Tag: Music Journalism

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Editorials Industry News News Writing Tips

How Writers And Photographers Should Handle The Return of Live Music

live nation pandemic lessons live music concerts

Live music is back! Here are a few things music journalists and photographers should keep in mind before heading out to a show.

Can you believe it? After more than a year away, Live music is back. Concerts are already happening across America and worldwide, with hundreds more being announced every week. Live Nation, one of the most prominent concert promoters on the planet, says they will have twice as many artists touring next year as they did in 2019. That would have worried the industry a few years ago, but today, demand and excitement are at an all-time high. Fans are ready. Artists are prepared. Everyone is itching to get back in the pit and sing along to their favorite songs while surrounded by people who feel the same way they do about music. It’s a beautiful thing.

Music journalists and photographers, many of whom have spent the past year trying everything in their power to make click were the headlines from reviews and live stream announcements, are pretty excited as well. As much as writing about tour announcements and reviewing albums can be a satisfying experience, nothing compares to the thrill of covering a live show. A well-written review or beautifully captured photograph can do more to help members of the media and musicians alike than a dozen album reviews. With competition for consumer attention rising, the music journalism community is in a unique position of influence. The tours and events they cover can make or break someone’s spending decision, and that responsibility is not to be taken lightly.

But there’s a catch.

Since the first post-pandemic shows were announced, messages have circulated on social media calling for an end to guest lists. For those unfamiliar, these lists are used by venues and artists to set aside tickets for select individuals to attend a performance without buying a ticket. Spots are typically reserved for family and friends of the artist or promoter and members of the industry at large.

Here’s an example of the messaging in question:

It seems clear that the message of this tweet is for people who do not have a legitimate reason to request guest list inclusion. Artists and promoters are trying to tell friends that they would prefer they buy a ticket. Honestly, it makes sense. Before the pandemic, an artist had no reason to believe that touring, the primary way most musicians make money, would come to a halt. Artists in 2021 know that live music can disappear anytime. There is no guarantee of another tour. Artists need people to buy tickets so that they can feed themselves and pay their bills. The same goes for promoters. People have spent the last year worrying about where the money would come from, and now they have an answer. Live music is back, which means making money is possible.

Regardless, certain members of the music journalism community have taken these comments personally. But as the old saying goes, “if you think it’s about you, then it probably is.”

We spoke to several publicists and promoters who confirm they have no plans to deny guestlist access to writers and photographers when live music returns. One professional, who is allowing us to use their quotes anonymously, went as far as to say that “concert coverage may be more important than ever this fall. Artists, especially smaller ones, are going to need all the attention their shows can get to move tickets.”

That said, we put together a few rules with the help of the industry at large that music journalists from all walks of life should adhere to as concerts return:

  • Always say please and thank you. That may seem obvious, but unless you are a significant publication with massive influence, granting you access to an artist and their performance is a gift. 
  • Do not publicly attack artists, labels, promoters, or publicists if you do not receive access. Many factors go into media accreditation consideration. Keep working hard and, in time, you will get the access you seek.
  • Always deliver on your coverage promises. If you said you would write a review, then you better write something. If you said you wanted to take photographs, then you better publish a gallery. The publicists we spoke to say they will be more closely following the content created in return for guest list inclusion moving forward. 
  • Don’t request access to anything you wouldn’t cover otherwise. If you write for a metal site, for example, then you shouldn’t be requesting access to the Jonas Brothers concert under the guise of being a music journalist.
  • In the event you are granted a plus one, use it to expand your coverage. Guestlist spots are limited, and they are not intended to help your friend or significant other access a show. It would be best to use additional guest list spots solely to ensure the best possible coverage—for example, a writer AND a photographer.
  • If you enjoy the artists performing, consider buying merchandise. Not only will this help the artist continue to pursue their career, but it’s also a show of support for both the artist and their team. It says that you are serious when you say you want the artist to succeed. Artists and publicists know that not every site has any significant level of influence, but when you vocally support musicians and buy their merchandise, it tells the industry that you are actively working to ensure musicians can continue creating the art they aspire to share with the world.
  • Don’t be a dick to security or venue staff for no reason. Treat everyone the way you wish to be treated.
  • Don’t post a photo of your press badge or photo pass on social media. It may seem harmless, but someone may steal that image in an attempt to infiltrate another gig or event in the future. At the very least, wait until the tour or event has ended before sharing your pass.
  • Respect any boundaries set by the artist or their team. If someone says they don’t want to discuss something or be photographed at a particular time, listen to them. No one wants gotcha journalism.
  • Send links to your coverage to the person who granted you access. Everyone in music is busy, but you can make someone’s job easier by sharing your contact with them rather than making them seek it out. That behavior will also help you develop stronger relationships with publicists, labels, etc.
  • Don’t fake it. Humans have a unique ability to detect when someone is lying or not presenting the entire truth. Don’t create content you don’t believe in or would not want to consume. Make what is authentic and meaningful to you, and everything else will fall in place.

