Tag: networking

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5 Lessons From The Pandemic That Artists Need To Remember

live nation pandemic lessons live music concerts

The pandemic still isn’t over, but life is beginning to feel somewhat normal, so let’s make sure we don’t forget everything we learned over the last two years.

Life is returning to normal. At least, life is beginning to look a lot like it did before the COVID-19 pandemic brought global economies to their knees and forced everyone to stay away from everyone else. As vaccination rates rise and more data becomes available about the spread of the novel coronavirus, artists and fans are finally reuniting. There are, however, several lessons from the last two years that artists should carry with them.

There is no point in working yourself to death. Take breaks.

Whether we’re talking about touring or creative exercises, artists itching to get “back into the swing of things” would be wise to remember fans’ devotion over the last two years. Many artists saw their audiences grow through basic marketing techniques without touring. Artists and industry professionals alike learned that it is possible to develop a career without spending 200+ days a year touring or incurring the mental/physical hardships that accompany life on the go.

Remember how you kept fans engaged with your music over the last twenty-four months as you look to book future tours. Think about the conversations you had and the memories you made while the so-called “traditional industry” was on a break. You don’t have to fall back into old industry habits to succeed. The last year provided you with the opportunity to find new ways to sustain your career. Stick with them.

Just because you’re ready to tour doesn’t mean your audience will be at the show.

The vast majority of music fans have already returned to live music. They’ve gathered in venues, sometimes in masks, and felt that exciting-yet-awkward discomfort of being surrounded by complete strangers. They may have panicked once or twice as they remembered how people shunned such behaviors for the last two years, but most are happy to be back.

Still, some are staying home. Governments and cultures may be insisting people act as if everything is normal, but millions of immunocompromised people are still at risk. People are still scared.

Additionally, many people who enjoy your music do not live where you can tour. These individuals have spent the last two years with the same amount of access to you as everyone else, which strengthened their connection to your music. If you let that engagement lapse, their passion for your music may dwindle.

As we head back out into the world, please make it a point to continue engaging with fans who can only connect with you through the internet. You may need to brainstorm ways to maintain that connection, but those efforts will be worthwhile. Your digital audience can be the best ambassadors for your music or the most outspoken. Nurture that relationship without demanding they risk their lives, and they will thank you for it.

Still sitting on a COVID song? Still writing about the pandemic? Stop it. Shelve it. Put it away.

Many artists spent the last two years writing and recording new material. Nobody can blame a musician for being influenced by the surreal state of existence, but that does not mean that the masses are prepared for COVID-related songs or albums. Much like how many years need to pass before Hollywood produces a movie about a significant historical event, listeners need time to process and recover from COVID before they’ll be interested in seeing it dissected through art. We all spent the last year thinking about the pandemic, and many people would like a break. Don’t be the artist that tries to unite us through reflections on something we’re all still experiencing. Instead, find a personal angle to detail your experiences and build your material from there. What happened to YOU in the last two years? How did YOUR relationships change? What made the previous year unique for YOU, and what did YOU learn from it?

Livestream Events Are Here To Stay

Networking Matters.

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An Introvert’s Guide To Music Networking [Video]

If the idea of talking to strangers scares you, don’t worry. The Music Biz team is here to build your confidence and improve your networking skills.

Music is all about who you know. You can be the most talented artist in the world, but you won’t get anywhere without a network of supporters and peers. So, what do you do if you don’t know anyone? Well—this video is for you.

Hello again everyone, and welcome back to Music Biz, our ongoing video series on everything related to life in the music industry. I’m your host James Shotwell, and today we’re going to discuss networking, which is really just a fancy way of saying relationship building. The music industry runs on relationships. Luck and talent are still prerequisites for success, of course, but knowing the right people can certainly streamline your rise through the musical ranks. 

On the surface, networking seems simple. All you have to do is talk to people. You do that all the time, every day of your life. But something about the idea of networking seems to make people nervous. I know far more artists who are shy off stage than those who embody the free spirit they convey on stage.

This Music Biz update will review practical steps every introvert can take to build their network, make meaningful connections, and gain the confidence needed to become a new music leader. 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.

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She Is The Music Launches Global Database for Women Working in Music

She Is The Music (SITM), a nonprofit announced initially by Alicia Keys during Summer 2018 to empower women working in the music business, has officially launched.

