Tag: Music PR

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Editorials News Writing Tips

How writers can build better relationships with publicists

music pr, music publicists, music pr, publicity, journalism, music journalism, music writing, writing about music

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.

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Job Board News

NOW HIRING: Publicist (Atom Splitter PR)

Do you have what it takes to become the next great rock and roll publicist?

Atom Splitter PR is looking for a part-time publicist. 15 to 20 hours per week. Strong potential to develop into a full-time position at some point. Can work remotely but Interested parties must live in the metro NYC area (NYC, NJ, Philly) and have a passion for PR, an understanding of the gig, and a desire to grow in the field. Previous experience is preferred but entry level candidates will also be considered. Duties include pitching national and tour coverage and processing and fulfilling requests for a very busy tour and servicing slate.

Our current roster includes Killswitch Engage, Alice Cooper, I Prevail, Attila, Falling in Reverse, Vein, Hatebreed, Trivium, August Burns Red, In This Moment, Bullet for My Valentine, Of Mice & Men, Zeal & Ardor, Demon Hunter, Underoath, Cane Hill, Fearless Records, earMUSIC, Closed Casket Activities, Rise Records, and many more.

Interested parties can email their resume to amy@atomsplitterpr.com.

Looking for additional job opportunities? Our weekly Job Board features dozens of openings from across the United States!

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News

What musicians should ask themselves before hiring a publicist

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

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

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

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

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

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

2. Can I financially afford a publicist right now?

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

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

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

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

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

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

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

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

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Job Board News

Music Industry Job Board (October 8, 2018)

The music industry is growing, and it needs people to helpm build the future of entertainment. If that describes you, our job board is waiting.

New openings:

Coordinator, Music (SiriusXM – NYC)

Works with members of the music programming team to create superior radio programs as needed. Supports creative processes, content development and production. Exercises both creative abilities and technical skills. Edits materials and operates an audio board. May be assigned to more than one program and perform slightly different functions across channels.

Assistant, Timed Release (WMG – NYC)

The WEA Release Management team is involved in the production of digital releases originating from the main US labels (WBR, ATL, Rhino), UK labels (WBR UK, ATL UK, Parlophone UK, East/West) and the 3rd party distributed labels (ADA US and ADA UK). This team is also involved in the international exploitation of releases from the rest of the world.

Timed Releases are the new hot promotional tool, where we manipulate the systems to release an album, a track, or a preorder to go live at a particular time and day with all partners that can support it. This role will be assisting both the ATL Release Management Senior Manager and the Central Scheduling team to coordinate Timed Releases for ATL US repertoire.

Global Go-to-Market Marketing Manager (YouTube Music – NYC)

As the Global Go-to-Market Marketing Manager, you’ll work closely with local and regional teams to build marketings plans for the launch of YouTube Music and the acquisition of new users.

Know the user. Know the magic. Connect the two. At its core, marketing at Google starts with technology and ends with the user, bringing both together in unconventional ways. Our job is to demonstrate how Google’s products solve the world’s problems-from the everyday to the epic, from the mundane to the monumental. And we approach marketing in a way that only Google can-changing the game, redefining the medium, making the user the priority, and ultimately, letting the technology speak for itself.

Program Coordinator, Music Marketing (Luther College – Decorah, IA)

The program coordinator plans, markets and manages 1-2 annual music ensemble tours; manages details for an annual Dorian festival; serves as operations manager for Christmas at Luther, and coordinates a variety of music marketing projects and programs as assigned.

Content Coordinator, UGC & Rights Management (Symphonic Distribution – Brooklyn, NY)

Symphonic Distribution is a 100% independent music distribution and marketing company based in downtown Tampa. We focus on distributing electronic, hip-hop, and urban music in general. We pride ourselves in finding the newest, most talented up-and-coming bands, producers, rappers, managers, and labels with promise of developing long careers.

Symphonic Distribution is looking for an experienced, reliable and energetic individual to be its Content Coordinator (UGC & Rights Management) based out of the New York location. This role is focused on UGC Platforms and rights clearances for Symphonic Distribution and is vital in protecting the intellectual property rights of our clients. In addition, responsibilities include overseeing the administration of YouTube Monetization (Content ID & Channel Monetization), Soundcloud Monetization, Facebook, and United Media Agency (VK).

Manager, Publicity (Sony – NYC)

The Manager we are looking for is a proactive individual with music publicity, media experience and established industry relationships. This role will consist of planning, strategizing and executing publicity campaigns.

Talent Casting Director (Disney Parks Live Entertainment – Kissimmee, FL)

This Disney Parks Live Entertainment Talent Casting Director role provides casting support for live entertainment offerings on the Disney Cruise Line, consistently striving to find and maintain the highest level of performance talent possible – exceeding expectations for guests and providing exemplary service to shipboard partners, agents and talent.

Assistant Manager, Audio Studios (University of Michigan – Ann Arbor, MI)

The Assistant Manager, Audio Studios at the Duderstadt Center, in the Media & Studio Arts group, is a key member of a team of highly specialized, skilled, technology and media arts professionals dedicated to advancing the Center’s mission of providing state-of-the-art tools and facilities to the U-M community. The Assistant Manager, Audio Studios assists the Managing Producer, Audio Studios, in supporting a complex studios infrastructure of interconnected spaces: the Audio Studio, the Video Studio, two Electronic Music Studios, the Personal Studio and four MultiMedia Editing Rooms.

This position reports to the Managing Producer and includes direct supervisory responsibility over 10-15 student staff, and coordination responsibility of project staff as studio productions demand.

Brand Partnerships Assistant (Paradigm Talent Agency – Beverly Hills, CA)

The Brand Partnerships Assistant is responsible for performing a variety of administrative tasks to provide support to the agent in all client and internal matters. The role provides the Assistant a broad understanding of the entertainment industry in general (as well as some of the advertising industry) and the representation business in particular.

