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5 Things to ask yourself when preparing your band for SXSW 2016

Earlier this week I received a press release announcing the third wave of talent that will be appearing in Austin, Texas during the week of SXSW 2016. It was a great list that teased many potentially game-changing performances, but more importantly it reminded me just how close we are to the start of the world’s largest music festival. If you’re any better at planning than I you should have already booked a hotel, solidified showtimes, and began ordering whatever promotional items you’ll hand out up and down Sixth street, but I am willing to bet that is not the case for many young performers. So, with that in mind, I’ve compiled a list of questions every musician should ask themselves before making the trek to SXSW:

1. Do you know your travel plans and budget for the week?

Budgeting and planning a trip can be a headache, which is why many people choose to procrastinate nailing down the details of any journey until the last possible moment. If you want to make this SXSW the most successful is can possibly be you need to know your plan of attack as soon as possible. Book a flight (while you still can), lock in your lodging, and discuss amongst everyone coming with what your daily budget will be. Many events offer free food and drink, but those seeking water or actual meals will need cash in order to satiate their cravings.

Beyond budgeting financially, you will also want to begin discussing how you plan to use your time in the city of Austin. Create a calendar and fill in every event you absolutely need to attend. Once that is complete, work together with your band members and anyone else going to Austin and devise ways to promote you music and any performances you may have during the week. Assign each other tasks and brainstorm various approaches you can take to gain the public’s attention.

2. Speaking of promotion, how are you going to get the word out about your music?

There are over 1500 bands performing in Austin during the week of SXSW, and more than 90% will walk away without seeing much, if any change in their careers. We could go back and forth about the reason for this, but more often than not it boils down to how much attention the individual act is able to bring to themselves during the course of the week. If your plan for promotion is social media updates and handbills, you probably will not see a very big impact on the trajectory of your career following the festival. If, however, you begin researching innovative marketing techniques for 2014 and apply them to your efforts in Austin the sky is the limit. Creativity is key to success, and when you’re surrounded by literally thousands of creative people it takes something extra special to stand out from the herd. Do not let your art become part of the majority.

3. Are you focusing on your efforts on quality or quantity?

There are bands who believe the key to being noticed at SXSW is to play as many shows as humanly possible, but the real way to take your career to the next level is actually far simpler: Connect with the audience. Whether you play one show or ten, it only takes one person with the right connections noticing your music for your career to change overnight. Do not stress over the amount of gigs you have or the time allotted, but instead focus on delivering the highest caliber performance possible when the time comes. Remember: It only takes one person to change your world.

4. What are you doing right now to promote your time in SXSW?

The entire list of artists showcasing at official SXSW events was recently released, which means everyone with a publicist on their team is already at least one email into their promotional efforts for Austin. As an independent artist with few festival appearances under your belt, it would be a good idea to begin promoting and otherwise advertising your presence at SXSW as soon as possible. Reach out to bloggers, share your latest music and let them know if they’re coming to SXSW you would love to meet up. You don’t need to sell them right away, but you should at least make them aware of your plans. It won’t be long until publications begin compiling the ‘must-see’ bands of SXSW and with a little luck your group could make the cut. Click here for some additional tips on contacting members of the press.

5. What goals do you have for SXSW?

The worst thing you could possibly do before heading to SXSW is convince yourself that one trip to Austin will change your life forever. We’re not saying such things will not happen because they most definitely could, but the odds are incredibly stacked against you. Set achievable goals that will help you further your efforts in the long run instead of focusing on short-term success. If you want to play to 50 people, then do whatever you can to bring 50 people to your show. If you want to find a manager, order business cards and make plans to network whenever time allows.

SXSW works for those who know how to work it, and the first step to doing that is understanding you get out of your efforts what you put in. Those who do the work necessary to play at their absolute best and go out of their way to be creative with marketing are going to get further than the band with great hooks and zero following. It’s that simple.


James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.

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SXSW Here We Come!

We are thrilled to announce that SXSW has chosen our panel on piracy to be part of the music portion of their 2016 festival. This has been a dream of our team since we first made landfall in Austin earlier this year, and to see how much support we received from those of you in our extended community was nothing short of a humbling experience.

Our panel, ‘Digital Distribution & Security: The End Of Piracy’ will tackle the tough topic of piracy in the modern music industry. We will discuss the ongoing impact of piracy on the livelihood of musicians, the efforts being made to eradicate music leaks, and what hope lies on the horizon. 