The organization was started to aid in increasing the number of women working in music – songwriters, engineers, producers, artists, and industry professionals. A statement on the SITM website reads:

We are an independent, global network that operates as a unifying organization for women from across the industry, creating strength and impact on a global scale. As an umbrella nonprofit, we also provide resources and support for female-focused initiatives that are working to create meaningful change – both through our own programs, as well as external efforts around the world.

The programs teased by She Is The Music will include an all-female songwriting series, industry database of women creators and mentorship program. More events and plans will be unveiled in the months ahead.

The directory portion of SITM will launch in early 2019, with profiles vetted and verified for accuracy. Any woman working in music is encouraged to apply for inclusion.

Additionally, SITM has announced the formation of Creator and Executive Committees to advise the nonprofit.

The dual committees include broad representation to ensure ‘diversity in ideas and perspectives’, as well as the use of influence to help drive change in all aspects of the industry.

The Board of Directors / Co-Founders includes Alicia Keys, Jody Gerson, Global Chairman and CEO, Universal Music Publishing Group, Samantha Kirby Yoh, Partner and Head of East Coast Music, WME and Ann Mincieli, AK-Worldwide; Jungle City Studios.

The Creator Committee includes Jenna Andrews, Marcella Araica, Sara Bareilles, Banks, Björk, Mary J. Blige, Jen Decilveo, Billie Eilish, Missy Elliott, Ariana Grande, Skylar Grey, HAIM, Halsey, and many others.

The Executive Committee includes Michele Anthony, Adriana Arce, Lisa Barbaris, Barbara Cane, Rosemary Carroll, Corrie Christopher Martin, Caroline Elleray, Tina Farris and many others.

SITM is a fund of the Entertainment Industry Foundation (EIF), a 501©(3) charitable organization.

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A Beginner’s Guide To Better Networking

Networking is key to success in the music business. This post will provide tips and tricks that make networking easy

Networking matters more than you might think. Your skill level and/or knowledge as it relates to the music industry won’t mean a thing if you are unable to network. Relationships mean more in music than virtually anything else. You’re more likely to be asked who you know and what you’ve done with or for them in an interview than where you went to college or what GPA you had in school. That is because to succeed in this industry you need strong work relationships, and the only way to develop those is by networking with your peers.

But here’s the thing: Networking is not easy. To network, you have to squash whatever ego and anxiety you have, approach strangers, and engage them in a discussion. You have to step outside of your comfort zone, so to say, but if you do the rewards can be great.

No one can do the work for you. If someone did, you wouldn’t be networking. Someone else would be networking, and you would be someone that was mentioned in passing. You don’t want that. You want to be someone who leaves a good impression, one that invites future discussion and interaction.

Here are some tips to get you started….

  • Dress for the role you want. You probably won’t need a three-piece suit to network, but you do want to look professional.
  • Seek out places and opportunities to engage with others who have similar interests as you. Concerts do not count.
  • Try and stay focused on the person you’re speaking to by resisting the urge to brag about yourself. Make them feel like the most important person to you in the world at that moment, and they will not forget the attention.
  • Ask as many questions as you are able, but stay on topic. You need to know what a person does, who they do it with, and what they hope to accomplish in the future. You don’t need to know their favorite color or what they had for lunch that day. Be friendly, yet focused.
  • Only offer your business card if you are asked for it. Otherwise, request information from the person you’re talking to and accept the responsibility of following up. You need them more than they need you, so you shouldn’t place the task of keeping up with you on them.
  • If you recognize the person before speaking, make sure you know what you want to ask before approaching them. Keep the conversation casual at first, not to mention focused on them, but always be looking for an opportunity to make your request. If they decline or change the subject, move on for the time being and consider asking again once you’re better acquainted.
  • Be careful to not come across as creepy or otherwise stalking a person. Don’t approach someone if they’re already busy. Don’t stare at someone from across a room without approaching them. Don’t ask too many personal questions the first time you speak. In short, keep things casual.
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Beyond The Music is launching a new industry event in Chicago next month

Chicago is a thriving music mecca filled with brilliant minds looking to connect and develop the future of the industry. Until recently, the city lacked a group willing to take responsibility for bringing the many niche communities of the greater Chicago area together, but then Beyond The Music came along and things began to change at a lightning pace.

