The ‘New Normal’ is here to stay, so we’re giving you five creative ways to bring back touring as soon as humanly possible.
The spread of COVID-19 has changed the music business in ways we never imagined. Fans and artists alike want things to go back to the way they were before March 2020, but that is a fantasy. The past is dead, and no amount of begging or wishful thinking will resurrect it.
We live in a new reality where the old way of doing things no longer works. We can either complain or adapt, and we at Music Biz believe change is always a positive. Discovering new ways to do things challenges us to be more creative, more inclusive, and more understanding. All of that is something we as a species could use more of right now.
The biggest obstacle the music business faces right now is touring. The vast majority of artists make the bulk of their living by being on the road. There have been no tours for the last three months, and there is only a handful currently scheduled for the fall. Those that are daring to step out and perform again do so with the knowledge their dates may be canceled when the “second wave” of COVID-19 takes the US by storm this fall.
With all the questions and concerns surrounding touring, it’s easy to understand why so few feel comfortable announcing or discussing their plans at this time. Still, the conversations around live music are ongoing, and the fan demand for talent has rarely, if ever, been higher than it is right at this moment.
In this episode of Music Biz, host James Shotwell shares five ways touring can resume in the near future. No solution is perfect. At least one is inarguably terrible. But all these ideas need to be considered and at least attempted if we have any chance of discovering what works best for everyone.
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Touring is an increasingly important element to a successful music career, but getting on the road too early has inevitably lead many promising talents awry.
There are few things more exciting or fulfilling than being on tour. Not only are you afforded the opportunity to perform your music for people who want to hear it, but you can see the world as well. Being on the road allows musicians at every level to see how the rest of the human race lives, and through doing so, many find the inspiration to create their best work.
There is a catch, however, and it’s a big one. Artists who attempt to tour before they have the right elements of their career in place are destined for hardships and failure. You may be able to string together a tour, and you may be able to make a little money doing so, but unless you have plans in place you will, eventually, burn out before your dreams of success in the music business come to fruition. It has happened a million times already, and it will no doubt happen a million more in the future.
In this episode of Music Biz 101, host James Shotwell breaks down the five (5) things every artist and group needs to do before they consider getting on the road.
Memphis May Fire is evolving in a way that challenges longtime fans, and vocalist Matty Mullins is here to tell us all about it.
It seems like everyone in alternative music that rose to prominence around 2010 is trying hard to be someone other than the person they’ve been the last decade. From labels and publicists working behind the scenes to sign talent outside their comfort zone to established artists taking their sound in new directions, anyone who wants to continue working in music is scrambling to adapt to the changing nature of the industry.
Matty Mullins has seen and experienced a lot since entering the industry in 2007. The vocalist of Memphis May Fire, Mullins and his bandmates exploded onto the metalcore circuit with a series of strong early releases that quickly gained a devoted global following, which the band has since maintained through relentless touring and recording. Their most recent efforts find the group entering the world of active rock, and as Mullins will explain on our podcast, that decision comes with a lot of unexpected challenges.
On this episode of Inside Music, host James Shotwell calls Memphis May Fire frontman Matty Mullins for a conversation on growth in the entertainment business. Mullins and his band have been road warriors for over a decade now, and all the while they have carved a unique place for themselves in the world of music. The band’s latest release, Broken, finds the group entering the world of active rock with their hearts on their sleeve. It’s a move that did not come easily for the band, but as Mullins explains, it’s what they needed, and above all, it’s what they wanted.
Holograms of Roy Orbison and Buddy Holly are touring together this Fall. That’s right, holograms are now invading the competitive live music marketplace.
The music industry will always find new ways to make money. Anyone needing proof of this need only know that this Fall, for the first time ever, Buddy Holly and Roy Orbison will be touring together! The two deceased music icons have been resurrected through the power of holograms, and none of us are able to stop someone from trying to cash in on their image in the year 2019.