Joining us for this event will be panelists Jacob Tender (freelance PR, music writer), Rey Roldan (founder of Another Reybee Productions), and Jen Appel (founder of The Catalyst Publicity Group). We hope you will join us as well, and we will do our best to provide ample information regarding event specifics as the launch of the festival grows closer.

If you would like to learn more about SXSW 2016 and how you can attend, please head over to the festival’s official website. We hope to see you there!

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Help Make These 10 Potential SXSW 2016 Music Panels A Reality

This may seem hard to believe, but it’s already time to begin preparing for SXSW 2016. We are just seven months away from the largest gathering of music industry professionals in the world, and if you want to make the most of it you need to start planning your time on the ground as soon as possible. You should also book your hotel soon, but that’s not really something we cover here at Haulix.

One of the most important components of all music conferences are the panels, and SXSW has a long history of providing a diverse variety of topics for attendees to enjoy. In 2015 alone, we caught panels on the future of profitability and discovery in the streaming industry, the changing purpose of blogs, the things to look for when seeking management, and more. If we had to guess, we’d predict 2016 will have even better offerings, but in order for that to happen we need a little help from you.

SXSW allows anyone with a panel idea to submit their topic to a program called ‘Panel Picker.’ The best entries are accepted and placed into a competition where users must vote for the panels they want to see happen in 2016. SXSW received a record number of submissions this year, so voting means more now than ever.

We love attending SXSW, and we cherish the panel portion of the conference above all. We want to make the 2016 panel sessions the best the festival has ever held, and in order to help make that happen we gathered a few of our favorite panel ideas into a single post in hopes you will vote and aide us in making each a reality. Voting only takes a minute, so please help us make these important conversations happen by casting your ballot(s) as soon as you are able.


The HAULIX Panel 

(AKA – ‘Digital Distribution & Security: The End Of Piracy’)

In 2015 there was not a single panel at SXSW focused on piracy or the battle to eradicate the unwanted spread of copyrighted materials, which seems kind of crazy when you consider that music piracy is currently at an all-time high. We want to host a conversation that not only tells of our efforts in this fight, but of the numerous battles being fought to defeat digital piracy once and for all throughout the entertainment industry. We will also discuss how artists and labels alike can protect their music from leaks, as well as the tools currently being created to remove links if leaks do occur.


Accessibility at Live Music Venues + Festivals

Going to a festival or a concert at a club is something most of us do without a thought. But if you have a disability, the live music experience is often more complicated, and fraught with obstacles. Concert clubs aren’t always accessible, and there’s no guarantee festivals are either. This panel will bring together advocates for accessibility in live music–including several with disabilities–to educate attendees about these issues. The goal is to raise awareness of (and advocate for) greater accessibility at concerts, festivals and live music experiences, because music should be available to all.


No Basic Pitches: Publicity By The Journalists

When it comes to the proper pitch, it’s important to remember the audience you are trying to reach out to: PEOPLE. It may seem easy to assume music journalists are just drones spewing out reviews, but we are indeed humans who love this crazy industry we call music. Most successful publicists start off as journalists, and those who don’t can sometimes lack the perspective necessary to provide a successful pitch to a potential writer. In this panel, take a lesson from the publicists who are also journalists, featuring publicists/writers at companies like Another Reybee Production, Alternative Press, Bottle Cap Media, Diffuser.fm, Muddy Paw PR, Sonicbids, Substream Magazine, and many more.


Death Of A Metal Magazine

HM Magazine was founded in 1985 (the same year as Spin, Alternative Press and Metal Edge). It weathered the self-proclaimed music revolution of the mid-’90s with a name change (from Heaven’s Metal to HM – The Hard Music Magazine). With international distribution and acclaim covering the subgenre of a subgenre (so-called “Christian metal” under the musical umbrella of heavy metal, which was birthed out of rock), this magazine captured a vibrant scene, but went out of print in 2011, taking a paid print circulation of 13,000 to a free online viewership of 100,000+ per issue. In the summer of 2015 HM Magazine ceased to exist as a regular publication. This panel is about what it’s like to see your dream come true, as well as what it’s like to watch it die.