Coordinator, Content Insights (WMG – NYC)

Data is the lifeblood of today’s record business, and in this role you’ll get a chance to apply your creativity and problem-solving skills to some massive amounts of data to help our labels and artists identify trending songs and break hits. Because the R+A team works closely with departments all across the company, you will have the opportunity to see the inner workings and decision-making of a global record label – and the chance to influence those decisions with analysis. We’re a collaborative team that loves learning new things, sharing ideas, thinking about the future of the music industry – and helping our company get there.

Partner Operations Manager, Music (YouTube – San Bruno, CA)

The Partner Development and Services team embodies a partner first mindset, whether it’s building custom tools, providing education to get the most from the platform, or helping creators to grow their channel to the next level.

YouTube has grown into a community used by over 1 billion people across the globe to access information, share video, and shape culture. The YouTube team helps budding creators build careers, creates products like YouTube Kids, YouTube Music, and YouTube Gaming, and engages communities around shared passions and global conversations. Together, we empower the world to create, broadcast, and share.

Talent Manager (Improvement Company – Denver, CO)

We are looking for a hard working, bright, motivated manager with a competitive drive and passion for digital media to join our talent signing team. The main objective of this role is to seek new talent, AR up and coming talent, and establish relationships with talent to provide the best in class services while helping creators develop their careers and their social media audiences across YouTube, Instagram, Twitter, Facebook, and Snapchat and tech platforms.

Members of the talent signing team are expected to quickly develop vertical expertise to best source creators and communicate growth strategies that will drive revenue for creators. A solid understanding of the digital tv, studios, video landscape, entertainment industry, and Fullscreen business model is required.

Live Events Marketing Coordinator (Townsquare Media – Greenwich, CT)

The Townsquare Live Events (TSLE) Marketing Coordinator is responsible for the implementation of TSLE policies and procedures. He or she implements short and long-term programs and processes to optimize work-flow and productivity.

The TSLE Marketing Coordinator is responsible for assisting the Senior Marketing Manager to construct, manage, execute and complete advertising/marketing campaigns for TSLE properties including radio, TV, outdoor, artist marketing, digital and social advertising

The MC will be responsible for coordinating the needs of all festival departments. This person will use online forms, spreadsheets, festival software, site meetings and phone calls to coordinate with both festival department managers and outside vendors to insure everyone has the tools and information they need to do their job efficiently. He or she will report directly to the Senior Marketing Manager.

Booking Agent, Electronic Music (Pier 30 Music Agency – Nashville, TN)

Pier30 Music Agency is seeking qualified candidates for a booking agent position within our newly developed electronic music department. The subsidiary will be officially released to the press (along with its roster) at the end of the month and we would like to have all agents in place by this time. You will be working alongside the department head and another agent working exclusively in booking opportunities for our roster of electronic musicians.

The ideal candidate has experience working with and/or booking festivals, clubs and colleges and should have working knowledge of the EDM industry. The position has variable hours meaning that the hire will have relative flexability to determine his or her daily work schedule. The position is part-time initially with lots of movement potential within the company.

Production Coordinator, Audio (AEG – NYC)

The Production Coordinator will assist in all areas of production for venue events. The Production Coordinator will serve as the main point of contact for shows, communicating with staff, vendors, security and artist management. Additionally, the position is responsible for coordinating and advancing production needs and requirements for all shows, and oversees all stage and technical needs including lighting, sound, A/V, equipment and venue maintenance.

Business Development, Commercial Audio (JAM Industries – Newbury Park, CA)

Assist and support the SVP in driving adoption of Allen & Heath solutions in the United States installation market, across all verticals.

Live Concerts Tour Coordinator (MGP Live – NYC)

MGP Live is looking for an energetic self-starter to be its next Booking Assistant responsible for developing booking strategies for multimedia symphony concerts and tours. The position entails keeping in frequent contact with venue partners to establish a calendar of available dates; strategically planning concerts, tours, and other live entertainment properties; and a variety of other tasks related to the planning and execution of shows. You will work closely with MGP Live’s President to develop new show concepts, with MGP Live’s Marketing department to conceptualize and execute promotional ideas for ongoing tours, and with our clients and venue partners as the day-to-day point of contact for the execution of shows. The ideal candidate should be someone who really wants to make things happen in the music business!

Entertainment Director (Refinery29 – NYC)

We create all written content for the website, from long-form articles and programs to service and slideshows. We’re composed of six categories — Health + Wellness, Living, Entertainment, News, Work & Money, Fashion, and Beauty — and we help shape and guide how Refinery29 and its impact can grow into those spaces, delivering on those promises with fresh content, tools, and discussion every day.

Director, Online Marketing (WMG – NYC)

To efficiently and effectively manage all aspects of online marketing for an assigned roster of projects. Liase with the marketing, press, and digital sales departments in the company (and any hired, third party companies) in conjunction with Label Services artists and label clients to maximize the potential for each project’s success. To find innovative and cost effective ways to brand Label Services artists and label clients with associated online partners, including content development and management, grassroots community building and marketing, tastemaker sites, and genre-related digital marketing lifestyle outlets.

Senior Booking Manager (SMG – Reading, PA)

SMG, the leader in privately managed public assembly facilities has an opening for a Senior Booking Manager for the Santander Arena and Santander Performing Arts Center. The primary responsibility is to book, develop and coordinate events, tournaments and festivals. Candidate must be a self starter, highly motivated, extremely organized, excellent communicator and a great personality.

Categories
Job Board News

Music Industry Job Board (March 26, 2018)

The music industry is growing, and it needs people to helpm build the future of entertainment. If that describes you, our job board is waiting.

New openings:

Manager, Urban Artist Development (WMG – NYC)

Artist Development works closely with every department to put together artists’ day to day activities and travel arrangements. Making sure the company and management are all in agreement on where the artist is and the work that is being done. Having a close working relationship with agents and promoters to help find new touring and event opportunities for our artists.