Today, March 26, news of the impending Buddy Holly and Roy Orbison tour made headlines worldwide. The Rock ‘N’ Roll Dream Tour, which will run through North American and Europe simultaneously (because the stars are not real), launches this Fall. It is the first-ever musical hologram tour, though it will feature a live band and backup vocalists.
Roy Orbison Jr. had this to say in a press statement about the connection between the two musicians:
My father’s music meant the world to not just us Orbison’s but to millions of fans worldwide. Being able to reopen his legendary songbook and again hear his voice bounce off great concert hall walls is both a transcendent and cathartic experience. Dad jammed with Buddy in Lubbock Texas and helped change music history by turning Buddy on to Norman Petty Studios; Buddy later returned the favor by recording two of Dad’s songs on his first Cricket’s album. How beyond cool and special that these two great friends, now get to tour the world together.
Buddy Holly’s widow Maria Elena said:
Buddy and Roy were Texans who shared a mutual respect and admiration for each other’s creative musical genius and brilliant songwriting abilities. I am proud to work with a company like BASE Hologram. Their long-time fans and a new generation of fans will now have the opportunity to see these great legends perform together in a unique setting, showcasing two of the finest, most influential, and beloved artists in music history.
Orbison’s hologram made its live debut last year on a tour, while Holly’s has been in the works for a while.
Threats of holograms going on tour have been circling the music business since a projection of Tupac made its ‘debut’ during Snoop Dogg’s set at Coachella 2012. It looked something like this:
Looks pretty good, right?
The response to the Rock ‘N’ Roll Dream tour could determine whether or not similar tours features other iconic musicians happen in the future. There have been mentions of ‘resurrecting’ everyone from Elvis to Prince, Aretha Franklin, James Brown, and even Michael Jackson (though Leaving Neverland may change the likelihood of that last one). Those names, as well as others, could easily sell tickets and generate additional revenue for the families or companies that own the artist’s music/likeness rights.
It’s not likely to be a concern anytime soon, but the rise of holograms could present new challenges to entertainers trying to make a living from live music. If holograms take off, there will be increased competition in the marketplace. Much like tribute acts, holograms offer consumers a chance to see big names for a fraction of the cost to see the actual performer.
On the other hand, the proliferation of holograms in the live music space could also create new jobs. All these performances will require musicians to fill out the sound, and one has to imagine there will be new careers for people able to run and troubleshoot the hologram technology.
Whatever the case, the future first imagined in science fiction works such as Blade Runner is finally here. We might not have flying cars, but we do have the chance to see legends long gone perform once more. Details on how you can see Buddy and Roy can be found on the tour’s official website.
Bad news to anyone living outside the United States who was hoping to tour here in the coming year(s): The price of admission just went up in a big way.
I kid, but in all seriousness there is some depressing news on the financial front for international artists. The U.S. Citizenship and Immigration Services (USCIS) recently announced a series of fee increases for immigration applications and petitions. One of those increases applies to petitions for nonimmigrant workers, otherwise known as a Form I-129, which are required for musicians, artists, actors, athletes, and others who travel to the United States to work. The new increases change the cost for one of these petitions from $325 USD per act to $460 USD per act, a 42% increase. Tour managers, roadies, sound guys, and anyone else traveling with their band will have their own forms and fees to pay as well.
The new policy goes into effect beginning December 23 of this year and as you can imagine a lot of people around the globe are not too happy about the change. Billboard actually spoke with with a representative from the Canadian Federation of Musicians by the name of Liana White, who said “A fee surge of this kind adds an additional and unacceptable financial burden on our members.”
As many of you no doubt know already, touring for a band on the rise is an expensive affair. Most live show to show, depending on merch sales and good turnouts in order to make it to the next town, let alone keep food in their stomachs. A price hike of any kind makes meeting those basic needs even more difficult than it already is, and it’s not hard to imagine the added costs being too much for certain artists to bare.
There does not seem to be any kind of appeal to these hikes taking place at this time, but that could change in the weeks ahead.