Following the Stream: Congress & Music Royalties

It seems so straightforward; you click on an app and endless music is at your fingertips. But behind all of the technology, songwriters and artists are making money through a complex web of music licensing law. This panel will discuss the sometimes controversial way artists get paid, the role Congress has in making it all work and a policy discussion on where we can improve the system. Panelists include Congresswoman Mimi Walters who serves on the Committee with jurisdiction over music licensing issues, the Director of Government Relations at Pandora, Katie Peters and Casey Rae, a musician and CEO of the Future of Music Coalition.


Don’t Be A Dick

We all have a job to do, but when it comes down to doing it, we’d rather work with those we like (& who are liked by others). We should all be too busy for high maintenance business relationships, so what’s the benefit of working with a jerk? The point of this panel is to explore how to work together – even if on opposing teams. Competition doesn’t always have to mean cutthroat; it can also mean collaboration & inspiration. Do you know what’s fair? We want to explore fair practice, the literal & metaphorical “costs of doing business” & how music fits into corporate & indie business models. We have juicy horror stories to share but aim to broach these subjects with humour & diplomacy.


Four Agreements Every Artist Needs to Understand

If you’re an independent artist, songwriter, producer or manager, this panel is for you! Four prominent entertainment lawyers dig into the key contracts you need to understand to be successful: Management, Label, Publishing, and Band Member agreements. You will learn key terminology, negotiation points, and the pitfalls you need to look out for. If you are serious about your career, then this is a must-attend panel.


Is Cannabis the Music’s New Business Opportunity?

The panelists are four independent music and tech industry professionals who have formed a new alliance to converge music brands with the emerging cannabis industry. We will have some real-life case studies to share with the audience about how music brands and artists can get into the cannabis industry. Many artists are already getting in some to have signature cannabis strains, some want to participate in the medical marijuana sector to help move the industry forward with their celebrity. Cannabis is already a multi-billion dollar industry and is still not legal across the nation. The time to get in is NOW! 


Why Transparency Is Good for the Music Industry

Data transparency is typically discussed as an issue that benefits only artists. However, labels, publishers, distributors, music tech companies, and more all have just as much to gain from open access to information regarding music sales, streaming activity, and more. This panel will explore why widespread data transparency is a win for all parties, focusing on issues such as the need for updated technology to govern sales reporting, auditable royalty accounting, clear ownership of data, and more. By addressing these problems, all sectors of the music industry can benefit from powerful data intelligence while reducing the sense of distrust that currently pervades the business.


Cultivating Superfans

Artists are brands. And, like any brand, artists must have the tools to identify, incentivize and grow their audience and, ultimately, their business. Today, as consumers have seemingly limitless access to artists and music across an array of services and outlets, it’s not easy for an artist to stand out, much less command attention and frequent engagement from fans. Loyalty will lead to revenue, but how does an artist build a relationship with a fan, earn their loyalty and empower these fans to take action on their behalf? This panel will discuss the trends, challenges and opportunities of leveraging D2C, crowdfunding and loyalty/rewards platforms to build meaningful fan relationships.

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Inside Music MINI EPISODE #1 – Montage Of Heck (with Jesse Richman)

Hey there! Welcome to our blog. We thank you for finding time in you busy schedule to spend a few minutes on our site. The post you’re about to enjoy is the latest installment in our popular podcast series, Inside Music. If you like what you hear, the entire catalog of episodes can be found and enjoyed through iTunes. Subscriptions and reviews are always appreciated.

This site 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 onTwitter and Facebook.

On this special mini episode of INSIDE MUSIC, host James Shotwell speaks with music critic Jesse Richman about the new Kurt Cobain documentary, ‘Montage Of Heck.’ James and Jesse both saw the film together during its SXSW premiere, and now that the movie is becoming available for everyone to enjoy they decided to hop on a call to discuss what many are calling the greatest rock documentary of all time. Whether you consider yourself a Nirvana fan or not, this is one conversation you don’t want to miss. Here is the film’s latest trailer:

The music you hear in the intro to ‘Inside Music’ this week is “Come As You Are” from Nirvana. You can learn more about that song, as well as the album it hails from, on the band’s official website.

You may already know this, but ‘Inside Music’ is now available on iTunes! Click here to subscribe.

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Inside Music Podcast #27 – Mike Abiuso (The Venetia Fair)

Hey there! Welcome to our blog. We thank you for finding time in you busy schedule to spend a few minutes on our site. The post you’re about to enjoy is the latest installment in our popular podcast series, Inside Music. If you like what you hear, the entire catalog of episodes can be found and enjoyed through iTunes. Subscriptions and reviews are always appreciated.

This site 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 onTwitter and Facebook.