Manager, Marketing Music (Netflix – Los Angeles)

The Netflix marketing legal team is hiring a seasoned manager of music to manage music clearance for Netflix’s Marketing and PR teams.Our Marketing and PR campaigns are a key part of Netflix’s ongoing success, and music is core to those campaigns. Working closely with the existing marketing music team, the company’s Music Group and stakeholders in the Marketing and PR organizations, the successful candidate will be comfortable working through a wide range of music clearance matters. Keeping in mind the strategic goals of the company and understanding the broader legal implications of each music deal is paramount. This includes working across various types of media in all kinds of integrations, having great relationships in the music industry and knowing how to keep forward momentum in the fast-moving world of marketing and PR. Helping find song owners (no matter how obscure), digging into challenging negotiations, and facilitating the marketing and PR teams music use.

Marketing Analyst (WMG – Burbank, CA)

The Data & Analytics team is responsible for providing insight, research & analysis within Warner Bros. Records in order to drive business and provide better day to day decision making.

Marketing Manager (DSP Shows – Ithaca, NY)

The Marketing Manager is responsible for marketing a large portfolio of events presented by DSP Shows across upstate New York and New England. This individual will work directly with the partners to create and implement marketing strategies for shows in venues ranging from 200 capacity clubs to 7000 capacity amphitheaters.

Analyst, Finance (WMG – Los Angeles)

This role will give excellent insight into what it takes to run a multinational business in a fun industry. Your ability to learn from working closely with senior management and an experienced finance team will be unmatched elsewhere. The exposure you will get to working alongside senior finance will be unparalleled and could be a launching pad for a very long and successful career. You will be joining a company that is in the early stages of turning itself around led by a dynamic management team. You will get to work in a brand new office building with amazing people across all aspects of the music business.

Event Coordinator Assistant with Performing Arts Theatre (Heart And Soul Theater – Woodbridge, VA)

Heart and Soul Theatre for performing arts is seeking people part-time who have an interest in assisting with community theatre marketing and planning for family events. If you have a love for organizing events filled with drama, music, and dance performances, this may be the right position for you. The position involves working with community organizations, marketing and managing outreach efforts. Two years of event coordination experience preferred.

Head of Listener Marketing (Pandora – Oakland, CA)

Pandora is seeking a Head of Listener Marketing to evolve and reenergize Pandora’s focus on our Listeners first and foremost. This leader will drive the listener marketing roadmap and strategic vision for Pandora by creating and executing marketing programs that reaccelerate listener growth and increase brand relevance. Pandora’s dominance in streaming music creates an unprecedented opportunity to seamlessly blend the world’s largest Personalized Music experience with On-Demand Listening. This marketing leader will evolve Pandora through innovative digital, social and mobile marketing that highlights the product and content offerings, along with the artists and other content creators. The role is located in our Oakland, CA office and will report to the Chief Marketing Officer.

Booking Agent (WBA Entertainment – Hermitage, TN)

A Booking Agent, works in the music industry to book performers for concerts, gigs and other live music performances. They often schedule performances and negotiate with the artists directly or with booking representatives or producers to arrange terms of contract, dates, and fees.

Administrative Assistant, International Marketing (Sony – NYC)

The Administrative Assistant will be involved with all aspects of project marketing and will be responsible for providing administrative support to the VP of International Marketing.

Record Label Intern (Rebel Engine Entertainment – Nashville, TN)

Rebel Engine Entertainment is a small, independently owned label working with rising country artists.

Rebel Engine is looking for interns for an immediate start date who have a passion for country music and the craving to learn more about the music industry in a very hands-on, fast-paced environment. The benefit of working with a small label like Rebel Engine is the opportunity to take on responsibility and be an essential team member.

WRKR Morning Show Host (Townsquare Media – Kalamazoo, MA)

107.7 WRKR Kalamazoo’s Rock Station is looking for our next Morning Superstar for the first time in 6 years! We need someone to partner with our host of 28 years Mike McKelly on our Morning Team. You must be willing to be a part of a high profile, high intensity, entertaining, LIVE and LOCAL morning show that wins. We are NOT looking for a punch in and punch out employee. We are looking for a morning show co-host that has a strong passion for radio and community.

Music Enthusiast (Heid Music Company – Green Bay, WI)

Heid Music is looking for a full-time Retail Sales Music Enthusiast to join our Green Bay, WI team. We select team members that share our value of providing “Bravo” customer service as well as our passion for making music.

Executive Assistant for Head of Music (Dreamworks TV – Glendale, CA)

DreamWorks TV is currently seeking an executive assistant to support the Head of Music. Candidates must be self-starters who have an extreme attention to detail. Individuals will be expected to field all calls for the department, manage heavy meeting schedules, coordinate travel, download assets, data entry for music trackers and cue sheets, and create monthly music mixes. Professionalism and discretion is a must as the role interacts with many different departments and individuals, including talent, of all levels in and outside of the company.

Music Manager for Artist, Producer & Songwriter (Major Influence – Baltimore, MD)

Seeking a music manager to work with a small team of music professionals for the sake of maximizing an artist career. Music manager will work closely with artist, handling tasks such as ‘shopping’ production, booking creative performances, overseeing marketing efforts, assisting fiscally, negotiating and signing contracts, and managing all other aspects of the business side of music performance. Musician management should have strong communication skills to deal with artists, executives, and everyone in between. In addition, the manager will also play a role in helping musician keep a positive attitude in an extremely competitive and difficult industry. Join our team and make a living doing what you love!

Part-Time Production Assistant (Cumulus Media – Nasvhille, TN)

Nash Campus, Nashville, TN is searching for a Part-time Production Assistant for the syndicated Ty, Kelly and Chuck morning show. We strive to hire people who are passionate about radio, driven, resourceful and problem solvers who have the ability to drive the evolving, diverse culture of the Power of Radio to success. The successful candidate knows we work in the entertainment business and takes pride in the success of their On-Air talent.