There are probably 100 other things we could add, but this is enough for now. We’ll see you at the show!

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Editorials Industry News News Writing Tips

How To Become A Music Influencer [VIDEO]

With Spotify adding over 60,000 songs every day, the world needs music influencers to make sense of it all. Maybe that’s you, and if so, we can help!

Is music your world? Do you feel like you could spend forever talking about your favorite artists and albums? Are you open to hearing musicians from all walks of life? If you answered yes to all three, then maybe you should consider becoming a music influencer.

Music influencers is a blanket term covering many areas of music conversation. Whether you want to write about music news, review the latest releases, create video content, host a podcast, or try your hand at a little bit of everything, the goal is the same: You want to influence people to choose one artist over another.

Building a career as a music influencer is hard work. It’s a labor-intensive process that can take years to lead anywhere financially beneficial, but it’s the only way to live for many. It’s a calling heard by those who spend more time with music than friends, and it demands devotion. Those who excel do so thanks to a mix of obsession, ego, and drive that compels them to consume, digest, and discuss as much music as humanly possible.

Music Biz host James Shotwell began his career in music journalism. For the first time, he uses this video to lay out the four essential building blocks of music reporting, influencing, and criticism. It’s easy to start, and we encourage everyone who enjoys discussing music to give it a try. You never know where your life might lead.

Music Biz is brought to you by Haulix, the music industry’s leading promotional distribution platform. Start your one-month free trial today and gain instant access to the same promotional tools used by BMG, Concord, Rise Records, Pure Noise Records, and hundreds more. Visit http://haulix.com/signup for details.

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Editorials News Writing Tips

How To Become a Better Music Writer In One Month

The Music Writer Exercise is coming, and you would be a fool to ignore the opportunities it presents.

As the saying goes, everyone is a critic. The age of social media has given everyone a voice to talk about everything they experience. One glance at Facebook or Twitter at any time of day will reveal countless opinions about everything, from entertainment to fast food. You don’t need a degree or any amount of experience to classify yourself as a critic, just like you don’t necessarily need any measurement tools to claim you’re an influencer. Did your friend do something because you suggested it? Congratulations. You’re an influencer.

Being a music writer in 2020 is a strange thing. You believe your passion for music and your knowledge of its history are so great that people should take an interest in your perspective on an industry that millions try and fail to join annually. Everything a music writer attempts today is challenging to achieve. Successfully pitching stories is hard, securing exclusive access or content is hard, and finding an audience for your work often feels impossible. That said, there may be no more excellent feeling in this life than writing something you believe in that connects with people, even if “people” turns out to be someone you’ve known for years.

Writing about music is a passion many possess, and we want to make you better at conveying your thoughts on artists and songs with a challenge. Music Writer Exercise, otherwise known as #MWE, is a month-long writing challenge that will expand your palette and improve your wordplay. Watch the video below for more information.

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Artist Advice Business Advice Editorials Haulix News

Why Artists Need To Be More Patient With Securing Press Coverage

Anyone can find someone to post about their music, but finding the right place to promote your next release takes time.

The state of music is pretty wild right now. There are more artists than ever releasing more music than ever onto platforms that more people can access than anything that came before. The opportunities for exposure and fan creation are limitless, yet meaningful engagement and promotion are increasingly rare. People are distracted, and who can blame them? 

The music discourse is increasingly splintered. There are countless blogs and podcasts and YouTube channels claiming to know what you should be listening to, but most struggle to retain an audience as much as the artists they support. Even the biggest publications, like Rolling Stone and Alternative Press, are struggling to stay on top of everything in today’s marketplace. The reasons for this are numerous, but they largely boil down to being driven by what gets clicks over what is most important or engaging. New artists and songs from unknown talent generate far less traffic than the latest insta-update from an arena headliner. That is a hard truth pill to swallow, but it’s nonetheless true.

Some artists will tell you it has never been easier to get press coverage, and in some respects that may be true. There are an infinite number of outlets in existence, and if you email enough of them you are bound to find several who are willing to post about your latest endeavors. However, posting alone does not benefit an artist. You’ve heard the question about whether or not a tree falling in the woods makes a sound if no one is around to hear it and the same applies here. If no one is reading the blog that posts about your music, does it matter that the post happened?

As a journalist myself, young artists often share songs and videos with me that they hope will attract attention from the press. The key, I tell them, is to make as big of an impression with the initial release as possible. A song may live forever online, but if people don’t notice your talent right away the likelihood that material takes off at any point in the future is incredibly low. 