On this episode of INSIDE MUSIC, host James Shotwell connects with Mike Abiuso to discuss his many music-related projects. Mike is the guitarist for The Venetia Fair, as well as the founder of SwitchBitch Records and Behind The Curtains Media. James and Mike discuss all of this, as well as their thoughts on SXSW, the usefulness of panels, and why the band Flannel Mouth deserve to be on your radar. It’s a fun conversation, but also an informative one, and we think you will love the results.

The music you hear in the intro to ‘Inside Music’ this week is “Girls Kiss Girls” from Victorian Halls. You can learn more about that song, as well as the album it hails from, on Leon’s official website.

You may already know this, but ‘Inside Music’ is now available on iTunes! Click here to subscribe.

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Interview: ‘Coming Home’ With Leon Bridges At SXSW

If you built a time machine and traveled back to Dallas in March 2014 you probably wouldn’t find many people who were all that excited about the music of Leon Bridges. The Texas resident, who started his life in New Orleans, has only been on the national music radar for little over six months at this point. That time has passed like a whirlwind for Bridges, as well as his team, and it seems with each passing day the young soul artist is getting closer to becoming the next big star in pop music.

While at SXSW last week, Bridges performed a number of showcases to packed crowds filled with industry professionals and everyday music fans alike. When not on stage, Bridges dedicated a lot of his free time to speaking with press, and one afternoon those efforts included a near 20-minute conversation with me (James, the guy who runs this blog). We talked about the hype currently surrounding Leon, the moment he knew things were changing, the source of his inspiration, and his goals as a musician. It’s not very often you meet someone in music who has a clear vision for their career, but that is exactly what we discovered while chatting with Leon Bridges. He knows not only what his sound is, but also who he is as a person, and that awareness is helping him navigate the often troublesome waters of the music business with ease. You can find highlights from our conversation, including some insight on when Bridges’ debut album will be released, below:

H: This is an exciting time for you, Leon. I tried to catch your set at Spotify House yesterday, but instead I ended up waiting in line outside the venue and listened to you perform without being able to see a thing. That said, it was great.

L: Thank you. That was a really good set. I’m sorry you couldn’t get in.

H: The thing that stuck out to me, at least at first, was just how much material you had ready to go. The public has only heard the three singles you have released since the fall, so it was a little surprising to learn you had a complete set ready to go.

L: That’s funny, because you’re definitely not the first person to say that. People stop me and ask, “Do you have more than three songs?” I always laugh. I probably have closer to 30 right now, with more on the way. It would be crazy if I didn’t. “Hi, I’m here to play these three songs and it’ll be my whole set.”

H: Well I think you’ve come along at a time when a lot of new pop stars don’t have a lot of material. You hear someone release a big first single, only to later find it’s the only song they have recorded. A lot of radio stars start off like that, and though you’re not a typical pop star I think it’s easy for people to make comparisons because you do have the backing of a major label.

L: Exactly, and people never know if those artists write their songs. I write my material, and I find it very personal. I don’t think I could get on stage and sing songs written by someone else.

H: I saw the Grantland piece that came out this week, which is yet another big publication hopping on the Leon Bridges bandwagon. There was a line in the piece about how things are happening so fast right now, it’s a little hard for anyone to keep up with all the moves you are making. This lead me to wonder when you first noticed that your career was beginning to change. When did you first realize, “Oh, this is becoming far bigger than me and the people I know who enjoy my music?”

L: I would probably have to say that there have been many times in the last few months I have felt like that, beginning with the day we released “Coming Home” through Gorilla Vs Bear. I had never heard of that site prior to the premiere aside from what my management told me, so I did not really understand the reach or impact that they had until the story broke. I was on my way to New Orleans when it went live, and I think within three days we broke 13,000 plays. It was cool to see people respond to a type of soul that is not very flashy. It’s just me, this kid with an alright voice and a unique sound. It’s cool to see people react to that.

H: I saw you comment somewhere about being inspired by Sam Cooke’s live albums. I know you have a studio album coming out, but based on what I heard from the show yesterday I think there needs to be a Leon Bridges live record at some point in the future.

L: Yes. That is one thing that has to happen. There is only so much you can do in the studio you know, and some of those songs have continued to evolve since we recorded them. That stuff you can only give audiences in the live setting, and I want to capture that at some point.

H: So, do you have your debut album complete at this point?

L: Yup, all done.