Ty, Kelly and Chuck is morning that airs on 49 radio stations around the country each weekday morning. The Production Assistant helps to organize, conceptualize and develops topic, features and guests for Ty, Kelly and Chuck that represents the lifestyle and interests of the show’s listeners. They also partner with the show’s hosts, the show’s Executive Producer and others to create engaging content, increase listenership, and enhance subscriber satisfaction and passion. The production assistant will assist the Executive Producer with the daily technical operation of the show as well as keeping the show’s social platforms relevant and up-to-date.

Production Manager (BSCENE Magazine – Tyler, TX)

BSCENE is looking for a Production Manager who will report directly to the Managing Editor.

On Air Talent (Townsquare Media – Cheyenne, WY)

Townsquare Media Cheyenne has an opportunity to host the morning show on 106.3 Cowboy Country. If you have an outgoing personality and enjoy entertaining we want to talk with you!

Applicants must be social media savvy, regularly contribute content to the station’s website and YouTube channel, and the successful candidate must be able to connect and engage with the station’s target audience by keeping up with relevant music trends and pop culture.

Artist Manager (A Starr Entertainment LLC – Brooklyn, NY)

We’re looking for an experienced New York based music manager to begin immediately.

We are looking for someone with an established network within the music and entertainment industries, a proven track record of success with other popular music acts, and a strong reputation for client service.

The role will focus on the promotion of the artist’s profile and debut album, booking shows across New York City, & other regions of United States, and the daily management of their business affairs.

Music Industry Internship (Creed Management – Los Angeles, CA)

If you’re looking to work in the music industry this is the perfect job to get started. I run an independent artists management agency and I’m looking to hire two interns. The internship is unpaid for the first four months and paid moving forward. If you work hard and have high energy you will be hired and apart of the team. Lunch will be provided everyday. More details about the internship will be explained via email and phone. Thanks.

Booking Agent (Tama Industries – Austin, TX)

Tama Industries is an American record label Owned and established by Dynasty Holland. Tama Industries became the home to 3 sub-labels Organized Royalty, Live&Dream Productions and Profound Records. Tama Industries also holds a TV Network, Radio Station and a Home Studio.

We are looking for a few Booking Agents, our agent works in the music industry to book performers for concerts, gigs and other live music performances. They will schedule performances and negotiate with the artists directly or with booking representatives or producers to arrange terms of contract, dates, and fees. They may also audition new talent. You may specialize in independent bookings in a particular musical genre such as Rap& Hip-Hop, chamber music or rock or pop music. Our Artist Booker or Booking Agent may even sponsor, manage and produce the whole event.

Our Booking Agent is responsible for booking live performances including concerts, gigs, tours and radio and TV performances for artists, bands, DJs, choirs, orchestras and other musical ensembles. They are responsible for developing the musicians’ or artists’ career with regard to their live performance. A Booking Agent, or Artist Booker, will work closely with the artists’ management, promoter and our record company.

On-Air Talent (Radio One – St. Louis, MO)

Competently and professionally provide continuity and surveillance information in a professional, knowledgeable and entertaining way and will be active in pre-show strategy and execution.

Band / Artist Manager (Audio Force One – Los Angeles)

Audio Force One is looking for an experienced remote music manager to begin a 6-week contract immediately, with the possibility of extending to a full time.

We are looking for someone with an established network within the music and entertainment industries, a proven track record of success with other popular music acts, and a strong reputation for client service.

Entry Level Executive Administrator (TOURTech – Raleigh, NC)

This position is based in our Raleigh office headquarters. The core duties of this role are to provide administrative support to the executive members of our team. This will include project-based tasks, data entry, market research, calendar management, various correspondence, document filing, travel logistics, and general management of phone inquiries. This role will contribute to our client services efforts with client appreciation and recognition. General office admin duties will also be assigned to this role.

Part-Time Assistant (BMI – Los Angeles)

This role will assist the Director of Media Relations in various capacities for the LA office in support of the Latin Creative and Film & TV Creative teams. The candidate will be self-motivated, quick-thinking, and able to juggle multiple and diverse responsibilities with a strong emphasize on organizational skills and attention to detail.

Older posts (7+ days)

Coordinator, Anti-Piracy/Content Protection (WMG – NYC)

We’re looking for someone who thrives on searching the depths of the internet to find when and where unreleased music first pops up. We want someone to help our artists maintain control of their release plans. This person will be the next piece in building a world-class anti-piracy unit.

Coordinator, A&R (Sony – NYC)

The Coordinator is responsible for providing full administrative support to the NY based Co-Heads of A&R.

Assistant Program Director (WIOD/WINZ – Miramar, FL)

Shadows and supports Program Director in all aspects of radio station’s on air experience including: talent, content, tone, programming, production, sound & theme, and online presence.

Vice President Content Development (Fathom Events – Los Angeles, CA)

As one of the key entry points into the company, this position will provide guidance to potential partners for leveraging and monetizing content and events in the cinema. This position is responsible for identifying new business opportunities, developing and maintaining strong relationships and securing deals with new partners. The Vice President–Content Development must demonstrate valuable knowledge of the media ecosystem and industry and have a proven track record of delivering solutions-based results and deal making in support of overall company objectives.

The Vice President–Content Development will be able to switch between establishing high-level strategic vision and managing day-to-day implementation of initiatives without losing sight of priorities, goals and budgets. This position will be a key leader for the company and will be responsible for driving a culture of collaboration across all departments and levels of the organization.

Manager, Urban Artist Development (WMG – NYC)

Artist Development works closely with every department to put together artists’ day to day activities and travel arrangements. Making sure the company and management are all in agreement on where the artist is and the work that is being done. Having a close working relationship with agents and promoters to help find new touring and event opportunities for our artists.

Assistant Director Interlochen Presents, Production (Interlochen Center for the Arts – Interlochen, MI)

Interlochen Center for the Arts, one of America’s most prestigious institutions for arts education, performance and fine arts seeks to hire an Assistant Director of Interlochen Presents-Production. This position is part of a collaborative production team and is responsible for creating and managing all aspects of institutional production needs for performance/rehearsals of student, faculty, guest artist, and rental events.