Generally speaking, artists looking to premiere a song or video need to be more patient in their hunt for coverage. Everyone wants to share everything right now, but a speedy release does nothing if the content isn’t properly supported. My advice is to allow up to six weeks to find and secure an outlet to share your content. That way, musicians can find the outlet that best suits their material and, hopefully, they can work with the writer preparing their coverage to create the best article possible. Maybe there can be a digital campaign that teases the premiere for a week before the material drops or maybe the song or video being shared can be coupled with an interview that shares insight into the artist’s career. 

Artists should treat every update as the biggest thing that has happened to their career to date. You can’t expect consumers to feel strongly about your latest activity if you don’t feel the same. If the press for your next release is rushed or sloppy or underwhelming, the impression it makes on consumers will not be good. We’re talking about your art, after all, and that is an extension of how people view you. Take your time, plan everything as much as possible, and position your next release to be the one that changes everything.

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Job Board News

Music Industry Job Board (September 3, 2019)

New openings:

Music Coordinator, Hollywood Bureau (NAACP – Los Angeles, CA)

The Music Coordinator secures entries within the NAACP Literature categories, which results in a NAACP committee ballot. That ballot is used to decide the nominees that in turn will be voted upon to affect the winner of an Image Award.

Events and Projects Producer, Music Division (Julliard School – NYC)

Works closely with the Director of the Music Division to produce and support programs, events, and new initiatives within the classical music departments of the School’s Music Division. Provides high-level support to the Director of the Music Division, and collaborates with stakeholders within the School to successfully see assigned projects and events through from conception to realization, including managing artistic needs, budgets, schedules, and other parameters as needed.

Entertainment Manager (Lodge Management Group – Chicago, IL)

Lodge Management Group is seeking a dynamic Entertainment professional to manage and coordinate all activities relating to Promotion and Entertainment for 551 Live music venue. This position requires an individual who is passionate about drinks, music, and live events. This is a full-time position, with workdays from Thursday through Monday and hours dependent on the event schedule at 551 LIVE. Due to the nature of this position, the position requires open availability, including frequent nights, weekends, and holidays. This includes attendance at all special events.

Music Director (Viacom – NYC)

The Music Director will report to the Editorial Director, MTV News and be responsible for MTV News’ music coverage across editorial, social and video. The Music Director will be a sharp creative who will directly oversee the editorial wing of MTV News’ music team of editors and writers, while collaborating across MTV News’ video and social teams to optimize and translate content across platforms. The Music Director will regularly utilize analytics and insights to inform content and increase traffic and engagement around editorial, social and video content. Additionally, the Music Director will work with other teams in MTV and Viacom landscape to inform and produce innovative content that builds positive brand loyalty/affinity and makes an impact in the cultural sphere.

Subscriptions Marketing Lead, Apple Music (Apple – Culver City, CA)

We’re looking for an enthusiastic and expert Subscription Marketing Manager to lead customer acquisition for Apple Music. The ideal candidate has experience with subscription business models, and applying that knowledge to devise compelling marketing strategies. This individual will lead the development of customer acquisition (UA) and lifecycle strategies across paid, owned, and earned media channels. The ideal candidate will also have brand marketing experience, able to balance both a creative, and analytical mindset. This role works cross-functionally across the Music Marketing team, the channel teams, and our analytics and business teams to bring together all aspects of a user’s lifecycle- from customer segmentation, acquisition, to delivering long-term retention and winback. This role will have a high level of visibility within the marketing organization and contribute to a fast-paced marketing team.

Music Library Supervisor (USC – Los Angeles, CA)

The University of Southern California (USC) Libraries seek a service-oriented Library Supervisor to manage the daily functions of the Music Library. The Music Library supports the research and curricular activities of Thornton School of Music, as well as any other music and musicology-related research conducted in other departments. Reporting to the Head of the Music Library, the Music Library Supervisor is responsible for overseeing the day-to-day operations of the library unit, providing excellent customer service to patrons, training and supervising student assistants, maintaining a student employment budget, overseeing daily circulation and collection management functions, ordering and maintaining materials and supplies budgets, special projects, and other duties as assigned.

Associate Composer (Hexany Audio – Los Angeles, CA)

As an Associate Composer at Hexany, you’re an orchestral composer first and foremost. You live and breathe composition, have awesome music production chops, and are comfortable recording solo instruments and mixing your own music. We’re currently working on a variety of awesome unannounced projects in the AAA, VR, and theme park spaces and place a strong value on work-life balance- your weekends and evenings will be your own!