H: So I assume the three singles you have released will be on it, but how many more tracks can we expect?

L: It’ll be about 7 more, so 10 in total. There is this one called “Brown Skinned Girl,” which I love. Also one about my grandparents, “Twisting and Groovin,” then “Flowers, “Pull Away,” and more. It’ll be a solid record.

H: When do you plan to release the album?

L: June.

H: Are you going to continue releasing a single every few weeks as you have, or are you planning something else?

L: No, I think we’re done with that. We’re just pushing the three we have out right now, “Better Man, “Coming Home,” and “Lisa Sawyer.”

H: I wanted to talk to you about “Lisa Sawyer,” as I believe it’s the best song you have shared so far. I know people have flocked to “Coming Home,” but this is the one I keep coming back to. What can you tell me about the origin of the track?

L: Thank you, man. That is my favorite as well. When people went crazy over “Coming Home” I was a little surprised. That one? Really? It’s not my favorite, but if people are feeling it I certainly won’t complain.

H: So, what is about “Lisa Sawyer” for you that sticks out?

L: I wrote that song, and I had the progression, but for whatever reason I could not come up with lyrics. I eventually wrote a song about crayons just to fit the melody, and I thought to myself as time went on that the song could be a lot better and go a long way. I decided to write about my mother, and after I made that decision the words just flowed. I’ve noticed in music that a lot of artists write about New Orleans, but not a lot of artists have a personal connection to it. So me writing a song about my mother and the city of New Orleans could stick.

H: You mentioned writing a song for your grandparents a few minutes ago, and now you’ve told me “Lisa Sawyer” is for your mother. Do you take a lot of inspiration from your family? It seems to be a theme from what we’ve heard.

L: Yea, absolutely. I write simple music, but I don’t like to write flashy soul music. I like to write stuff with meaning and substance. Right now I’m writing a song about my grandmother, Doris, from the perspective of my father. No one has heard it, but it’s in the works. I’m also writing a song about my father’s father. He started in Mississippi, but he had to flee after fighting with a white man or he would have been lynched. That is how we ended up in New Orleans, and I want to find a simple way to tell that story through song.

H: I think you hit the nail on the head there, because even though you write simple music I feel like there is a lot going on beneath the surface. It’s a lot more intricate than people may believe. Like “Better Man,” for example, can be interpreted in a number of ways. So I’m curious, what is the process behind song creation?

L: It starts with me, for the most part. This first set of songs is mostly material I have had lying around. I needed someone to help me focus on my sound though, and that is why I ended up with he producer I have now. A lot of people had been offering to record me, but what they would tell me is that they may be able to get me a discount. Most never followed up. Austin, however, got the studio, the band, and actually made things happen. The first song we tracked was “Coming Home.”

H: How are you dealing with the pressure? Are you feeling it yet?

L: I am. There are times when I wish I could return to simpler times. It’s mostly due to my desire to avoid negativity, but I guess everyone is like that. There’s also the comparisons to Sam Cooke, which bring a lot of pressure, and really I’m just trying to do me. The good definitely outweighs the bad though, so I feel like I am handling it well.

H: I think it comes with the territory. You play a classic style of music, so people are going to compare you to the best of that genre. There are many people who played soul back in the day that no one remembers now.

L: Definitely. I also think people have no recent reference to what I do. They have never experienced soul music like what I play, unless they are over 60, and I am beginning to find there are a lot of people who want that experience in their life.

H: Especially in the live setting, which in your case is something truly unique. There was a time when soul music being performed live was a special occasion. Couple would get a babysitter, get dressed up, have a nice meal, and then show up to the club with plans to dance. It wasn’t just about being cool or being seen, it was something far more personal.

L: I wasn’t always writing this style of music, but when I decided to go down that path I knew I wanted to carry the torch. I can’t hold a candle to any of those artists from back then, but I can only do me and I’ll do that to the best of my abilities. I didn’t even know other many other artists were playing this sound right now, but I’m learned of a few and they’re all great. I hope I can compete, or at least be as good as them.

H: Well I think you are well on your way to doing so.

L: Thank you.

Written & conducted by James Shotwell. Follow James on Twitter for more music news and insight, as well as lots of photos of his cats.