Publicist / PR (Blossom Entertainment – Los Angeles, CA)

Blossom has an immediate need for a self-motivated and enthusiastic publicist with PR, marketing, sales and business development experience. The position requires hands on public relations experience, working within the music industry. You will collaborate closely with the founders of Blossom who require a hard-working, business minded go-getter who is able to thrive in a fast paced and ever-changing work environment with the skill-set to manage multiple campaigns. Must have connections within the industry to establish music premieres, features, interviews and playlists with taste-makers, editors and writers. Areas of competence include paid ads, traditional/digital PR, social media, newsletter/email blasts and branding. Salary based on experience, sales, commission and closing inbound leads.

Social Media Content Producer (GMR Marketing – New Berlin, WI)

As part of the Digital Group, the Social Media Content Producer will be responsible for the strategy, development and execution of compelling stories stemming from the connections GMR creates around experiences. Focusing primarily on live coverage, the role will lead the concept and copy development for GMR’s social storytelling including sports & lifestyle sponsorships, and influencer activations. This position will report to the VP, Digital + Social on the Digital Solutions team.

Digital Content Producer, Entertainment (SiriusXM – NYC)

The Digital Entertainment Producer has a love for all things pop culture: TV, movies, comedy, pop music and internet. This candidate knows how to shoot and edit video optimized for social media, as well as manage daily posting and ongoing strategy for a Facebook account. This producer can write strong/concise social copy on any platform and blog posts for our weekly newsletter. The individual in this role can work quickly and carefully under deadline, excels at developing relationships with colleagues and talent, and quickly adapts to the ever-changing social/digital environment.

Digital Producer (WQXP – NYC)

This position reports to the Senior Producer, NYPR Music and will be responsible for managing an extensive team of inspired hosts and contributors with diverse musical tastes on building their radio and online programming and expanding their social profiles. The ideal candidate will have years of experience developing far-reaching social strategies around diverse personalities and musical thinkers that reach millions of monthly listeners; will work to channel the diverse corners of the New York new-music scenes into a cohesive radio station and website unified by personality, discovery, and companionship; will have responsibilities ranging from the operational, social, and music-tech.

Talent Buyer (Gypsy Sally’s – Washington D.C.)

Gypsy Sally’s, a prominent, independent live music venue in Washington DC, is seeking an experienced self-starter who is passionate and motivated about independent live music. Like us, you have an entrepreneurial spirit that is imaginative, innovative and forward thinking. You don’t need to be told not to settle for the status quo, but you are flexible when necessary and firm when it counts. You have a wide range in musical tastes and are fluent in Jam Band, Americana, Blue/Jamgrass, Funk, Country (the good kind), Indie Folk, etc.

Music Writer Interns (Roots Magazine – Nashville, TN)

Roots Magazine is a music publication which focuses on Americana and Country music within the industry. We are looking for music lovers that are looking for a career in music publications. If you ever wanted to write for a magazine, this could be your chance. We are looking for music loving writers to contribute album reviews, interview artists, cover and write about specific music festivals and live performances of artists. Must have the ability to write and engage an audience with your words. Interns must be able to meet deadlines and take direction.

Creative Imaging Director (Cumulus Media – Chicago, IL)

The right candidate will pull together & create several different areas of audio content for distribution on our various platforms. This is a fast paced, quick of thought & wit position. You will work hand in hand with our incredibly talented VO and Imaging guru Dan Stone to create strong theatre of the mind messaging magic.

Manager, Creative Music Integration (Viacom – Hollywood, CA)

The Manager of Creative Music + Licensing Strategy will work with VP to manage the use of music within Viacom content (MTV, VH1, Logo, Comedy Central, BET + International) from a creative licensing POV, working closely with Production, Development, Music Talent Department, Brand Creative, Digital, Social, MML and the Music Services team.

SNR Executive Producer / On Air (iHeartMedia – Pittsburgh, PA)

Creates, directs and produces highly regarded shows and programs in one or more radio stations.

Prime Time On-Air Talent (WYNN-FM – Florence, SC)

How would you like the opportunity to represent the top Urban radio brand in Florence, SC? WYNN-FM is searching for an experience and energetic on-air talent that enjoys being involved with the local community.

Music Coordinator (Songtradr – Santa Monica, CA)

Are you a music tastemaker and want to help correct problems with today’s music industry? Do you obsess over current music trends? Do you like to help solve customer’s problems? Do you want to be directly involved in the success of the company you work for? Do you enjoy being part of a team and have a positive attitude?

If this is you, come join our growing team! We are the fastest-growing music licensing marketplace and artist site in the World. Please send us your resume and cover letter explaining why you would make a great addition to our staff. A cool and inspiring team is waiting for you!

Program Director (KZCH – Wichita, KS)

CHR – Channel 96-3 – KZCH – Wichita, KS. iHeartMedia Wichita is looking for their next CHR Program Director and PM Drive Talent . Are you ready to make your next move and grow your Program expertise? Do you have mad passion for radio and willing to take direction, work in a fast paced environment and stay the course until the job is done? Excellent On-Air delivery, Minimum 2 years’ experience on G Selector and imaging skills are a must. Do you eat, drink and breathe Social media? You’ll need to be on point with your street presence, have street smarts, and be willing to drive revenue. Must also have promotional skills and vision. A minimum of three years’ experience in a competitive commercial radio environment are required. Do you have what it takes?

Part-Time Music Researcher (BMI – Panama City, FL)

Occasional part-time hourly work with hours ranging from 0-25 hours per week depending on availability of assignments. Work consists of music and market research in businesses in various states. Assignments include onsite research in businesses during late evenings, including weekends, and may require travel and overnight stay. Assignments also require completion of detailed reports following on-site visits.