Reference Archivist, Music Library & Bill Schurk Sound Archives (BGSU Main Campus – Bowling Green, OH)

Under the direction of the Head Librarian, the Reference Archivist provides leadership in the administration of reference service and archival collection processing at the Music Library & Bill Schurk Sound Archives (MLBSSA) and to the BGSU community and the public, including both in-person and distance inquiries; serves as webmaster for the MLBSSA in the University Libraries; coordinates print digitization activities in the MLBSSA; and assists with audio digitization activities. The position supervises public-service student assistants, organizes circulation of materials, assists with public outreach activities such as tours and class presentations, selects content for digital exhibits, and consults on displays of MLBSSA materials. In absence of the Head Librarian, supervises permanent employees and serves as the head of the unit.

Manager, Mechanical Licensing Recorded Music (BMG – Nashville, TN)

Your primary mission is to secure licenses for physical and digital recorded music products released in the U.S. and Canada by BMG and its various labels.

Music Services Support Coordinator (TouchTunes – Redmond, WA)

This position supports Music Services department efforts related to one of our key music products including music research and song lyric review, and building playlists in Conductor. This position serves in an administrative capacity to assist the Music Manager with support on projects under strict deadlines. This individual will work as a contributing member of the overall Music Services team to help ensure that processes and workflows function end-to-end and a high degree of attention to detail is contributed to every undertaking.

Key Accounts Sales (Meinl USA – Nashville, TN)

We are looking for someone to join our group that shares our passion for music and drums/percussion, loves to travel, has an open mind towards business, is willing to meet new people, and is not afraid to do a little physical labor when needed. For instance, we don’t just sell instruments to the store and move on to the next call. After the deal is closed, we go back to the store several times to install displays, merchandise the gear so our products stand out in the store, and help our customers build their business. We want to build our team with people that are willing to build long-term relationships with our customers instead of just hitting a sales quota every month. We are all team players and assist each other in tasks outside of our sales territories to build the company. We expect that you would do the same. Sometimes we fly in late at night from a trip, but still show up in the office the next morning on time. It’s just part of our nature.

Cruise Ship Classical Music Production Manager (RWS Entertainment Group – Long Island, NY)

Reporting to the Vice President of Artistic Direction, the Music Production Manager will oversee all operational and creative logistics for multiple productions of our cruise ship client’s classical chamber music program.

Musician Casting Supervisor (Carnival Cruise Line – Miami, FL)

We are currently seeking a Musician Casting Supervisor! The Musician Casting Supervisor is responsible for attracting, recruiting, and hiring top musicians to cover all musical positions across the entire Carnival Cruise Line fleet. They develop the audition schedule based on cast changes, new programs being developed and seasonality. The Musician Casting Supervisor will identify potential talent sources and create relationships to develop future talent pools. They also assure the talent pool is diverse, and will partner with Music Managers to ensure talent pool is strong and effectively utilized.

Head of Maintenance (Loove Labs – Brooklyn, NY)

Media startup seeks resourceful person to assist in maintaining, cleaning and organizing two studio spaces in Williamsburg. This role begins with core maintenance work, including cleaning and troubleshooting systems, and expands into build and possibly production work. we’re looking to add a team member with excellent communication skills, experience managing and maintaining spaces – and optimally, a feel for the way arts spaces operate. 

Sr. Integrated Marketing Manager, Digital Music (Amazon – Seattle, WA)

Amazon Music is seeking a Sr. Integrated Marketing Manager to lead integrated go-to-market campaign strategies and executions for new product releases. We are seeking an experienced and creative integrated marketing manager that has a proven track record mobilizing cross-functional teams, planning releases, and delivering results, plus a drive for testing, learning and making insight- and data-driven decisions. You will need to possess an entrepreneurial ability to try new and different things with minimal direction. Overall, you will be challenged to push boundaries, propose and execute new ideas and establish best practices for Amazon Music.

Commercial Counsel, Content and Music (Snapchat – Los Angeles, CA)

We’re looking for a seasoned attorney to join Snap Inc! Working from our Los Angeles, CA headquarters, you’ll play a key role in Snap’s commercial transactions and advise teams throughout the company on legal and strategic issues spanning the breadth of Snap’s products and services, with a particular focus on content and music.

Artist Marketing Project Coordinator (Aquent – NYC)

The Artist Marketing team is looking for a hyper-organized and motivated professional to help us manage an overflow of artist campaign process and ops needs. Our team is set up to execute over 50 artist campaigns this year and we need someone to join and on day-1 help us manage the accompanying workflow. This one of the largest promotional platforms and we are using our platform to support artists. We are looking for someone to help our music promo team. This role requires hyper-organization, an analytical mindset, and comfort with ops and planning. 