Beyond The Music is all about connecting people to Makers, those who make the music industry happen besides the musicians themselves. Whether you are a photographer, journalist or graphic designer, we know you have a story.

Creating opportunities in the music industry is our number one goal. We hold events to provide people with the ability to learn from and build professional relationships with Makers. This also allows Makers to create their own opportunities amongst each other and grow their network.

On May 19, Beyond The Music will be launching a brand new ‘Industry Workshop’ series at Treehouse Record Studio. The day-long event will feature a series of panels, fireside chats, and presentations from Makers that have paved their way in the industry. Brad LaPlante, Britt Julious, Alex “Fucking” Smith, Emilee Keiffer, and Haulix’s own James Shotwell have been confirmed to speak. Additional speakers and presenters will be revealed in the weeks ahead.

Proceeds to the event will go to Chicago music charities:

Intonation Music
Our Music, My Body

Pizza will be provided along with beer from Revolution Brewery. Pizza is all ages, beer is 21+.

Tickets for this event are just $10. If you’re interested in attending, please head over to Eventbrite and claim your pass today!

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A simple trick for improving your relationships with publicists

Do you know what I hate? My inbox. Every single day for the last decade my inbox has been flooded with press releases, pitches, and promotional messaging from thousands of contacts around the world. A few artists and artist reps talk to me regularly, a few even daily, but the vast majority only make meaningful contact when they need something.

If you’re a music writer, you can probably relate to this struggle. You want to be someone people turn to with opportunities, but you also want to live life away from your inbox. The tug of war between your personal and professional life blurs the more you work to be diligent with responses, but ultimately you lay in bed at night and wonder whether or not your time is wisely spent.

Now if you think that is bad — imagine how publicists feel. A publicist goes through all the same struggles outlined above; only their experience is 10x worse. They know, nine times out of ten, that an email in their inbox is a request. They don’t know what the person wants or needs, but they know it is something that will add to the list of things they need to accomplish. Even if all they can do is to decline, there is still work to do, and that work never ends.

I tell you this because a surprising number of writers do not appreciate how fortunate they are to receive any response at all from most artists and publicists. Unless you a contributing to one of the top tier entertainment publications the chances your one post is going to make a significant impact on the trajectory of someone’s career in 2018 – without them publicizing it heavily themselves – is minimal. Today’s talent needs a lot of quality coverage, not to mention a lot of different types coverage, from numerous sources. There has to be a strategy to the chaos of promotion, and implementing that strategy requires someone who oversees the madness that is attempting to make people care about someone’s creative output. That responsibility almost always falls on the publicist (or, in their absence, the artist), and it is up to them to figure out how and where and when to push content.

And you know how they keep these jobs? Results. The person responsible for promotion is judged on the results of their work. Did they secure a lot of news coverage? Did the interviews go to sites who had significant influence and/or strong writing talent? Where did the exclusives premiere and why? Were there any opportunities left on the table? If so, why?

To answer the questions above publicists create reports that are regularly updated, which only adds to the workload of these already busy professionals.

This is where you come in.

Every time you write about an artist you need to send the artist’s press contact a link to the published post. Tagging the artist on Twitter or other social media platforms is not enough. Some artists receive hundreds, even thousands of notifications throughout the day. If you want your name and site to get ahead, you need to ensure your work is being seen by the right people, starting with the artist and their representation.

News post? Email.

Review? Email.

Editorial? Email.

Top 10 best hair moments? Email.

Publicists spend a significant amount of time scrolling through Google notifications, and RSS feeds in search of content relevant to their clients. The names and sites that appear through those efforts are hurried into spreadsheets so that another name can be added to the list. You don’t want to be just another name on a list. You want to be known as a writer who gives a damn, and that begins with making sure people know your work exists.

REMEBER: Relationships are everything in music, and you can further yours by helping those around you do their jobs more efficiently. In writing, that means sharing your content with the people who shared that information with you in the first place.

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Why Your Money Might Be Better Spent At Small Conferences & Festivals

The following post is the latest in an ongoing collaboration between Haulix and the fine folks at Muddy Paw PR.

It’s almost that time again. Time to fill Lancaster, PA with enthusiastic young minds, passionate musicians, and eager industry folk, all thrilled at the opportunity to hear some of the best and the brightest speak—with no idea that there’s also a powerful networking component that’s about to take place. Of course, I’m talking about this year’s Launch Music Conference, kicking off this Thursday-Sunday in Lancaster, PA. No, I don’t work for the festival—but I am a strong advocate for it and others like it—and I think you should be too.