Assistant Program Director/On-Air Talent (Radio One – Charlotte, NC)

To competently* and professionally* optimize all music elements; assist with administration duties in the Programming Department. To competently* and professionally* provide continuity and surveillance information in a professional, knowledgeable and entertaining way and will be active in pre-show strategy and execution while staying within the negotiated job responsibilities at all times.

Independent Label Relations Representative (Apple – Culver City, CA)

The Independent Label Relations Representative is responsible for managing relationships, developing content and maximizing revenue opportunities for independent label partners. This role works cross-functionally to facilitate business and operational needs, with the ultimate goal of identifying and driving mutual growth opportunities.

Coordinator, A&R Administration (UMG – NYC)

The Coordinator, A&R Admin, will act as the liaison between A&R, artists/management and all participants of the recording process to ensure the successful and timely delivery of album releases by successfully accomplishing all responsibilities.

Catalog Specialist, Amazon Digital Music (Amazon – Seattle, WA)

The Digital Music Operations team is responsible for generating content for Amazon’s various digital music services. Our goal is to build technologies and processes that create distinctive products for our customers and services for our label partners.

The Digital Music Operations team manages the global digital supply chain of content, from partner deliveries to publishing on Amazon’s storefronts and devices. The Catalog Specialist is responsible for supporting the Digital Music experience through creating and upholding metadata standards. This includes managing the daily quality control of content, prioritization of work queues, and auditing and editing music metadata.

If you love music and want to be a part of the Digital Music revolution – this is the place to start!

Music Enthusiast (Heidi Music Company – Appleton, WI)

Heid Music is looking for a part-time Retail Sales Music Enthusiast to join our Appleton team. We select team members that share our value of providing “Bravo” customer service as well as our passion for making music.

Music Enthusiasts are critical to Heidi Music’s success in creating and maintaining a “Bravo” customer service experience. This position builds and maintains relationships by assisting customers in the selection and purchase of Heidi Music’s musical merchandise. Music Enthusiasts also get involved in our many community and school events promoting music to people of all ages.

Rap Music Talent Manager (SORS MEdia – Los Angeles, CA)

We are searching for the right Talent Manager to Represent two of our Rappers; the Artists are signed at our Talent Management Company: SORS Media, LLC. We are seeking the right Talent Manager who has the experience and understanding with the background and skill sets and KNOWLEDGE of what a Talent Manager does on a daily basis with Talent and how to work within a company structure, as well as, being able to follow our processes on a daily basis.

Music Festival Intern (Charlottesville Chamber Music Festival – Charlottesville, VA)

Planning is underway for the 19th annual Festival, and we are seeking a college intern to work alongside the Festival Manager, ideally from May-August. While it’s an unpaid internship, we cannot stress how hands on and insightful this internship is, as you will essentially observe and contribute to a Festival from start to finish (what a fabulous resume booster and letter of recommendation opportunity). It’s an ideal role for an undergraduate student with experience and passion for music events and marketing who can potentially come back for some of our performances in September. We’re looking for someone who can come into the office 3 times a week, but we are willing to work around our ideal candidate’s schedule.

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News Podcasts

Inside Music Podcast #120: Jen Appel (Catalyst Publicity Group)

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

On this episode of INSIDE MUSIC, host James Shotwell calls Catalyst Publicity Group founder Jen Appel to discuss her work in music and much more. For forty-minutes Jen and James touch on the future of the alternative scene, life without Warped Tour (as we know it), and developing a sustainable career in music. This is Jen’s second appearance on the show, so if you like what you hear make sure to go back and listen to episode 34.

https://soundcloud.com/inside-music-podcast/120-jen-appel-the-catalyst-publicity-group

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News

How to break into the American music scene 

You know what’s harder than breaking into the music industry in 2017? Breaking into the music industry when you’re an artist based in any place outside of North America. You may be able to find success in your country, but most artists aspire to breakout stateside in order to cement their global appeal. This feat has never been easy, but in an age where every person with a laptop and internet connection can share recordings with anyone willing to listen the amount of noise one has to cut through to be heard is impossible for most to even imagine.

We all like to believe the best music rises to the top. This may be true on certain occasions, but that only happens if artists put in a lot of work beyond simply writing great material. Today’s artists – and labels – have to pour themselves into the business of marketing music. This is doubly true for international artists hoping to break into the stateside entertainment industry, and we believe it’s high time you heard about their experiences.

Today we are thrilled to share two sides of the same story. Rude Records and their recently signed band Stand Atlantic have each shared some insight with us about their experiences trying to gain stateside media attention from their home in Australia. You can find their stories below.

Rude Records

Every record label receives tons of music submissions every single day. It is important to give everyone a chance, taking the right amount of time to give each song a spin and consider if the art embroidered in it suits what we’re looking for. It can’t always be love at first sight for sure but sometimes it – still – happens. That’s exactly what happened between Stand Atlantic and us.

Being also Rude Records very first Aussie signing, the band is growing day-by-day on national and international basis exponentially. We’re particularly glad to have started deeper and stronger relationships within this key market; getting to know even better key people in key roles in different parts of the chain, from retail to media, it’s important to know and involve everyone from the very beginning in order to create and operate a successful campaign. A larger catalogue from the label has been available in Australia / New Zealand for a while, we thought it was the time to sign a local band and give it an international exposure through our Network. Counting on a solid team made of PRs, Label Managers, digital and marketing reps that have made Rude grow consistently during the past few years, we’re now channeling all the efforts and experience made through the years on a fresh and talented band from Sydney.

It takes time also to get things into motion, to create a solid rollout plan, pick the right singles, work on visuals, try to be the link from a band to a new and wider audience. Sometimes it’s easier, sometimes the art we have in our hands is already perfectly crafted, it just needs the right push. There’s different types of approaches that could / would work but we decided – together with the band and management – to start with a bang!