Coordinator, Creative Licensing (UMG – Santa Monica, CA)

We are currently seeking an eager and exceptional coordinator to assist our VP, Creative Licensing. Administrator duties would include answering the phone, managing my expenses and calendar, updating the contact database, various servicing lists and dealing with day to day departmental asks. This person would also oversee all departmental servicing including managing the servicing calendar, show invites, ticket requests, and eventually / hopefully learn and then help creatively pitch to brief when necessary.

Assistant, Digital Marketing Operations (WMG Urban – NYC)

The Digital team at Atlantic Records is a full-service, agency-like marketing team, dedicated to building artist careers through the intersection of music and technology. We are responsible for all digital strategy and marketing for all artists on the roster, acting as artist partners in our 360 relationships, across music, touring, merch, and all other aspects of the artist career. Through creative marketing campaigns, we build online and mobile fan communities, with an eye towards evolving the way that fans listen to, participate in, and purchase music and related products. We create, market and optimize content, develop and implement CRM/fan acquisition strategies, and work with new, engaging digital platforms and startups.

Urban Marketing Director (Red Bull – West Hollywood, CA)

Red Bull Records is a full-service independent record label dedicated to long-term artist development, with a diverse roster across a variety of musical genres. We are seeking a candidate to drive the marketing activities for our urban artists. This position will be involved in every step of a marketing campaign from concept through execution. The office is located in West Hollywood, CA.

Administrative Assistant, International Marketing (UMG – NYC)

UMG is looking for a dynamic Administrative Assistant to provide administrative support to the EVP, International Marketing and his senior team. The ideal candidate is detail oriented, pro-active, a problem solver, with a “can do” attitude. Experience supporting more than one senior executive is ideal, but not required. Passion for music, constantly in the know with pop culture and trends, polished professional demeanor, and the ability to keep calm under pressure are essential.

Marketing Manager (Live Nation – Beverly Hills, CA)

Live Nation Comedy is looking for an energetic and strategic marketer to join the national marketing team in Los Angeles. In this role, you will be responsible and accountable for the success of assigned Comedy tours and shows.

Music Producers, Post production engineers (Ptones Records – Manhattan, NY)

Looking for interns in school or recently graduated to join our podcast production teams. work is flex and schaduled when teams are ready to record.It is an exciting opportunity to start a career in the podcast industry. Must have industry experience, be on schedule, and be highly motivated.

Senior Communications Associate, YouTube Music (YouTube – NYC)

As a member of the Global Communications & Public Affairs team, you will work cross-functionally to help communicate with journalists and other thought leaders; devise specific communications materials and campaigns based on understanding of journalists’ interests; engage in face-to-face meetings with commentators and other opinion formers; develop print and web-based material supporting these campaigns; and counter misinformation that might interfere with our business and ability to serve our users. We’re looking for great communicators who can understand complex issues and explain them in person and also via well written, simple blog posts, FAQs, video scripts and more.

Music Supervisor (Confidential – New York, NY)

New York-based reality television production company is seeking a music supervisor. This person will be responsible for overseeing the placement of all music tracks in our programs, and ensuring all music is properly cleared prior to delivery.

Office Assistant / Admin Assistant (Music Editing – Los Angeles, CA)

Busy Music Editing company in Los Angeles is seeking a responsible, extremely organized and driven admin assistant. Industry experience is not required, but a plus. Our fast-paced musical environment requires organizational techniques as well as attention to detail in order to successfully manage a multitude of ongoing projects. We are expanding our team, but not at the expense of our strong commitment to exceptional quality.

Music Clearance Specialist (Netflix – Los Angeles, CA)

As a seasoned music clearance expert, you love music and everything about the music clearance process for film, series and documentaries. You know everyone in the industry: the record companies, the publishers, the indies, music supervisors, music libraries, production houses, music editors, artists, songwriters and managers. You know exactly who to call to expedite a negotiation. You think having multiple quotes for the same song makes complete sense, you’re used to clearing compositions with as many as 10 rights holders, and you’re not fazed by split territory deals. You know what action to take when a licensor redlines or stamps your quotes. You know who to contact for that obscure track from the 1970s and, if necessary, you’re ready to suggest alternative tracks if it doesn’t clear, even if you’re not in a “creative” role in the traditional sense. You are the first to caution against a “fill in the blank” or “cut and paste” approach to music clearances; in fact, you understand each deal, like each production, is highly-nuanced and there is no detail too small or insignificant, however, you’re still focused on the big picture. You’re not intimidated by a high volume of clearances and you’re able to combine pace with a high level of precision and professionalism. The music production process for original content is second nature to you – from script to payment of invoices and submission of cue sheets – you’ve mastered that and feel comfortable working independently throughout the entire process.

