A great music publicist can make people stop and pay attention to your art, but it can be difficult to get them to care about your career.
Publicists are among the hardest-working people in entertainment. Whether you’re a career musician hoping to make people care again or a new artist trying to capture the world’s attention, great music PR can do wonders for your visibility.
But there is a catch—sort of. Publicists can only work with what you give them, and many artists don’t know what PR needs or wants. Most assume a publicist will tell them what they need, but that isn’t true. If a publicist has to ask for something, you’re already behind.
For example, let’s say you reach out to a publicist inquiring about their interest in working your next release but forget to include the release date, music, or artwork. That publicist then has to make a choice. They can either do some research into who you are, what you make, and when you might be releasing music, or they can skip your message and move on to something more actionable. Every publicist is unique, but you can guess which of those two options is most likely to be chosen.
In this Music Biz update, host James Shotwell shares what publicists are looking for when seeking new clients. He gives you everything you need to make sure publicists open your emails, click the links, and return your calls. If that’s what you’re looking for, then click play, and enjoy! We can’t guarantee results, but we can put you in a position to succeed.
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.
Hiring a great music publicist can change the trajectory of your entire career, but only if you’re ready for them. We can help.
We’ve spent over a decade helping record labels, independent artists, and publicists worldwide share new music with influencers. We cannot tell you how many campaigns we’ve witnessed, but enough have come and gone that we feel confident in saying that we’ve seen nearly every variation of an album/single/tour rollout imaginable. If we have learned anything from this time, no two campaigns are alike, and most have no idea what they’re doing.
But we understand that the cause of this problem involves us. Like many other blogs and voices in music, we have spent decades telling artists to go independent. Many have listened to us, and quite a few have found success. Others, however, have tried to go it alone and wound up worse off than before. Why? The answer varies, but one thing is always true: The person behind the promotional campaign wasn’t up to the challenge of promoting new music/tour dates in the current industry landscape.
We believe in independent artists. We believe everyone should make the music that fulfills them, and we urge musicians to release music themselves whenever it makes sense.
That said, we also believe in asking for the help you need. Adding a publicist or manager to your team at the right time can make all the difference in your career. But how do you know when you’re ready for something like that? Well, today we have an answer.
In the latest Music Biz update, host James Shotwell breaks down the key things every publicist is looking for when considering whether or not to work with a new client. These answers are pulled from conversations with music PR from the worlds of rock, pop, metal, and hip-hop. Their responses may not shock you, but they will ensure you are prepared to make a big impact with your next campaign. Check it out:
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.
Finding the right publicist for your next release is a challenge, but knowing what to ask can make all the difference.
Music publicity is one of the most challenging jobs in entertainment. Publicists work long hours to help artists cut through the noise and be heard. They go above and beyond daily to make sure their clients’ stories are heard, often in places that the artists themselves would never be able to reach, and they rarely receive the thanks they deserve. Music PR is, in many ways, the bridge between anonymity and stardom.
But finding the right publicist for your music can be challenging. Just because someone can promote a band or artist that makes music somewhat similar to yours does not mean they can do the same for you. Likewise, it’s possible someone who never worked with an artist like you could help you find new audiences. Others will promise you the world and deliver nothing.
While we can’t make decisions for you, we can provide the tools you need to make the best choice for your career and wallet. In the latest Music Biz update, host James Shotwell walks through more than half a dozen questions every artist should ask a publicist before hiring them. These questions cover expectations, costs, and the publicist’s understanding of the project in question, among other things. Check it out:
Questions covered in the video above include:
Please tell me about my music (describe what it is you think I/we do)
How do you define a PR agency’s worth to a client?
What do you feel about your agency’s worth in the context of that answer?
What isn’t your job?
Why is your agency best suited to work this specific record for this specific band?
What kind of adjustments have you had to make since starting your own agency?
Can you provide a SWOT analysis of our project?
What is a story that needs to be told about this band and this record for it to achieve the most commercial success?
How do you prioritize clients?
This band is outside of the genre of your biggest acts. How do you make that into a strength?