After picking ‘Coffee At Midnight’ as the campaign lead single we’ve worked hard to secure it made an impact through different channels, starting with a radio premiere, a video premiere, all supported by a well-crafted social media campaign made of teasers, correlated visuals and high potential reach content. 

Since social media are nowadays one of the most interesting tools that can be used to discover and deliver music to an existing silent audience that just needs to be woke up. Once you can find the right way to get noticed between over-saturated news feeds and see friends recommending friends a song / a band to listen to, you can start thinking about the next move, acknowledge when this growing and buzzing audience will drop their attention and be ready to feed them with another banger. Following this path ‘Mess I Made’ first and then title-track ‘Sidewinder’ were revealed, engaging the growing fan base even more and preparing the ground for a solid and successful release.

Also, the great push given by tour opportunities, support from key media and tracks being included into relevant playlists on both Spotify and Apple Music, helped a lot in giving a band the chance to be heard inside and outside Australia, quickly becoming one of the hottest bands in the scene.

Stand Atlantic

Being in a band and taking it seriously from the get-go can and will be tough, let alone being a band from Australia, holding its own separate challenges which can take a huge toll even emotionally on how far you want to take it. Being so far away from huge markets and industry hot spots (e.g. USA, UK, EU) can often make it difficult to properly network and it takes a fair bit of money to do pretty much anything or go anywhere.On top of that, trying to grow a decent fan base in a country where all the major cities are a minimum drive of 8 hours and throw in the fact you’re working with a much smaller population in comparison to the US/UK/EU – it’s daunting as hell, it’s hard, but it is 100% possible to overcome. Bands in AUS who really want to take this seriously work 10 times harder knowing all these obstacles are a huge reality, so at the end of the day, we have a really good amount of great bands and artists who work really hard.Being able to prove ourselves as a band and separate ourselves from the pack was something we strived to do with the Sidewinder EP. With a glinting light of hope that we’d catch the attention of a passionate label and team, thankfully, we got exactly that and then some.

It’s safe to say we feel very lucky to be working with Rude Records. Thanks to them and our amazing team of management / booking / PRs we’ve been able to reach people across the globe on a scale we would have not had the opportunity to achieve, had it not been for Rude. Working hard to focus on who you are as a group, individuals and sonically can take years, but it will always pay off if you’re doing it for the right reasons. 

Make good choices, write the best songs you can, invest your time and money, realize your worth and do not give up. It can feel daunting to stick it out, but when you feel your lowest and like throwing in the towel is your best option, hustle harder than you ever have to make it work and stay positive. I can guarantee that on the other side, everything is waiting for you – sometimes the universe just needs proof you want something bad enough.

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News


How to cut through the noise and make music writers care about your art

As any music blogger will tell you, the quality of pitches sent from both aspiring artists and PR professionals often run the gamut from gorgeous to outright embarrassing. Some pitches are creatively designed emails with elegant text and photos, while others are one or two paragraph emails that highlight a few recording details. Some others are little more than a hello and a hastily copy/pasted link, but thankfully those are typically few and far between.

What makes one blogger click a link others might overlook is something we don’t really have time to get into because the possibilities are essentially limitless, but there are ways to hedge your bets. If you keep a few key things in mind when crafting your outreach to the press your chance of getting noticed will be as high as anyone else, leaving it to your music to do the rest.

1. Know who you are talking to

This one may sound obvious, but as a guy named James who has received emails addressed to everyone from Sean, to Beth, David, Matthew, and even Topher, I would argue it’s something too many take for granted. The importance of knowing who you are talking to in a pitch and gearing the conversation towards them cannot be overstated. If I see an email addressed to anyone other than myself I immediately send that message to my trash. It’s not for me, and if it was the person sending it didn’t both to double check the one line where they address me directly, so why give it my time?

You also need to remember that many writers are as younger, meaning they don’t necessarily prefer to be addressed as ‘Mister’ or ‘Miss.’ In fact, I haven’t encountered a single music journalist at any age that people refer to as Mr, Mrs, or Ms _________. Learn the first name of your contact and use it whenever possible. Be personable. It makes you, and your music, come across better.

2. Make sure the person you’re writing covers your style of music

In a decade of writing online I have never been associated with a site that regularly covers dance music or black metal, nor I have written about either topic at length, but every day without fail I receive a number of press releases trying to sell me on the latest talent from each genre. There are things I admittedly spin out of curiosity, but the vast majority of these release go directly to the trash bin. I have enough talent to engage and cover without wasting time on material that fall outside the coverage area of the sites who accept my work. You or your client may be talented, but I simply have no way to help you, so don’t waste your time or mine with an unnecessary pitch.

3. Read the submission guidelines

Most, not all, music blogs have some form of submissions guidelines buried on their site. Do your research before submitting your music to ensure your pitch has the best chance of being considered for coverage.

4. Always keep it simple

Everyone in music is busy. It doesn’t matter what day of the week you reach out, or what time of day your email is read, the person on the receiving end will always have a million tiny tasks awaiting their attention, including several other hopefuls such as yourself. Play into their lack of free time by finding concise and exciting ways to sell yourself. Long emails are only read in full when the recipient has a deeply vested interest in what is being conveyed. That is rarely, if ever, the case with reading new music submissions. Keep it simple and keep it fun. Tell who you are, what you create/represent, and where that art can be found. If you have something new you are trying to bring attention to, highlight that in its own short paragraph, along with any related links/embed codes.

5. Be respectful

Knowing the blogger’s name and the kind of content found on their site is one thing, but you can win over a writer much faster if you also show a true appreciation for their work. Comment on specific articles you enjoyed, or mention topics you know they have covered in the past. Bloggers, like anyone else, love to know their work is actually being enjoyed. Tell them.

6. Provide the blogger with everything the need to create a post in a single email

As noted above, time is of the essence when it comes to music blogging, so any pitch you send should provide the recipient with everything they need to cover your music. Building a relationship is important as well, but when it comes to actually getting featured on a site you can help yourself quite a bit by providing bloggers with any and everything they could need up front. This means providing everything from details behind an LP/EP (studio name, producer), to store links, tour dates, social links, and – most important off all – a proper promotional photo. Writers don’t have time to scour social networks for the most recent professional-looking image of your band. Do the work for them and they will love you all the more for your effort.