Music Licensing Coordinator (StarMaker Interactive, Inc. – San Francisco, CA)

StarMaker is one of the top global karaoke and talent discovery apps on iOS/Android. We are looking for a talented music licensing coordinator to provide research and support to the music team as it expands on a global music strategy.

Music Composer (Avec Audio – Los Angeles, CA)

We are looking for orchestral composers first and foremost. However, jingle writers, sound designers, and artists should apply as well! This person should have a deep passion for composition, having the ability to produce high quality finished products. This person should have the ability to musically adapt, but has a focused genre/style. The qualities we look at; Ability to write/voice lead, use of samples libraries, mixing/mastering, and quality of live recordings. Your primary roll will be to collaborate with our clients, and provide them with an outstanding product. Candidates ideally will come to the table with at least 10 compositions that they have produced. These compositions will be used to show our clients, with potential offers upfront.

Stage Manager (Summit Music Hall – Denver, CO)

A Stage Manager with Live Nation Clubs and Theaters is a department supervisor responsible for the implementation and execution of producing live events within the venue.

Stage Hand (House of Blues – Boston, MA)

Responsible for ensuring the success of show and event productions by performing the technical aspects related to the show(s) production.

Music Researcher (Cognizant Technology Solutions – Austin, TX)

Research music artist data and optimize your approach to evaluating large sets of music data.

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Editorials News Writing Tips

Writers: It’s okay to enjoy music without writing about it.

Creating great art of any kind requires inspiration, but when your life depends on producing art it can be hard to enjoy things without turning them into work.

Music writing can be a double-edged sword as far as fandom is concerned. The fact you’re in a position to influence a group of consumers makes it possible for you to get closer to your favorite artists than you probably would otherwise, but it also means you have to continue following those artists’ every move long after your initial interest in their work has begun to fade. This is honestly a best-case scenario because more often than not writing about music means you have to not only know but learn to appreciate the works of many artists whom you would otherwise not make time to experience. Establishing a career in writing requires that you be engaged with the wide world of music, and that entails keeping tabs on far more artists than those you personally enjoy. Over time this can make the joy of writing feel a lot more like work than most would care to admit. But that’s because writing is just that — work.

This is not a complaint, per say, but rather a matter of fact. You cannot make it in music writing simply by covering the artists you enjoy when you enjoy them. You need follow-through, and more importantly, you need to engage the fans of artists regularly to ensure people continue to care about your writing and/or publication exists.

When I began writing about music I did so because I felt there were artists I knew and enjoyed that most of the world had yet to recognize. If you could find my first hundred articles, I can almost guarantee every single one would be based on an artist or group I admired at the time, and if I’m completely honest, I would also wager most of those posts are fairly similar. They each praise a group I loved at the time, and they each argue others should feel the same. I built my initial following by covering bands like A Day To Remember, Chiodos, Secret Secret Dino Club, and The Wonder Years whenever possible, and I made it a point to interview someone from the band every time a new piece of news presented an opportunity for discussion. As word of my work grew, so did interest from others bands and labels about having their talent promoted through my channels. I was completely blown away by these requests, so of course, I agree to almost everyone that hit my inbox, and as I began to network with the industry at large my writing began to encompass more and more bands. Some acts I enjoyed, but most were perfectly average in my mind, and looking back now I know the only reason I covered them is that I felt that it is what my (arguably non-existent) audience wanted. Whether or not that was true is something I’ll never truly know, but I do know that covering a wide array of talent helped me navigate the industry and secure full-time work in the business I love the most. Was it worth it? Absolutely. Do I continue to cover any and everything that comes my way as a result? Hell no.

It’s incredibly difficult to land a job in music that allows you to share everything you love all the time. Most jobs are far more focused than that, be it covering solely alternative music or perhaps just hip-hop. Finding a paid position that covers everything is rarer than a Morrissey performance that goes off without a hitch, and they are becoming increasingly hard to come by as the demand for specific content curators continues to rise. I used to have a big problem with this because I felt, and still do believe, that everyone is able to enjoy a little bit of everything. I might not love country music, but there are several country artists I enjoy. The same goes for musicals, top 40 radio pop, and obscure shoegaze bands. None of these areas of music are where I spend the majority of my time, but they each are filled with wonderful talent that is deserving of exposure and praise. Just because this is true however does not mean I am the person to tell you these acts exist. I can tweet about it, sure, but I cannot dedicate every minute of my day to telling you about everything I love as I once did. That is not my job.

At first, the need to separate the work I am paid to do the work I would like to do was incredibly frustrating. I felt as though my initial mission to help more people discover great music had been compromised by the need for a paycheck, but over time I came to realize that was not true. Having full-time employment gave me more freedom than I had ever had before as far as creative pursuits were concerned, and though I couldn’t argue the need to cover everything I could do more to help a specific set of artists and bands than ever before. Instead of writing about 40 or 50 acts a week I wrote about 10 at most, but I made sure to make each piece released as good as it could be. Having fewer artists to cover made it possible for me to dig deeper into my coverage and, ultimately, provide higher quality content to my readers.

