Tag: Interview Tips

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18 Awful Interview Questions You Should Never Ask A Musician

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Interviews have been a staple of journalism since the earliest days of news reporting, but in the age of blogging there has been a rash of so-called writers relying on tired questions that waste the time of the both the artists and the readers who click on their content. We created this post to highlight some of the worst offenders on the bad questions list, as well as to provide an explanation as to why those inquiries are so awful. 

If you’re reading and notice something you have asked in a previous interview, please do not take offense. We all make mistake when we’re younger, but that’s okay because we often learn best from our errors. What matters now is that you commit the following list to memory and make a conscious decision to never use the questions included again. If you can do that, and I believe you can, then you should have no issue further developing your career in writing.

“How is tour going?”

This is like asking someone how their job is going while their boss is staring them in the face. Even if the van died three times last night and two members have yet to sleep because they had to drive nonstop to make up for lost time the fact they are on the road at all is a gift from the gods. No artist is going to use your interview to crap on the thing that they are currently trying to sell. Might as well follow up by asking them if they enjoy being able to pay their bills and put food in their body.

“Do you have any crazy tour stories?”

Yes they do, but they are not about to tell you.

“What is the story of your band name?”

What is the story of your research for this interview? The origin of any band name is pretty much exposure 101. Unless you’re talking to an artist just introducing a new project to the world there is no need to cover the story behind the name. It has been done. Even if page one of Google does not provide the answer you want, trust me, it has been done.

“What does you band name mean?”

Again, Google. Also, it doesn’t matter. The fact Death Cab For Cutie’s name sounds like the way someone might describe a hearse carrying the winner of America’s Next Top Model has absolutely no barring on the band’s music. There are instances where band names play into larger themes, but those cases are extremely rare.

“What do you love about (City on Tour)?”

They love the fact people exist there who support them. They love being paid to appear there and see the people who have been supporting them. Even if they don’t get paid, they love getting to perform. You know this already because they’re a band on tour in your city. This is the kind of question the local news asks the touring entertainer whose talent they’ve never seen. Don’t be like them.

“How do you like (City or Country) so far?”

Again, it’s amazing. They’re not going to say otherwise.

“How was your time in the studio?”

Don’t be vague. The time in the studio? Do you mean the writing of the album, the discussions that preceded the writing of the album, the tracking of the album, or one of the dozens of other things that happen while an artist or band is in the studio?

Furthermore, you should respect the creative process to an extent. A painter can’t really tell you what it’s like to paint. They focus fiercely on one thing for a short period of time and do everything in the world to make it as good as humanly possible with the tools they have available. It’s a process that is unique for every musician in existence, and as a result it’s often a deeply personal one as well.

“Who are your influences?”

Everyone they have ever heard. Some more than others, of course, but there is no one true answer to this question. I’ve met metalheads who swear by Modest Mouse and folk singer who need Have Heart in their ears before they can hit the stage. This isn’t even taking into consideration the fact influences often come from places outside music, including movies and culture. The only answer an artist will give to this question is likely something they read in an ‘spotlight’ article about their band in another publication. It’s filler material at best, and it’s rarely that.

“How would you describe your sound for someone who has never heard you before?”

You’re the journalist, not the artist. Don’t make them do your work for you.

“Are you excited for album/tour/show/thingtheyaremakingmoneyfrom?”

Yes. The answer is yes. All the time, 100% of the time, the answer is yes.

“Do you have a (relationship with someone)?”

This is none of your business. You’re there to talk about the music, not the personal relationships of the people who create it.

“What is the most rock-n-roll thing you have ever done?”

It definitely won’t be telling you the potentially illegal thing they did to help you get a few clicks.

“What are three things you’d take with you on a desert island?”