I have a confession to make. Up until this time last year, I’d never been to an industry conference. For nearly six years I’d watched others flee to festivals like SXSW or NAMM, and I’d think “yeah that would be cool. But…” and it was never long before I could fill in the blank. Too expensive, too much time away, I don’t know anyone, etc. I chose to ignore for years what ended up being one of the best ways for me to network.

Now don’t get me wrong, I love larger conferences like SXSW. But it’s easy to love the majors—they’re filled with top-tier panelists, A-list musical talent, showcases galore, and everyone you know is bound to be there. It’s a breeding ground for inspiration and creativity—but so are the smaller conferences.

And let’s not forget that many of the major conferences are also expensive. Very, very, expensive.  And It’s crowded. And it’s easy to get overwhelmed and to feel a little in over your head. The panelists, though you may catch them right after their set, are not always easily accessible, and while you might bump into the people you meet here and there, there’s no sense of intimacy, because you’re sharing a few blocks of Austin with hundreds of thousands of people. There’s not as much time to truly get to know those around you, because you’re already rushing off to the next panel or show. There’s a constant sense of urgency, and a need to go, go, go.

Not so with a smaller conference. The panelists, though accomplished and esteemed, are also approachable and oftentimes, more open to collaboration than some of the major players at a larger conference. In fact, there is a sense of community that is practically built in. Everything feels so tightly knit, from the location of participating venues, to the panelists roaming the room after they speak. You’re more likely to form bonds with the 100-200 people that show up each morning to delve into the panels with you, than you might when you’re constantly bumping into strangers amidst an enormous conference. In those few days, you become a part of something. You have a real shot at making friends and making connections, based off the simple fact that you are in such close proximity to the same small group of people for 3 days straight. That bonding and sense of common ground are what relationships are built on. So before you turn your nose up at the smaller conferences, remember that while there’s a ton of value in the SXSW’s of the world, as a growing artist, you should be partnering with other growing artists, entrepreneurs, and yes, even festivals to forge relationships and grow together. It’s going to make all the difference.

Angela Mastrogiacomo is the founder and CEO of Muddy Paw PR, a public relations firm specializing in personalized campaign initiatives for independent artists, as well as music blog Infectious Magazine. She is also the curator of several chapters of the music community Balanced Breakfast, which currently operates in 12 music cities including San Francisco, Los Angeles, Austin, Nashville, Toronto, and Portland. She loves hanging out with her dog, eating ice cream, and a good book. Read more at https://angelamastrogiacomo.wordpress.com/

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7 Networking Tips for Introverted Musicians

Continuing our recent collaboration with SonicBids, we’d like to share with you an amazing post written by Atlanta-bred music journalist Jhoni Jackson. Enjoy.

If you identify as an introvert, it’s likely that social situations – particularly those involving unfamiliar faces – make you uncomfortable. Networking in person as a DIY musician who belongs in that camp, then, can be pretty daunting. But it doesn’t have to be.

Making in-person connections with venue owners, booking agents, promoters, and other musicians is key to the growth of your career. Sometimes the setting is obvious, like an industry meetup. More often, though, the opportunities to meet people who might one day help your band happen at shows, festivals, parties, and other scenarios not specifically intended for networking – and that can make approaching someone even more frightening.

It might help to remember that you’re not alone; making these connections doesn’t come easy for everyone. Even extroverts struggle – that personality type doesn’t necessarily indicate that they’re flawless in networking. (And sometimes being exceptionally outgoing can actually grate on others, rather than engage them.) Accept that it’s okay to be an introvert, and know that you can still make connections despite your trepidations – especially with the help of these seven tips.

1. Bring an experienced friend

For musicians just beginning to make connections, finding someone to help make those introductions can help. If you don’t know a single person who qualifies, consider friends who’ve networked in other industries. While the arena is different, the goals are the same: to meet people who you could potentially work with in the future. Regardless of the field someone is in, if he or she has networked before, that person might be able to give you pointers or at least serve as a buffer if you start to fumble.

2. Aim for one-on-one or small groups

If you’re like me, then the bigger the group, the quieter your voice. (Silent, even.) I feel more confident when there are three or fewer people involved – maybe you will, too. Try approaching people when they’re not already engaged with several other people.