What is the current rate for your services? Do you offer discounts on multi-month commitments as opposed to month-by-month payments?
Asking these questions can help you find the right person or team to help make your next release the success you deserve. Don’t hesitate to ask as many questions as you need to feel confident in your decision.
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.
2021 is right around the corner, and we’re sharing everything you need to do to make the next year your best yet.
2020 has been an incredible year. Nothing has gone as planned, but artists found a way to adapt. No touring due to COVID? Livestreams. The label won’t release the record? Drop singles and continue to write. Can’t afford to record? Keep writing, keep demoing, and continue developing your voice.
If we learned anything this year, it’s that nothing can stop musicians from pursuing their craft. The world tried incredibly hard to break the spirit of creatives everywhere over the last twelve months, and the vast majority stood their ground. 2021 may try even harder, but music and the people who make it are not going anywhere.
In this episode of Music Biz, host James Shotwell discusses what artists can do to succeed in 2021. He talks about the simple things every musician should do annually, but he also considers the bigger picture. We cannot go back to the way we did business and chased dreams before 2020. We are living in a new world, and with it comes new ways of building an audience. Those who embrace the now will get ahead, but how do you do that? We’ll let James explain.
Brought to you by Haulix, the music industry’s leading promotional distribution platform. Join today and receive a one-month free trial of the same service Bruce Springsteen, Slipknot, blink-182, and thousands more trust to share their music with the press. Visit http://haulix.com/signup for details.
Haulix LIVE! is your chance to learn from and engage with the greatest minds in music publicity today.
With Coronavirus making music conferences and festivals impossible, Haulix LIVE! is here to fill a void in the entertainment business. Twice a month, Haulix brings together the greatest minds in music publicity and promotion to share their knowledge with anyone hoping to hear it. These events are 100% free, and they are open to everyone.
Join us on Thursday, June 18, at 2PM EST for a free PR roundtable with special guests Ebony Jeanette (EJPR), Jamie Roberts (Better Noise), Jon Freeman (Freeman Promotions), and Bill Meis (eOne Entertainment). The event will cover the promotional challenges of COVID-19, emerging trends in music publicity, and advice for people hoping to work in music PR. Viewers will also have an opportunity to ask our guests questions. Click here to register.
About our panelists:
Bill Meis is an aggressive multi-skilled music business professional with more than fifteen years of experience in marketing, media relations, and logistics. He is still driven by the same love for rock n’ roll that fueled him as a teenager growing up on Long Island, New York.
Currently, Bill oversees all media relations and marketing for the rock and metal artists found on the eOne music roster. During the last decade, he has landed his artists in significant publications like Billboard, Rolling Stone, NPR, Pitchfork, and Guitar World. Bill was also at the publicity helm when his artist High On Fire won for “Best Metal Performance” at the 2018 GRAMMY Awards.
Metal music publicist Ebony Jeanette’s lifework is connecting people with the entertainment and brands they love by converting messages into discoverable media experiences. Ebony currently owns and operates boutique Public Relations firm, Ebony Jeanette PR (EJPR), and over the course of her decade on this side of the desk in the music industry, she has held posts as the in-house publicist for two of the world’s foremost extreme heavy metal record labels; Century Media Records (Sony) and Prosthetic Records. Additionally, Ebony is a singer and music journalist whose work has been featured in Substream Magazine, SonicBids, New Noise Magazine, and more.
Jamie Roberts from Better Noise Entertainment has a wealth of experience as a music publicist and PR executive, having led departments at Roadrunner Records, Universal Records and EMI’s The Enclave prior to her time at Better Noise (previously Eleven Seven Music) as well as running her own firms – Right Angle PR, then For The Win Media. Over 25+ years in the music industry, she has worked with such top-tier artists as Mötley Crüe, Blondie, Papa Roach, Godsmack, Nick Lachey, and Paulina Rubio, among others. She has been an integral part of building the careers of bands like Slipknot and Nickelback and has helped artists like The Dillinger Escape Plan, Sloan, and Nothing More reach new heights of success.