This is one I have heard uttered in several Warped Tour press rooms over the years, and it sends shivers down my spine every time. Introductory interviews are fine, and they require interviewers to use tired questions, but getting to know an artist is not the same as making a new friend during your first summer at camp. Like the relationship question earlier, this falls far outside the scope of your coverage. You’re wasting the artist’s time, as well as that of your readers.

“What is your favorite (thing you would ask a first date)?”

Again, this is all far too basic. Think bigger. In fact, just think.

“Which of your songs is your favorite?”

Ask a parent which one of their children they love most and watch the expression they make. This is what you’re doing when asking an artists to chose between their songs. There may be certain tracks they like at a particular moment more than others, but at the end of the day they love them all or else they wouldn’t have been shared with you, the public.

“What are you doing after the interview?”

Don’t be creepy. Never, ever be creepy. It’s none of your business.

“Do you consider yourself a rock star?”

Do you consider yourself something many people associate with being unpredictable, egotistical, and destined to fail? They don’t either.

“When are we going to hear you on the radio?”

When are you going to write for Rolling Stone? With questions like this, it won’t happen anytime soon.

James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.

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Journalism Tips: Making The Most Of Email Interviews

Let me preface this article with two caveats. Firstly, there’s no right way to conduct an interview (aside from maintaining some professionalism). Everyone develops their own style, and what’s right for me might not be right for you. My style tends toward the conversational. It’s not that I don’t prep questions. I actually prep a lot of them, more than I could reasonably ask. But I treat those questions as guideposts – they’re places to stop at and explore along the journey of a conversation, not turn-by-turn directions to be followed in strict linear sequence. Sure, I make certain to hit on the points I want to hit on, but I don’t worry too much about how I’m going to get to them – if things go as planned, I generally find I wind up in those places without really having to try. If it’s interesting to you, it will be interesting to your readers, so trust your gut and go off-script if you’re onto something interesting.

That leads to the second caveat: I abhor email interviews, because they don’t offer any interplay. (I don’t even like phoners; so much is said in body language). They’re craft, not art; they’re classical, not jazz. Useful for gathering basic info, to be sure, but no fun, and your readers will snuff it out in a heartbeat. The original premise of this article was going to spend time on how to make the most of an email interview, but it turns out I don’t really have any good advice. You have Google, you have Facebook and Twitter, you know how to find whatever info about a band is already out there – I don’t need to tell you how to do your homework. Just try and ask the questions you’re genuinely curious about, in a way that lets the interviewee elaborate, and trust that your readers want to know the same things you do.

Email interviews aside, the best tip I can give for garnering a revealing interview is to let your subject do just that: reveal themselves. Give them room to answer; let them ramble. Let your interviewee follow their own train of thought – if they briefly touch on something that merits further exploration, make a mental note to come back to what they said, but don’t interrupt their flow.  

If there’s a pause in the conversation, I try to hold back, to let the moment breathe for a second rather than jumping in with another question right away. In doing so, I’m creating silence. Why? Because silence is awkward, and that awkwardness is something you can use to your advantage. Nobody likes awkward silences, and if you don’t fill that silence, odds are your subject will, often with things they would never have said otherwise. I’ve frequently found that the best, most interesting answer is the one that comes after the stock answer, when my interviewee suddenly finds themselves unexpectedly digging for something more to say. Sometimes, they even surprise themselves with what they reveal in those moments. My best interviews are the ones where I manage to make my subject feel comfortable while simultaneously keeping them ever-so-slightly off-balance. It’s definitely not a technique that comes easily or naturally, but it’s well worth practicing.

Yes, practicing. Especially when you’re first starting out, take every interview opportunity you can get, and pursure the ones that aren’t presented. There are a million bands out there dying to have someone talk to them, even if the results are just going to end up on a personal blog that nobody but their friends will ever see. There are plenty of times I’ve interviewed bands whose music I don’t care for, or about. Remember, your interview isn’t about the music, not really; it’s about the musician, and people are endlessly fascinating. Every artist has a story to sell, but there’s always a story behind the story, too. That’s the part that I find compelling, and it’s the part your readers will find compelling. The facts are important, sure, but – unless you’re getting an exclusive – every interview that artist does will contain those same facts. It’s the other stuff that will make your interview worth reading. I love the challenge of trying to unearth that hidden substory. The more interviews I do, the better I get at it.