3. Choose an appropriate time

Don’t follow the previous tip so strictly that you barrage someone as they’re alone waiting for or leaving the bathroom. That’s just awkward. If you’re aware that your timing is poor but you go for it anyway, you’ll likely escalate your nervousness. Don’t interrupt a conversation, for one, and try to avoid startling someone by approaching them from behind. Wait until they’re not engaged with anybody else, then walk up casually to introduce yourself.

4. Establish a relationship first

The way in which you express your intentions – and what those are to begin with – is important. People in the independent music realm are used to folks asking for favors, so it’s going to be pretty obvious to them when you’re doing the same. Try establishing a relationship before asking about opportunities for your band. It’ll make you more comfortable, and the person you’re asking won’t feel so used. They often benefit from making connections too, of course, but these are people – not just steps on a ladder. (We hope both parties remember to see things this way.)

5. Don’t expect life-changing results

Going into a networking situation with high expectations can make you feel like everything’s at stake, and the resulting nerves can crush you. The truth is that you won’t get results every time, much less from every conversation. Make your goal to get a few people to remember your name, and consider yourself very lucky if an actual working relationship is formed right away.

6. Rehearse a few opening questions

I’m serious. If you’ve gone through the motions beforehand, it’ll help you when the real thing happens. Start by introducing yourself, then keep things going with something like these suggestions:

  • If you’re at a show, ask if he or she is into the bands playing
  • If you’re at a bar (even if during a show), ask what he or she is drinking (unless it’s obvious)
  • If you have a mutual friend or acquaintance, bring that person up

7. Practice talking to new people in other settings

You can brush up on your networking by extending the practice to all types of situations. When you’re not really aiming to make a connection, you’re really just being friendly, and people usually respond well to that. Growing your confidence by talking to new people in general will definitely make you feel more secure as you work on making connections in the industry.

Jhoni Jackson is an Atlanta-bred music journalist currently based in San Juan, Puerto Rico, where she juggles owning a venue called Club 77, freelance writing and, of course, going to the beach as often as possible.

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5 Unlikely Connections Every Musician Should Make

The booking agent, the journalist, and the sound guy are all names that every musician should, and likely already does, have on speed dial. It’s pretty much a known fact in the music industry thatnetworking is key. However, we also need to network outside of our industry, because quite often,we end up connecting with folks who boost our career unexpectedly. Here are five unlikely connections that you should add to your network ASAP!

1. Greek life presidents and student council presidents

The college scene is a glorious place, not only for its booming and active radio scene, but also for its love and promotion of live music. I was involved in Greek life in college and was actually the president of my fraternity for some time, so I had some say in booking bands. (So powerful, huh?) I have to admit that even though I was working in the music industry at the time, it still felt really cool when a band or booking agent knocked on our door to hand-deliver a press kit, EPK flash drive, or demo. When that happened, we usually listened to it as a group and made a decision very quickly on if we could and wanted to fit them into an event.

Fraternities and sororities have operating budgets for live music, and while a lot of Greek organizations are playing up the EDM scene more and more (good for you, DJs!), there still are a lot that want fun cover bands, original groups, or even chill acoustic acts. There were bands in my college town that would simply play homecoming events, spring parties, and other socials and would come out financially set for the entire spring or fall. Not a bad circuit to tap into.

A group of equal power on college campuses are student government organizations or any other large club or group that puts on events. More and more colleges are doing live concerts that bring in major headlining acts and often seek out regional/local opening performers. I currently operate out of a college town, and we often see college-sponsored performances by folks such as Weezer, Ludacris, Lupe Fiasco, Katy Perry, and many others. Some colleges even make a mini-festival out of the event and have stages for local acts. Tap into it!

2. Local arts councils

Do you have one in your town? You might not know it, but you just might. Arts councils are government-funded entities that exist in cities across the US. These councils are a group working in your city that help preserve art and culture. They often put on weekly or monthly events such as art walks or Sunday in the Park concerts.

Not only do these groups put on concerts (which you can tap into), but many do workshops, too. These workshops may be aimed at helping creatives copyright their work or teaching musicians how to get their music into films. Not only could these events help sharpen your work, but it could also be a great opportunity for you to give a talk! I’ve even seen artists partner with their arts councils to give guitar lessons to kids or lead songwriting workshops. It’s a great way to give back to your community, get booked, and learn a thing or two.

