live coverage Archives - Haulix Daily

Reviews are a dime a dozen these days, but a great live review by an engaging author can still make the difference between a tour’s success or failure.

Ah, the concert review. It has been a staple of entertainment journalism longer than almost any other feature, appearing long before recorded music was even thought possible, and it will most likely outlast us all. Why? For starters, the financial risk in seeing virtually any show is much higher than consuming a single song, album, or movie. Most people will risk $10 on a new release, but far fewer people are willing to spend $30 (or in many cases, much more) to see a performance whose quality is uncertain.

Then there’s the YouTube problem. Just last week, I saw Kelly Clarkson tell a crowd of thousands at Van Andel Arena how much she appreciated their attendance by admitting, “I don’t know if I like anyone enough to leave my house. You could have watched this whole thing on YouTube from your couch, but you’re here, and that means something.”

There are thousands of hours of concert videos on YouTube. In the time it takes to read this article there will likely be hundreds, if not thousands more than when you started. A lot of the clips feature muddy sound and poor video quality, but there remains more than enough decent uploads to sustain those unwilling or unable to purchase tickets for themselves. Just look at this video from the latest Panic! At The Disco tour, which is currently making its way across North America:

The clip above may not duplicate the live experience, but for many, it’s good enough.

These reasons, as well as many others, explain why creating quality live reviews is so important in entertainment today. A compelling live review can determine whether or not a ticket is bought, which plays a role in whether or not artists can support themselves and continue to create.

The importance of criticism in regards to concerts is as much about the performers on stage as it is the production, the crowd, and the overall vibe of the event. Journalists can speak to all these elements on a technical level, but what really grabs today’s easily distracted reader is the critic’s own journey. The consumer of your material may never make it to the show in question themselves, and the reasons for that are numerous (schedule, cost, etc.). What they can do, however, is live vicariously through you.

In today’s entertainment writing culture, the key to crafting a great live review lies in learning how to tell a good story — your story. You should consider yourself, your feelings, and everything that goes into a night out on assignment as a vessel for others. Capture as many moments as possible, especially the tiny moments that others in the crowd might miss, and use them to make your story more engaging for the reader. Here are some questions to get you started:

What is the weather like?

Is it hot or cold inside the venue?

Do people look happy to be there?

When did the venue staff notice people lining up? (Don’t be afraid to ask!)

What are people in the crowd talking about?

What are people in the crowd wearing?

How much time between sets?

Did the performers engage the audience? If so, how?

What moments from this show will you remember in six months?

What would you change, if anything, to improve the night?

How did you feel during the show?

Were your expectations met?

Where were your expectations?

2019 is shaping up to be a banner year for live entertainment. Legendary acts are returning to the stage for a final run, new artists are trying to fill large venues, and there appear to be more festivals than ever before. Everyone who is anyone is trying to get a piece of consumers’ live entertainment budget. The reality is, only a few will succeed, and critics can play an active role in determining who comes out on top.

Music Writing 101: Coverage Confirmations

If the first goal of every young music writer is to gain access to albums from their favorite artists before those records arrive in stores, then the second goal is usually to see those artists in concert without paying the cover charge. Yes, free admission to concerts and festivals is one of the perks of writing about music, but just like advance access to music it’s a perk that doesn’t necessarily have to be extended to you.

No show or event is truly free to writers. Your currency in these exchanges is your voice and whatever audience (aka reach) you have through the outlet that shares your work. Upon receiving confirmation that you have been added to the list of any event you are entering into an agreement that you both will attend said event and that you will write about that event in a timely manner. For example, if you attend Van’s Warped Tour on Monday after promising a review to PR then it should not take a week or more to post that review online. If it does you will risk straining your relationship with the PR that granted you access in the first place. More importantly, you will develop a reputation that extends beyond that one relationship and follows you where you go in music. The industry may seem large to outsiders, but it’s actually quite small, and everyone who knows anyone will come to learn of your lack of follow through.

This is about good business as much as it is respect. People will get upset if publicists do not reply to their requests in a timely manner, but see no problem dragging their feet to complete content that was promised in advance of receiving a coverage confirmation. Those who respect others and their time/work will in turn receive the same respect.

Rey Roldan, founder of Reybee Inc., recently wrote the following on coverage requests and confirmations from the perspective of a publicist:

If you request music or tickets from a publicist and promise or confirm coverage, it’s your duty to make good on it… and if, for some reason or another, you can’t keep your side of the deal, it’s only respectful to let the publicist know. Don’t ghost them.

It’s understandable if you hated the show or the music and you don’t want to cover it because of that reason. But let the publicist know, so they don’t constantly hound you for the link.

If you confirm an interview date and time but something comes up and you can’t make it, let the publicist know ASAP. Don’t wait for the time of your interview to tell them that it’s a no-go. It only makes the publicist look bad and could create tension in your relationship moving forward.

If you get confirmation of guest list or photopasses to a show (especially the bigger, higher profile shows) and can’t make it, let the publicist know as soon as your can. There’s a chance that the publicist can use your spot to give to another writer/photographer who was cut from the list. We publicists do sometimes check guest lists after the show to see who showed up and who didn’t.

If you are requesting tickets to a show with multiple artists, either send one email with all the publicists on copy or make sure if you get confirmed on one list to let the other publicists know you’re all set. If you are on multiple lists for the same show, it can prevent other writers/photographers from covering that show. Or if we publicists cross-check our lists and see you on it more than once (or worse yet, see multiple names for the same outlet on different lists), it looks bad for you and/or your outlet.

Making relationships in this industry can be difficult. Maintaining them is easy. Just don’t fuck them up.

Respect and follow-through are everything in this business. Do your best to follow the golden rule (treat others as you want to be treated) and you’ll do just fine.