There are even occasions where I’ve interviewed bands whose music I haven’t even heard. Usually, that involves a publicist throwing one of their baby bands in front of me  while I’m waiting on the artist I’m scheduled to chat with. It’s a dirty trick, but it happens. Instead of treating it as an annoyance, treat it as an opportunity to practice your skills. Even if it goes terribly, what have you got to lose aside from a couple minutes of your day? Also, it will keep you in said publicist’s good graces, which is always a plus, because access is everything.

When you’re done, take the time to listen back to your interviews. There’s nothing I hate more than transcribing a long audio interview, and yet it’s a vitally important part of my process, because it forces me to rehear as a third party what I originally heard as a participant. Generally, I give one listen while I transcribe; a second listen after transcription is done, to make sure that what I’ve written is accurate and captures the context and mood in which things were said; and then, finally, a full read through of the written interview to ensure for clarity and flow. Remember, it’s not just about getting a good interview, it’s about writing a good interview, and those aren’t necessarily the same thing.

Throughout, I’m not just listening for accuracy. I’m paying attention to what I should have asked but didn’t; noting where I jumped in when I should have let my subject talk; and listening for things I should have keyed in on for follow-up, but missed. Every mistake is a learning opportunity, a chance for me to do better the next time out. Because ultimately, interviewing is like any other skill – the more you work at it, the better you will be.

Jesse Richman is a contributor to PropertyOfZack and someone you generally need to know in the alternative music scene. If you would like to learn more about Jesse’s efforts, be sure to follow him on Twitter.

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What To Do When Your Interview Disappears

Here’s a nightmare situation almost every writer will encounter at one point or another during their professional career: 

After much effort and patience, you’re finally given the opportunity to complete an interview you have dreamed of conducting. You prepare, doing research and developing strong questions, then double check to make sure all your recording equipment is ready to go. When the day comes for your interview, you do your best to remain calm and work through your material as rehearsed. The conversation goes well, and for a few moments you feel like you’ve just captured something truly unique, but by the time you sit down to work on your article you realize the opposite has occurred. For one reason or another, be it human errors or a glitch in technology, your interview has been corrupted. Maybe the sound is bad, or perhaps your recorder died in the middle of the chat without anyone noticing, but whatever the case you have, at best, a small chunk of what should have been a complete feature.

This is how my morning began, and I’m sad to admit it is not the first time such a problem has occurred during my time in music writing. No matter how often it occurs, however, the sense of immediate panic and stupidity is always the same. After all, this is something that was entirely my responsibility. I set it up, I developed the questions, I took time out of the artist’s day to chat about things that were important me, and then I bumbled the most important aspect of all: Ensuring the feature was captured in a manner that would allow it to be shared, or at least transcribed, for others to enjoy.

I wish so much I could tell you that with proper preparation and attentiveness you can avoid from facing such horrors of journalism in your professional life, but to do so would be to convey a lie. Every writer I know has encounter some kind of problem between the time an interview is conducted and the time that writer sits down to create content out of the material, and the sources of these problems are far too numerous too count. It will no doubt happen to you too, and when it does you will feel-at least for a moment-as if you’re the laughing stock of writing. That’s all in your head, of course, but I still wouldn’t boast about such errors (like I am doing today).