7. No one likes spam.

As you build a list of blogger contacts it will be increasingly tempting to blast every single email you find with the same promotional messaging, but believe me when I say doing so will win you no friends. Promotional messaging should only be directed to people who have covered your talent before, as well as those who have experienced any interest in covering that particular artist or release moving forward. Not every site will work for every piece of news and information you develop, so be smart about who receives what and you will have a much easier time maintaining strong relationships with those in the industry.

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News

There is no excuse for buying contact lists

The music business runs on a combination of who and what you know. Getting your music in front of the right person can make all the difference in your career, but you have to know the right way to sell yourself in order to get that music heard. If it arrives in someone’s inbox, but is never played, does the fact you sent it even matter?

A disturbing trend we’ve found in music marketing and publicity over the last few years is a growing dependency on third party contact lists, often acquired through a one-time purchase, for new music solicitation. Instead of developing relationships with labels, writers, managers, and everyone in between, up and coming music professionals are attempting to skip networking altogether by purchasing access to a person’s contact information.

Let us be clear: Paid contact lists are never effective. In fact, they may even hurt your career.

There are countless ways you can be unique in this business, but networking is one thing that unites all professionals. Even the most successful independent artists must make contacts in the industry at large in order to continue building their career. You are no exception, regardless of your talent.

People will care about your music if they first care about you, and that can only happen after a proper introduction. Whether you want to run a music blog, be a publicist, manage bands, book shows, or tour the world, you need to first make connections with people in a position to facilitate you doing those things. You need to learn the ropes, if you will, and the only way to efficiently do that in music is through constant collaboration and discussion with your peers.

When you buy contact lists you’re giving money to someone who neither cares about you or your work in hopes of getting ahead in your career. They don’t need you beyond having your payment clear, and you don’t need them because it takes all of 10 seconds to download the information you have paid to access.

You know who else doesn’t care about you and your work after all this happens? The (often thousands of) people whose contact information you just paid to access. They have no reason to open your messages or listen to the music included because they have no idea who you are or why you would be messaging them. They don’t know a thing about you and they have no reason to because you never gave them one.

And is if all this were not enough to convince you, consider this:

All contact lists that can be bought are littered with fake/dead/incorrect information.

Here are Haulix, we’ve had to build special tools to handle the large number of bounces and rejected promos that hit our system when people attempt to use contact lists they bought online. We’ve had promos go out that hit more than one-thousand dead address, which slowed our system while serving no one involved in the album promotion process any good. It is a waste of time for everyone involved.

If you want a career in music you have to build it one connection at a time. There is no way around this fact. Get out and shake some hands. Send email introductions and follow-up whenever necessary. Put yourself out there and lift others up when you are able. Be a good person and you won’t believe how far it will take you.

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News

PRO TIP: Fake album announcements are risky business

Last weekend was a wild one. Between the leaked Trump tapes and the second presidential debate it was hard for anything unrelated to politics to grab headlines, even in smaller markets. The one exception to this may have been Nicki Minaj, who surprised fans around the globe with the announcement she would be releasing her long-awaited third studio album at Midnight on Saturday, October 8. The rap star turned pop phenom told her Twitter followers the record would be titled Pick My Fruit and that every song was named after a fruit she loved. The tweets still exist, so here they are as evidence:

Considering the fact Minaj last released an album in 2014, fans were understandably excited to learn their favorite rapper would soon be gracing them with new music. Word of Nicki’s plans for the record spread like wildfire, with blogs and publications of all sizes posting the news before the above track list was even posted online. Everyone thought the next day would be filled with hot takes regarding the new record, but as midnight came and went in various places around the planet people slowly realized they were being played:

Minaj never made an official statement regarding her late night social media prank, but much has been written in the days since the incident questioning whether or not the troll was the best idea as it relates to business. 2016 has seen a surge in ‘surprise’ releases announced at the very last minute, and considering that Minaj has only released one song since her last album (the “Pinkprint Freestyle” dropped on September 4) the idea she might release an album out of the blue made a lot of sense. 

Everyone enjoys a good joke, but lying to your incredibly patient fans about the existence of a new record in an age where everyone is champing at the bit for new content pretty much 24/7 is an incredibly risky move. While it would appear that many of Minaj’s fans found some humor in the troll there was also quite a bit of disappointment as well. Everyone has the ability to be patient, especially when it comes to waiting on a new creation from an artist they believe in, but everyone also has their limits. 

If I had to guess I would say Minaj will more than likely release something, be it an album or just another single, in the coming weeks. Her fans may be trying to laugh off the Fruit incident in hopes something substantial is coming soon, but if nothing surfaces I am certain some will begin to look for other artists to support. Minaj may not be your favorite artist, but her words have impacted the lives of millions, and there are many looking to her for support or entertainment with bated breathe. Their excitement should be cherished, supported, and leveraged to urge others to feel the same, but in instances like this it is challenged. Instead of feeling like their adoration inspires their favorite artists they’re told it’s something to be used for amusement/humor. That’s not a good look for anyone, regardless of their popularity at Top 40 radio.

All this said, I am not expecting Nicki Minaj to fall out of the public eye anytime soon. Her career has propelled her far enough into the cultural conversation that one or two PR misfires are only going to have a minimal impact on her fanbase as a whole. The same cannot be said for other, smaller artist who may think teasing new material is a good idea. Those on the come up need to recognize that honesty and integrity go a long way towards securing lifelong fans, and pranks like the one being pulled with Pick My Fruit can potentially do far more harm than good. 

Don’t be like Nicki Minaj. Maintain an open dialogue with fans through honesty and they will follow you anywhere. Leverage their faith in you for your own amusement and they will find someone else to support.

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