completed tracks. Does the recording sound the way you hear the music in your mind? Am I being honest with myself and fans through these lyrics? Shallow, cash-grabbing efforts will almost always yield short-term returns, but those last make a career out of this business do so by being themselves. Always.

2. Image (Photos) – There is nothing worse than discovering a great talent who has no idea what they’re doing with their image. Fashion may not be your thing, and it certainly doesn’t need to be in order to take control of this of your brand, but you do need to recognize there is more to being an artist than simply creating great art. For all intents and purposes, you are a business, and as such you need to present your product (the music) in a way that is appetizing to as many of the senses as possible. There may not be a rule book for how any one sound needs to look, but I am sure we can all think of artists who have gotten it wrong from time to time. Remember when Garth Brooks thought he could have emo bangs and release an album as Chris Gaines? Yea, I tried to forget too.

3. Social media presence – I feel like we are getting close to beating a dead horse with this topic, but not a week goes by that I do not see a talented band or artist who fails to grasp the purpose of social media. It is not a soapbox for product promotion, though it can help your sales. Sites like Twitter, Tumblr, and Facebook exist for the purpose of creating new communities based on interests, and artists need to learn to see their presence on these sites as the hub of their online community. Don’t just talk at fans, engage with them. Listen to what they have to say, reply to their questions, and in between that get the word out about your latest promotions. If your fans feel like they are in fact a part of the community, they are far more likely to help with  promotion than someone who feels as if they are receiving a steady stream of advertising. No one wants a wall of ads on the browser, and even if they like what you do they probably won’t stick around that long if sales are all that’s on your mind.

4. Stage presence – There is no better environment to get the word out about your brand than the concert setting. Even if the audience did not specifically come to see you, they are in the venue to hear great music, and if you can provide that they may very well become fans before heading home. In addition to following the golden rule to “practice, practice practice,” make sure you and your bandmates have an idea what the audience will see while you’re on stage. It may be all about the music, but in this setting the visual element can play a large factor in how the audio is received. Don’t be someone you’re not just for a few extra claps, but do make an effort to engage the audience with what is happening on stage so they feel compelled to see it again the next time you’re in town.

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