As much as it sucks to admit, there is very little you can do to salvage interviews when problems arise with the recording. There are some cases where editing tools can help improve questionable audio, but when the content in question is a generally quiet conversation in a loud/noisy area you’d be wise to not hold your breath when waiting for such solutions to provide relief. The best thing you can do is be honest and admit that an error occurred, not just to yourself, but the people representing the artists as well. You will never be able to capture the same conversation twice, but most publicists and artists are willing to schedule make up interviews if time/scheduling allows. If not, perhaps you can use your memory to draft an editorial about the experience, using the comments you remember to help flush out your story. Don’t use quotes you can’t back up with a recording, but if someone expressed excitement over something it’s fine to convey that to readers. Just don’t claim anything was said, promoted, or hated on without having proof. People will call you out and you will be in hot water. Just don’t do it.

My latest mistake took me over an hour to understand. I interviewed Nick Thompson, vocalist for Hit The Lights, on January 22. We had a twenty-minute phone conversation, which touched on everything from touring, to the band’s new album, growing up in the world of pop punk, and the reason behind the band’s sometimes long periods of silence. At the risk of overstating my adoration for this feature, I hung up on that conversation thinking I had just completed one of the best interviews I had done with any member of the group in nearly ten years of writing. We covered A LOT of ground, and as far as I knew much of it had never been explored in prior interviews. It was, for lack of a better description, exactly what you hope to create when conducting an interview.

As I sat down to transcribe my interview, I knew something was wrong. The file, which should have been in one piece, was mysteriously split into three parts. The first recording sounded great, and I made a point to transcribe while it played. The second clip was shorter, running about a minute, and the quality was equally good. The third part, which of course contained the bulk of the conversation, was another story altogether. For seemingly no reason, the quality of Nick’s end of the conversation bottomed out. I was clear as day, but Nick can’t be heard. At all.

Roughly two hours passed between recognizing the issue with my recording and me abandoning all hope it could be fixed. I eventually swallowed my pride, emailed the band’s publicist, and changed my content plan for the day to include this post instead of the planned interview. I thought if my day had to go to crap because of something like this, it could at least be improved a bit by encouraging others to double check their gear and, should something bad happen, be mature enough to admit when things go awry. Publicists would rather hear that you had a problem than never hear from you again. It’s when you never run the content agreed upon and never offer a reason why that labels, PR, and artists begin to get upset.

Mistakes happen. Admit when things go wrong and people will be willing to not only listen, but also to help make things better. Being open about your faults is scary, but keeping them to yourself will only result in isolation. Chock it up to lessons learned and move forward.

All that said, I still want to share the portion of my interview I was able to transcribe. If you get a chance, please support Hit The Light. This band changed my life more times than I can remember, and I think their new album will be their best yet.

H: Hey Nick, thanks for talking to us today. How are you?

N: I’m good man. Watching ‘Galaxy Quest’ and chilling right now. We’ve got one more date with Motion City Soundtrack this weekend, but I don’t have to leave until tomorrow.

H: That’s a good place to start. How has that gone for you?

N: It has been a lot of fun, man. We’re not on every date though. They are taking out a bunch of bands. I think Hawthorne Heights is with them right now, but we hop back on this weekend for a show in Pennsylvania. It’s been a fucking honor though, honestly. They’re such great guys and that is such a great record.

H: How are kids reacting to the new material? Have you been playing anything more than “Fucked Up Kids”?

N: We actually haven’t played “Fucked Up Kids” yet. We might bring it out in Pennsylvania this weekend, as long as another song we hope to shoot a video for next month, but we will see how it goes. We try to ease into the new stuff.

H: So are you play material more fitting for the anniversary Motion City are celebrating?

N: I guess, haha. It’s not intentional. We just wanted to come up with a set list that had a lot of energy and fun. Most kids probably aren’t there to see us, so they might not care either way. We just try to have a lot of fun and put on the best set we can, then we sit back and watch Motion City do their thing.

H: Well “Fucked Up Kids” has been available online for over a week now. From your perspective, what have reactions been?