Freeman Promotions is the brainchild of Jon Freeman, whose humble career beginnings are rooted in college radio. Freeman has worked his way up the music industry ranks, thanks to a cocktail of ambition, drive, and good, old-fashioned elbow grease.
Some key artists whose careers he has been intrinsically involved in include Type O Negative, Whitesnake, Alice Cooper, GWAR, Mark Morton, and Municipal Waste. If you’ve heard about these acts in some form or another, chances are, it’s because Jon Freeman was involved in spreading the word and creating their media profiles.
These four PR powerhouses have never sat on a panel together before, and you can be there to learn from their combined experiences FOR FREE. Click here to register for our event.
Haulix is kicking off a new digital webinar series by bringing together three premiere rock music publicists for a free panel later this week.
Coronavirus has prevented thousands of events from happening, including a wide variety of music conferences. We know that nothing in the digital space can replicate the feeling of rubbing shoulders with your industry peers, but we are doing our best to keep the spirit of education and networking alive during these uncertain times.
Haulix LIVE! is a new digital webinar series brought to you by Haulix, the industry standard for music promotion. Each free event will feature conversations with leaders in music promotion and publicity, and it all kicks off this Thursday, May 21, with a panel on rock music PR. Click here to register.
About our panelists:
Amy Sciarretto is the queen of all things at Atom Splitter PR. She’s worked with everyone and has the stories to prove it. Her current clients include Trivium, Killswitch Engage, Alice Cooper, Falling In Reverse, and recent GRAMMY-nominees I Prevail. There is no problem she cannot solve, and no group she cannot break.
Charley Bezer is the VP of PR at Cosa Nostra Publicity. She has a reputation for helping alternative bands receive mainstream attention, and she sets the bar for determination. Her recent work with Dance Gavin Dance resulted in a number one placement on the US album sales chart, as well as multiple appearances on other influential charts, both stateside and around the world.
Maria Ferrero is an internationally-recognized music publicity maven and CEO of Adrenaline PR. Her resume reads like a who’s who of famous rock artists from all corners of the genre. She’s currently working with Lamb Of God to promote their highly-anticipated tenth studio album, as well as numerous other bands.
These three PR powerhouses have never sat on a panel together before, and you can be there to learn from their combined experiences FOR FREE. Click here to register for our event.
Email is the name of the game when it comes to music PR, and when everyone is doing the same thing, it’s the details that make all the difference.
Everyone working in music receives a lot of emails all the time for a wide variety of reasons. Writers and music critics, for example, receive press releases from anyone with an artist or release to promote who is smart enough to find their email address. They also have messages from editors, personal contacts, and – in the case of blog editors – aspiring professionals looking for an opportunity. It’s overwhelming, and it is becoming increasingly hard for any message to stand out.
Many marketing blogs will tell you that an eye-catching subject line is all you need to get someone to open your message. That may be true in certain circumstances, but an open only brings a reader to your message – it does not make them engage with it.
If people don’t like what they see at first glance, then your email is no more successful than the messages that get trashed without an open. Grammar and structure aside, there is one thing that can grab the attention of a writer (or anyone) at first glance:
Use their name.
First or last or both, it doesn’t matter. Just use it.
That seems surprisingly simple, and it is, but the vast majority of publicists, artists, and others vying for attention these days do not take the few seconds needed to address the recipient of their emails adequately.
Here is a sampling of the most common, least engaging greetings used today:
Dear Music Blogger
Hello, Music Friends!
Dear [Wrong Name]
Media Friends:
To whom it may concern
Sir or Madam
ATTN:
[Name] <– This happens when they leave what should be automated forms blank, and it happens a lot.
Technology may make connecting with others easier than ever before, but it still lacks the personal touch of a traditional conversation. Even letters written by hand required something more tactile than a digital message can allow. Using someone’s name tells them you view them as something more than a faceless body existing in the void of the internet that you seek to use as means to ascend through the ranks of the entertainment industry. Using someone’s name, treating them like a professional should, is so simple, yet it can mean so much. It tells someone you see them and their work, which often is the result of great sacrifice, and it subconsciously makes them care a bit more for what you have to share.
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.
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.
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.