3. College student design groups

Want that album art designed but don’t want to hire an ad agency? Or, on the flipside, don’t want to pay Fiverr five bucks and chance getting a less-than-mediocre logo? Look into local student groups! A lot of colleges have design groups in which students are simply looking for work for their portfolios. Yes, you will (sometimes) have to pay them – or at least you should. There are some student-run design firms that may help for free, but hey, help a college student out!

Either way, it’s typically more affordable than hiring a freelance or full-time designer. I’ve tapped into my local university’s design group numerous times for album art campaigns or quick social mediaartwork when my team was overloaded. Always a great outcome!

4. A good mechanic

If you’re like me, you only take your car into the shop if something is blinking, rattling, or just not starting. Therefore, having that “go-to guy” isn’t really an option, but it should be! Having a good personal relationship with a mechanic is great if you’re going on the road before a tour. That way, he can ensure you’re all set for travel and can be the point person if you think something is going wrong with your van.

5. An accountant

This may not be all that unlikely, but if you’re like some of us and up to your knees in 1099-Ks and 1099-MISCs, sometimes a face-to-face meeting is much better than an online provider like TurboTax. Accountants can work with you to ensure you’re getting write-offs for things such as travel or music-based purchases that help your career. There’s likely a long list of write-offs and tax breaks that you’re eligible for without even knowing. So go ahead and find an accountant! Bonus points for ones who have worked with musicians or freelance entertainment folks in the past.

As a music marketing strategist, Tyler Allen works with an extensive array of artists, labels, music tech, and music retail entities. Tyler began his music industry career with Sony Music Entertainment and RED Distribution, as well as the advertising industry. He is dedicated to giving veteran artists the tools to preserve their legacy, and new artists the tools to begin theirs (as well as everything in between). Learn more at wtylerconsulting.com.

(originally found on SonicBids)

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The Future Of Music Is Friendship

Greetings, everyone! We are thrilled that you were able to find time in your busy schedule to browse our blog. We typically run podcasts on Thursday, but ‘Inside Music’ is taking a break this week. Instead of letting the day pass by without an update, we decided to share a guest piece from our dear friend Andrew Jones of Checkered Owl.

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

A lot of digital ink is spilled everyday on the “future of music”. Streaming vs. downloads, could Google+ ever matter, will EDM eat itself, can crowd funding last…etc. Quite frankly, I am a big fan of these discussions and I think there should be at least one person on every artist’s team who cares about, and participates in them. However, when we talk tech, engagement, and future; we often miss the one of the most critical pieces of the puzzle.

Making friends with other artists.

We all want to be in a community. Your fans want to be a part of a community. Real fans don’t just want to like a band’s music, they want to hang out with the band, to know their friends, their influences, what they are listening to. If you can invite them into some of that, by showing support for another artist, your fans will fall in deeper love with both. We all want to be a part of something larger; and feeling welcomed into a friendship between two rad bands fits that bill. It gives us a circle of belonging.

I can give a thousand examples, but here is one. When I was in Jr. High, I came across a band by the name of Five Iron Frenzy. It was my first exposure to Ska, and I immediately became a huge fan. As I dug up everything I could on the band I saw that they often toured with a new band called The W’s. So I grabbed their record as well, cool stuff, silly neo-swing that met me right where my little grade 8 head was at. Much to my delight, there was a hidden track (oh the forgotten joy of secret songs) called “Five Iron Frenzy”! Instantly I was a much greater fan of both bands. They were my favourites. Why? Because they liked each other and in some small way, I became a part of that relationship.

But why would I say this is the future of music? Isn’t wearing another band’s t-shirt a pretty old concept? Yes. But in an increasingly crowded noisy world, music fans get tired of self-promotional noise; however as soon as you say “You guys gotta check out ________, we played a show with them last night and they KILLED IT!” people’s ears will perk up.

Bands that support bands WILL shine out in this overly crowded market. People want to know what to listen to next, point them towards your friends, you’ll both be richer for it, and I guarantee it’ll stand out more than merely another post about yourself.

This post was written by Andrew Jones, editor of Checkered Owl. It originally ran on his blog, but we loved it so much we felt it deserved to shared once more on ours. If you like his work and want to read more of his writing, or if you want to be super cool and offer him full time industry employment, reach out and connect with him on Twitter.

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