N: It’s actually way better than I expected. I try to keep my expectations low so that we’re never disappointed, but it’s been good. It’s also funny. I knew there would be reactions from all sides, especially about the style of the song and the lyrics. I saw people saying “How are they singing about ‘Fucked Up Kids’ while pushing 30?’ In reality, that is kind of the basis for the song. It’s us coming to grasp with the reality that we don’t know what kids are into these day, and then realizing that the generation before us probably felt the same about the things we enjoyed.

Through it all though, everyone has been very excited. It’s an easier one, as it’s really poppy, but I’m also excited to see what people think of the rest of the album.

H: That’s a good way to transition to more album talk. The single is clearly influenced by the earlier records, but is there a component of ‘Invicta’ in there as well?

N: There are elements of ‘Invicta’ and other stuff in there as well. We weren’t trying to get away from that sound, but with this record I think we made our poppiest, heaviest, and riffiest record to date. We tried new things, just like we did with ‘Invicta,’ and we pushed ourselves. So yes, there is a component of that, but I think this record is one that stands on its own as well.

H: That’s good to hear. I think it’s funny how people immediately jump to ‘Skip School, Start Fights’ for comparison. I get it enough, as this song feels a bit like a continuation of that sound, but at the same time it has been seven years since that record came out.

N: Right. I understand that as well. Honestly, we wouldn’t have this record if we didn’t do ‘Invicta.’ Without it, we wouldn’t be here. This record is different though, and it has a sound all its own.

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Journalism Tips: 3 Tips To Prepare For The Big Interview

Hello, everyone! Welcome to the beginning of another week of music industry discussion and commentary here on the official blog of Haulix. It has been a few weeks since shared a Journalism Tips column, but we finally found a topic worth sharing and a fantastic professional writer to add their own flavor to the mix. Matthew Leimkuehler has contributed to this blog before, but this piece may be his best to date.

This blog exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.

So, you’ve established yourself at a reputable publication. You’ve reviewed a fair amount of records, you’ve done some live reviews, you’ve interviewed the local bands, you’ve even shot a few photos. And now your time has finally come. One of your favorite bands is ramping up for a new record run and your editor just sent the email over saying you’re the lucky one from your publication who gets to interview the band before the album drops. It’s a “bucket list” interview for you, one of those artists you adored growing up — you’re nervous, you’re probably a shameful wreck. That’s okay. Take a deep breath and dive in. These people are human and you are, too. This is why you started writing about music in the first place, right? Here are three tips to consider when you prepare for the big interview:

1. Do your research

You want to do your best to make an impact during this interview. Stay away from redundant questions. Sure, it’s okay to break the ice with a generic question about the record or the recording process. But don’t stay on the surface for your allotted time. It’s your job to dig into this artist’s brain, to tell the world where his or her mindset is for this release. Read old interviews, watch old music videos, soak in every piece of media that has led up to this release. Don’t repeat questions that have been asked for a decade on end — find something you think needs to be talked about more and run with it.

2. Listen to the music

Make sure the artist’s representation gets you the proper assets before you’re heading into the interview. Get an advance of the new record, listen to the singles that have already been released. Don’t go into the interview blind (or, deaf?). The artist always knows. Listen intently and prepare questions about the record. This is new material for the artist, he or she should be excited to talk about the project and what they have created. But it always starts with you listening and preparing to ask the right questions.

3. Don’t be a “yes” man or woman.

It’s your job to tell a story, not to flatter the artist. It’s okay to be grateful and it’s okay to be complimentative if you like the music. This is an artist that probably has a world full of fans who preach his or hers greatness daily. If there’s something that’s questionable, don’t be afraid to hold the artist accountable. The last thing readers deserve is an extended arm of public relations. He or she pays people good money to make their new record sound good — it’s your job to deliver the truth. The artist will respect honesty over fake flattery any day. Stand your ground and enjoy every moment.

Have any questions? Feel free to tweet me @callinghomematt to discuss more!