But what about all that other stuff I loved? Did I turn my back on a world of talent just because they didn’t fit my 9-5 lifestyle?

Of course not.

I still love a wide array of bands as I always have, but these days I keep some things I love to myself if for no other reason than the ability to enjoy certain songs or records without turning that enjoyment into work. Before I had full-time work in music, I viewed everything I enjoyed as something I would eventually cover, which in turn made everything I enjoyed some form of work. Maybe it wasn’t hard work, but it was work nonetheless, and as a result, my relationship with music began to change. The idea of listening to music for the sake of simply enjoying it became an absurd concept, as I hadn’t purely enjoyed music for years on end. I liked it, and I wouldn’t know what to do without it, but at the end of the day I was trying to put food on my table based on what I was listening to, and that put a lot of undue pressure on myself, as well as the talent.

When I speak to aspiring writers and music professionals today, I encourage them to experience as much music as possible. As soon as I do this, I immediately tag my comments by adding that not every great song or record needs to become the sole focus of their work moving forward. It’s not only perfectly acceptable, but it’s also needed. If you lose your ability to simply enjoy music, you will be unable to accurately critique it. The reason anyone begins chasing after a career in music in the first place is based on their love of enjoying music in their youth, and when you lose the ability to appreciate music in that way you begin to lose track of why you work in music. It’s not about clicks, and it’s certainly not about being the first person to hear the next buzz-worthy release. It’s about celebrating art and the appreciation of art, as well as making others aware of undiscovered talent. You can only do this to the best of your abilities if you too are still able to be wowed by music. If you’ve lost that passion, or even if you believe it has begun to fade, take a step back from writing and unplug from everything except your stereo. Put on the records that first inspired your career aspirations and reconnect with the source of your drive to succeed. Never lose your passion.

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Industry News News

Lil Nas X responds to Billboard chart controversy with “Old Town Road” remix

The up and coming artist has
lassoed country legend Billy Ray Cyrus for the remix to his viral hit.

Lil Nas X knows better than to fight words with words. The Atlanta artist, whose viral hit “Old Town Road” was removed from the Hot 100 Country chart by Billboard because it did not “embrace enough elements of today’s country music,” has responded to the recent controversy around his music with a new remix featuring genre legend Billy Ray Cyrus. Take a listen:

The remix of “Old Town Road” features the same structure and production of the original song, only now there is also a verse and chorus is featuring Cyrus’ iconic vocals. The man behind “Achy Breaky Heart” sings about living like a rockstar, buying expensive guitars, and being a modern-day Marlboro Man who yearns to return to simpler times (on the “Old Town Road”). It’s a fitting addition to the already great track, and the internet seems to agree. Since its release on Friday, April 5, both Cyrus and the remix of “Old Town Road” have been the top trending topics on Twitter, and the official stream of the song has been trending on YouTube.

Cyrus also shared some insight and support with Lil Nas X on social media, writing “Been watching everything going on with OTR. When I got thrown off the charts, Waylon Jennings said to me “Take this as a compliment” means you’re doing something great! Only Outlaws are outlawed. Welcome to the club!”

Paired with the song’s removal from the Hot 100 Country chart was a statement from Billboard claiming that their decision “had absolutely nothing to do with the race of the artist.” When asked what he thought of the potential racial motivation of the removal, Lil Nas X said: “I believe whenever you’re trying something new, it’s always going to get some kind of bad reception. For example, when rap started, or when rock and roll began. But with country trap, I in no way want to take credit for that. I believe Young Thug would be one of the biggest pioneers in that.”

Since news of the song’s chart removal went public, Lil Nas X has continued to garner attention and success. “Old Town Road” was the most streamed song on Spotify last week. If he were still part of the country charts, he would have the number one song in the genre.

With the remix of “Old Town Road,” Billboard must now decide whether or not the song is country enough to meet its vague standards. If the company says yes it’s admitting the song needed someone already accepted by the genre to give it a green light. If the company still refuses to admit it, the question of why will hang over the chart system for the foreseeable future.

Whatever the case, the internet will continue supporting Lil Nas X. The release of the remix spawned hundreds of new memes, some of which you can view below:

https://twitter.com/mtldn3/status/1114169717877608449
Categories
Editorials News Writing Tips

Do you know who reads your music blog?

Building and retaining your audience begins with understanding who is clicking on your site.