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SXSW 2015 – Day 3 Recap

We’ve reached the halfway point of SXSW 2015, and for the first time in all the years I have been traveling to Austin I still feel fairly energized and excited for the days ahead. This may due to the fact I haven’t drank a drop of alcohol since touching down, which is often considered a crazy idea at a festival where liquor and beer is free in every other bar on Sixth street most of the day, but as someone who got a root canal the day before flying here I just haven’t wanted to add a hangover to the aches I already feel. That was probably more than you needed to know about my life, right? These things have to start somehow, and today this is what I came up with, but tomorrow it’ll be something else. I promise.

Anyways, my third day at SXSW was a busy one. Having spent another late night at shows and events I awoke roughly 45 minutes before my first panel and rushed to pull myself together before heading to the Austin Convention Center. The discussion was centered around big data, but unfortunately didn’t touch on anything I hadn’t heard the day before in a discussion about the future of music discovery. I said this once before, but the biggest theme in the sessions I’ve attended is new companies relying on data to better service music fans with discovery options. This isn’t an innovative notion by any means, but it will be interesting to see who makes the most of this plan in the year ahead and who introduces something truly forward-thinking.

After this I caught a number of sets from some great promising bands, including Rozwell Kid, Beartooth, and the hip-hop trio known as Migos. It was an interesting afternoon of live music, but it gave me some great insight on how different genres approach performances. I want to write about it more, but I have a separate blog in the works on this very concept so I’m going to move on for the time being.

With night came another whirlwind of showcases, screenings, and conversations. At one point I spent thirty minutes discussing the future of branding streaming services in relation to live music. Venues around the world play music in between sets, so why aren’t services like Spotify and Rdio entering partnerships? If Uber wants a piece of streaming, I’m sure there are venues that would love to say they work with those services as well.

I know this update is a little shorter than previous days, but I don’t want to be too repetitive in my recaps. Tomorrow’s will be longer, so read some of my other posts from this week and check in around noon tomorrow to learn what happened in Austin on Friday night.

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SXSW Coverage: Should Music Mags Survive or Get Killed Off?

This morning we attended a panel discussing the future of music journalism. Jan Uhelszki (Cream Magazine), Jim DeRogatis (Rolling Stone/Chicago Sun-Times/Sound Opinions), Ann Powers (NPR), Alex Gale (Billboard), and host Jason Gross (Perfect Sound Forever) were on hand to lead the discussion, and the first point everyone made clear was that there was no way we could cover everything in an hour. It’s true the role of music journalism is evolving, but what it’s becoming is still unclear. 

Following introductions the conversation started with Jim DeRogatis opened with a comment regarding the preservation of music journalism. He believes that we as a community have done a poor job of preserving the history of our industry. Hundreds, if not thousands of zines have come and gone leaving no archives, physical or digital, for future generations to study and learn from. Even current publications such as Billboard and Rolling Stone have struggled to make back issues easily accessible on a large scale. 

Gross then asked the panelists to define a magazine. The first response given was that a magazine is a community. It doesn’t matter if you’re a physical or digital publication, you need a real community in order to thrive. The problem with blogs, as DeRogatis was first to point out, is that they often lack the internal resources needed to develop a strong, quality writing team. There may be a bunch of people contributing content, but there is a difference between that and harnessing the intelligence and perspective from a group of like-minded individuals to create original content. Without that, developing a community is almost impossible, which creates a vicious cycle you can see repeated again and again through the numerous sites that launch and die within a few months time.

Someone eventually pointed out the fact no one addressed the question in the title of the panel, which was greeted with a laugh from everyone in the room. No one would say that they knew for sure music journalism was safe, but they all hope it will continue to exist and thrive. If that is to happen however, we as an industry need to adapt to the new ways people consume media while doing our best to maintain the old school way of running a publication. You need an internal support system in order to make writers feel comfortable and confident enough to push for better, more original content. When you can accomplish that you can also harness a community from your readership.

All that said, all publications need to find a way to fund journalism. As one panelist pointed out, “Journalism is damn expensive.” There is a limit to what you can do without substantial funding, and it falls far short of generating engaging original content on a consistent basis. That material takes time and research, both of which cost money. 

Before the room got too depressed about the future, Gross asked panelists about innovative publications they had seen or heard about in recent weeks. There was mention of Patreon campaigns, as well as various Kickstarter campaigns that have been created to fund publications over certain periods of time. Alex Gale menitoned the fact many outlets considered influential online still maintain a print version of their content as well. He noted that there is something about tangible journalism that retains a certain amount of demand despite how often we’re told everything is going digital.