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Haulix Advice: Making The Most Of Email Interviews

The last few editions of our Haulix Advice column have focused on making introductions and getting your music in front of people who will [hopefully] share it with their readers. Today we’re focusing on selling what lies behind the music: Yourself.

Once your music begins getting traction online, the time will come when you desire to setup additional features for your band with notable publications. Interviews are always a great route to go, but all too often the bigger outlets do not have the free time needed to execute a face-to-face feature with rising acts and an email interview (sometimes referred to as a form interview) may have to suffice suffice. This may seem like a negative, as everyone tends to express themselves better through conversation than statement, but with careful thought and consideration fill-in-the-blank questionnaires can be a gateway to a deeper relationship with your fans, as well as an effective marketing tool. After all, any opportunity for exposure is better than none, and rarely will you come across an opportunity as customizable as this.

For everything a form interview lacks in terms of human interaction it more than makes up for in the endless freedom offered to the artist. The questions outlined should be viewed as starting points for conversation with the reader rather than individual bullet points. Make your introductions quick and be sure to answer everything clearly, but keep in mind every response is another opportunity to connect with listeners on a deeper level. They want the details (that’s why you’re being asked you questions), so make sure you take your time to answer everything in full. That may sound fairly obvious, but having spent last half decade in journalism I cannot count the number of one-word or single sentence responses I’ve received from artists of all sizes. It’s not engaging or entertaining to read. Ever.

In terms of reaching new listeners, form interviews offer you the opportunity to discuss elements of your art that may pull in the casual webzine reader. In depth information regarding your inspiration, goals, antics on stage and behind-the-scenes, views on music, and the like can offer the publications printing the article an angle to sell, and with the right hook you’ll be reeling in new listeners in no time (pun unfortunately intended).

To offer additional insight on how artists can make the most out of email interviews and the reasoning behind why it’s important, I turned to a few notable members of the music world for advice. You can read their insight below. If you have additional tips for artists reading this column, please feel free to comment at the end of this post and add your two cents. 

“I think the short responses in interviews via email are not because the artist or musician doesn’t care, it’s because either: 1) The artist feels as sense of entitlement because someone cares enough about their art to interview them about it. OR 2) They aren’t viewing their art as a business. If you want to be taken seriously, you need to act professional. no one wants to work with unprofessional artists who are flakey and don’t care about their perception to the public. – Mike Sacchetti, Bad News Bears

In the unfortunate event that an interviewer is left with no other option but to send out an e-mail interview as opposed to doing a phoner or in-person, it’s important that the artist(s) being questioned elaborate on their answers to make for an interesting and insightful read. There is generally no way for the interviewer to anticipate how the artist(s) will respond so more often than not, an e-mail interview will not flow as well as an in-person or phone interview would, as the interviewer doesn’t have the opportunity to ask follow-up questions in regards to the artists’ answers.

I would suggest that the interviewee read all of the questions before they begin answering because it has been my experience that the artist will answer with similar responses multiple times throughout the interview due to the order of the questions. Many times, the artist(s) will answer a question as well as a succeeding one at the same time which isn’t always necessarily a good thing in terms of length and an engrossing read. This also falls into the responsibility of the interviewer to ask engaging and unique questions to hopefully get the most out of the interviewee, in way of in-depth responses.

In some instances, an artist will be cooperative enough to allow you to send some follow-up questions if you’re unclear on something they answered or you feel that you need to expand on something that could ultimately make for more piquant content. It would be nice if all artists offered this option knowing that an e-mail will typically need a little more life than what is breathed into it in the initial transaction. – Brian Lion, Under The Gun Review

When filling out digital interviews, every band should take the time to make sure they not only hand in thoughtful answers, but responses that are professional. Time and time again, I read and put together interviews where artists don’t take the time to even run spell check over their answers, which can reflect poorly on your band. Put in a few extra minutes, look over your answers and make sure what you’re saying is representative of how you want your band to be perceived. – Tyler Osborne, ToZ Productions

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