Search the name of virtually any artist or group on social media, and you are bound to find people discussing that act. Opinions on music are a dime a dozen, and when it comes to bands, everyone already knows their value is worth even less that. Young music writers around the globe cut corners on a daily basis to be among the first to cover the latest news about the biggest acts in their area of interest. It doesn’t matter if their site has few to no visitors or if much larger publications beat them to the punch, they want to ensure that their readers learn the latest breaking news directly from them.

But who is the audience for the average blog, and who visits websites for news before scrolling social media?

Music publications, especially those lacking funding, rarely build their audience through coverage of talent that is covered by every other zine, blog, or Twitter feed in the world. Music publications gain readers by delivering the stories no one else can. They earn trust through curating a profoundly entertaining and highly engaging conversation around music that they believe deserves recognition.

Covering everything that is popular in music will satisfy people, but it won’t captivate them. If you want people to continue coming back, you need to seek out the stories no one is telling about the musicians that everyone will want to know six months from now. Your job is to hook people with music made by others. There is a finite amount of people who read music sites, and the vast majority are using the same hook to lure readers. Why do that when you can stand out? Why offer what everyone else offers when you can be the alternative?

When you align yourself with artists on the rise, you align yourself with dreamers, and that is – in many ways – your audience. You want people who listen to music and dream of lives not yet lead. You want to provide the soundtrack to their next great escape, and you want to tell them why it’s going to change their lives before they even realize what is happening to them. You want to be a source of discovery, not regurgitation, which continually introduces new sounds and ideas into someone’s life. If you can accomplish one or both of those things, you can make a reader for life. Better yet, you’ll create an ambassador for your work that helps carry word of your writing to places you’ve yet to reach.

So, who reads music blogs? People just like you. People who think the radio is dead and the music they hear everyone else enjoying is stupid, dull, or just plain awful. Be yourself and readers will find you. Do what everyone else is doing, and they will pass you by in search of a more authentic voice.

Categories
Editorials News Writing Tips

How writers can build better relationships with publicists

Networking is everything in music, but it can also be a waste of time if you don’t know what you’re doing.

Publicists are the gatekeepers to working with (the majority of) your favorite artists. New and emerging talent may post their personal emails online for people to contact them directly, but most established acts have representation. If you currently write about music you already know this to be true, but it bears repeating nonetheless.

A great publicist can completely change the trajectory of an artist’s career by helping curate an image and brand that positions talent for success through exposure and engagement. How that success can be achieved is different for every artist, but publicists worth their cost can uncover the most likely path to success for their clients.

With this in mind, it is important for writers to know a few things about publicists before attempting to establish contact:

  • No two publicists are the same.
  • Flattery will get you far in this life, but sending the same outreach to every person you hope to work with or want to notice your work won’t have the same effect.
  • Do you think you get a lot of emails? Publicists get more. Way more. Don’t waste their time.
  • People help people who help them first. Don’t ask for handouts if you haven’t done anything to support the talent the publicist promotes. 
  • Before you get upset or disappointed about an unreturned email, take a moment and consider how many press releases or album advances you receive. Do you reply to every email you receive, or do you prioritize the most important messages and do your best to address the rest? Do you only reply to what works for you and delete the rest? Publicists are no different.
  • Unless you’re running or working at one of the most influential publications/platforms in your genre, you will not always be a top priority.
  • Publicists talk to other publicists. Treat one poorly or drop the ball on things you agreed to cover and word will get out. Your reputation will dictate the access you receive. 

Getting close with publicists is an uphill battle. You are always going to be competing with your peers for attention, but you should never look at other writers as foes. Everyone is trying their best to help the artists they love get ahead, and that is a beautiful thing. Just because you are not provided an opportunity to interview someone or attend a specific tour does not mean you are not appreciated. It just means the demand was high, and you have room left to grow. Even those who DO get those opportunities have room to grow.

If you are reaching out to a publicist for the first time, or if you are trying to setup something with a publicist you’ve known for years, do your best to provide them with something beneficial in return. For example, write about the artists on a tour before you request tickets, and in your request mention what you plan to write in the future. Provide them with as much coverage as possible to make it clear you’re not using the access they can grant to have a good time. Let them know you are requesting access because you’re a professional hoping to work, then make good on that promise and do the work.

You should also keep an eye on publicity rosters for emerging talent who might not attract attention from major outlets. Covering those artists can show publicists that you are serious about the work you do as a writer. It tells them you recognize the fact that everyone is doing their best to get ahead, and that you are just as invested in their success as you are yours. 

The big things to avoid are lies and deception. Publicists can identify someone trying to game the system or earn undo favor from a mile away. You will not be able to fool them into thinking you are bigger than you are or that you can make things happen that are not in your control. Publicists are the kings and queens of spin, which means you cannot try to beat them at their own game. Be honest and deliver, it’s that simple.

Categories
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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