When the general discussion came to an end, the panel opened the floor to questions. The most interesting question came from a young man who asked if the critics were worried about whether or not people care about someone’s knowledge of music history and theory. Gale jumped to say that any editor who wants quality content needs to assign it to a quality writer. Not every editor is a good editor however, and not every critic is a knowledgable critic. That has always happened and it always will. Ann Powers seconded that point and told a quick story about writers at major complications struggling with smaller bands because some only concern themselves with current headliners. 

A senior in college asked how he should take the next step in his career following graduation. Uhelszki quickly replied by encouraging the young man to try contributing to alt. weeklies around the country, but DeRogatis believes they are a dying breed. He thinks the best move would be to build the next phase of music journalism. One idea mentioned was a one-stop rock critic aggregator. Something akin to metacritic, but solely focused on music and people at all levels. The discussion closed with the comment that the best way to be a good writer is to write, write, and write. Whether or not you get paid for it, or when you will get paid, is something no one on the panel can answer.

For more updates from SXSW 2015, follow Haulix and writer James Shotwell on Twitter.

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SXSW 2015 – DAY 2 RECAP

This is my fifth time visiting Austin. You would think by now that I have adjusted to fifteen hours days on my feet, followed by five to six hours of sleep, but waking up seems harder than ever this time around. Maybe it’s the meds from my recent emergency root canal, or maybe I’m just getting older. I hope it’s the former and not the latter.

Anyways, my second day in Austin was a weird one. Due to a few schedule changes many of my plans ended up falling apart, but those I was able to make happen turned into memorable occasions and great opportunities for content generation.

It all began as every day should with three breakfast tacos from one of the (probably) hundreds of food trucks in the greater Austin area. I love chorizo almost as I love tacos in general, but being from New England a good breakfast taco is nearly impossible to find, so whenever I find myself this far South I indulge until my heart and stomach are both content. You might not care about my meals, but it was only because of choosing this random truck I met three reps from Billboard who also happened to be searching for early morning chorizo. We swapped stories of bands good and bad, then told each other we’d try to meet up at Migos later in the week. I doubt we will see one another again, but it’s amazing to be in a place where such conversations can happen before 11AM on a Wednesday.

My first big event of the day was a panel on content curation and the way music discovery is changing, which you can find a summary/review of right here on the Haulix blog. The panel featured guests from Shazam, Rdio, 8Tracks, and Pandora, which one might think would lead to very different answers when hoping to learn about the future of discovery, but truth be told they were pretty much in agreement from the first five minutes onward. As far as everyone in that room was concerned, the future of discovery is all about data. If we can harness the information gathered from a music fan’s previous listening experiences we can service them with similar artists and songs that should play well with their interests. Again, if you want to learn more about all this, click here.

Following the panel I spent lunch with our clients and friends SideOneDummy Records. We chatted about their recent Jeff Rosenstock release, as well as the artists they plan to see while here in Austin. They promised me not to reveal those performers names for fear someone else may try to pick them up, so just know if you see someone from the S1D staff at a venue this week there is probably a buzz band playing in the near future.

After lunch I met with Nick Thomas, frontman for The Spill Canvas, and conducted a thirty minute interview which will soon be live here on the blog. We discussed the transition from The Spill Canvas to his current work as a solo artists, as well as his perspective on the industry after spending over a decade navigating its often treacherous waters. I had never spoken to Nick prior to this meeting, but I am really pleased with the results. Look for that piece to run here in the near future.

I caught a couple sets after speaking with Nick, including listening to Leon Bridges perform while waiting in line to see him at the Spotify House (which was better than not hearing him at all). Then I got a text from Jesse Richman of PropertyOfZack asking me if I had any interest in seeing the new Kurt Cobain documentary, ‘Montage Of Heck.’ I told him I definitely did and they two of us spent the next 90-minutes waiting in line for a 530 screening. I’m not allowed to talk too much about what we saw, but I will say that any fan of Nirvana owes it to themselves to see this film as soon as possible. It’s gorgeous, thought-provoking, and executed in such a way that you will want to see it again almost as soon as it comes to an end.

At this point I was pretty much ready to call it a night, but then my friends in the Atlanta band Microwave texted to say they were added to a house show several miles from downtown Austin. I hailed an uber and rushed to the southside of Austin where I found the band, as well as several industry professionals, hanging out in what was literally someone’s backyard. Microwave sounded great though, and less than fifteen minutes after they finished the cops came to shut the place down. The show was over already though, so their arrival was a little too late to make anyone all that nervous.

By the time I made it back to downtown Austin I was ready to collapse. I was walking back to my hotel from where the cab had dropped me off and encountered a poster promoting a new film with Jeremy Sisto called ‘Hangman.’ There was a screening starting at midnight, the last of the week for the film, and I told myself I would try to make it for Sisto. I made it, but the film was a mess, and I ended up going to bed disappointed.

It’s now 11am on Thursday and it’s time to begin another round of SXSW madness. Check back tomorrow for another blog and feel free to tweet me if you have any requests for future SXSW content.

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The Next Phase Of Music Discovery: Man Vs Machine?

This morning I attended a SXSW panel filled with leaders from Shazam, Sirius XM, and other digital music platforms that hoped to tackle the tough subject of music discovery and where it may be headed in the future. It was a continuation of a panel from 2014, but the content shared was wholly unique to this session.

The first topic was the rise in demand for professional curators. Apple is hiring some right now, but there is an argument to be made for whether or not machines can do they job just as well. The team from Sirius XM commented that this trend is good, but they have always made it a point to use both man and machine for their curation needs. Shazam seconded this notion, and added that their path to discovery begins with user generated questions. Users hear a song they like, then engage in discovery by opening Shazam to figure out who is responsible for the track. To help make a connection between personal discovery and more large scale music discovery the company recently added charts, which shows every user the songs most often being sought on the Shazam platform.

Other panelists had variations on the comments above, but almost everyone agreed the most difficult part of the curation and discovery process right now is how to expose people to talent they may enjoy without doing a hard sell. For Rdio, one of Spotify’s biggest competitors, the changes being made to better facilitate discovery began with the launch of their own radio tool. Users can choose the song or artist they like, turn on radio, and the service will attempt to serve users with artists and songs they believe to be similar to the user’s initial choice. Who makes this cut is based on cumulative data from all users, which is fed through an algorithm to find what artists/songs are most often played together.

When asked how they plan to take this idea and develop it further, Rdio mentioned personalized radio stations for users that take into consideration everything they listen to, as well as how often each song/artist/genre is enjoyed. Other panelists agreed that this idea was the way of the future, though each has their own take on how it should work. Again, everything comes back to data, and it seems that will be a constant theme throughout SXSW this week.

If we accept that data is the key to curation and digital discovery, which the panel in this session did, then we next need to discuss what parameters need to be placed on the data being used. People who use applications like Shazam or Rdio have possibly compiled years worth of data about their music interest, so how far back should these companies dig through that data when trying to determine new talent to show that user? No one seems to have an answer quite yet, but almost everyone agrees there needs to be some kind of cut off point. People’s tastes change over time, so it doesn’t make sense to use the entirety of your time with a service to generate new recommendations.

8Tracks founder David Porter was quick to reply to this conversation by adding that having too little data about a user is just as problematic as too much. He used Twitter’s ‘People You May Know’ service as an example, citing how the company did a poor job of recommending people you may actually know early on, but over time they refined their tools through the use of more and more data.

At this point the panel was asked whether or not users would feel comfortable with constant data mining being made in the name of content curation and future music discovery. The panelists were quick to comment that the answer will always be dependent on the way the discovery tools are presented to users. General recommendations like Prince or Madonna are only going to push people away, as most users will already know of these artists. The key is to find a way to show users lesser known artists who relate to the talent they already know without coming across and pushing a hard sell or otherwise being intrusive.

Building on this idea, Shazam commented that they have learned bad and/or poor recommendations tend to drive away users. If people get push notifications or emails that attempt to connect them with music they already are aware of they are far more likely to turn off notifications and unsubscribe from email chains than if no recommendations were serviced at all. Other panelists commented that they have seem similar trends with their various attempts to change or innovate discovery.

Before closing the panelists were asked to summarize their thoughts. There were some variations, as well as plenty of pitches for their various companies, but as a whole everyone seemed to agree that the future of music discovery and content curation is not about man versus machine, but rather man and machine finding a way to work together while leveraging the vast pools of data each business has collected. No one knows exactly what the next phase of discovery will be or what it will look like, but everyone is interested in seeing it brought to the public sooner than later. In order for these companies to thrive they need users who are constantly consuming content, and the only way to guarantee that happens is by consistently providing them with good recommendations, or at least giving them the tools to find artists they may enjoy. Once someone cracks that code, everything about content curation will change.

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