Touring has given me the strangest and most challenging experiences of my life (so far). From being flown down to LA for a weird, weird birthday party, to losing the only key to the van at the base of a mountain with no one around, I would never have had these experiences if it weren’t for the band.
It’s both a blessing and a curse that you’re forced share these experiences with bandmates. Sometimes, all you want is a little space. Sometimes, a little silence. Sadly, these things are in short supply when you’re on the road. On the other hand, sometimes you need someone to talk to about how weird everything is.
In our second year of being a touring band, we played 130+ shows and were on the road traveling for many more days. We’ve remained best friends and learned some valuable lessons about how to get along on the road.
People often ask if we ever get sick of each other. And honestly, we don’t. Here’s how:
1. Approach challenges with a sense of humor
Over the past few years, each of us has made some incredibly dumb mistakes. For example, as I mentioned above, I lost the only set of keys to the van while snowboarding on a mountain. Not only were we unable to go anywhere, but we couldn’t even get our gear in the van. Stuck at the base of a mountain with no one around. Not my best moment.
There are just too many of these situations to deal with when you’re in a band. If everyone got super stressed out and grumpy every time something ridiculous happened, we would be a very grumpy group of individuals. Thankfully, we all have a very healthy (sometimes too healthy) sense of humor. This has gotten us through countless stressful situations.
Sometimes, you just have to make a joke, find a hot tub, and let the situation work itself out.
2. Approach each other’s strengths and weaknesses with understanding
Everyone has a “thing.” That thing that’s super annoying. That they do all the time. I think mine is absentmindedness. I forget things… a lot. This is a weakness of mine, and something I’m working on. And while the other guys aren’t quite as bad, we’ve all forgotten things, big and small, at various points in our career.
No one gets upset or irritable when something is forgotten. It’s not productive, and it doesn’t help anyone. Instead, we figure it out. Together.
If you’re getting annoyed because a bandmate has done that “thing” again, remember that you also have a “thing.” Realize this, and try to approach the situation with a light, compassionate touch. The band’s relationship is far more important than the bass player’s smelly feet. (But seriously, dude, get some insoles or something.)
3. Sometimes, you don’t need to talk about stuff
There comes a point in our touring schedule (usually right about now, in fact) that we literally run out of things to talk about. We made a 16-hour trek to a festival in the Kootenays last weekend and barely talked the entire way.
It may sound strange, but if you’ve ever done a long tour, you’ll know what I’m talking about. Each band member has something they like to do in the van. I like to write these articles or drive. Dylan likes to play Grand Theft Auto (or similar) on his phone. Roman sleeps a lot (I’m jealous of this ability).
It can be nice to just leave each other alone and do those things. This generally keeps us all happy, and then when we don’t see each other for two or three days, we can talk for four hours straight!
4. Develop your own personal routines that give you space
Routines are important, and it’s hard to maintain even simple routines (e.g., brushing your teeth) while on tour. However, when I manage to get out and run every day or two, I am a much happier person. Similarly, a solo walk and phone call with the significant other, a morning bodyweight workout, a quiet work session, or whatever you prefer are super important for maintaining a healthy relationship.
Everyone needs to be alone sometimes. Respect that.
5. Brunch
I’m not talking “let’s go get mimosas and pay $25 for french toast” sorta brunch. I’m talking “let’s save money and eat breakfast and lunch at the same time” sorta brunch. But still. We find great satisfaction on eating a somewhat healthy breakfast/lunch, reflecting on last night’s gig, planning the day, and chatting.
We usually try to find the hippest (or cheapest) local breakfast spot with the best bottomless coffee. Then, we hit the road again.
6. Take the “highs” and hold on to them for dear life
Things are getting better now, but there were a lot more lows than highs when we were starting out. Now, our tours are a lot more fun.
However, we’re starting fresh in some brand new markets and experiencing some of those same lows, like poor attendance and terrible accommodations, all over again. The difference is, we know how to deal with that now.
Every musician knows that the good shows outweigh the bad ones. For us, that’s what keeps us touring. We love touring, and we love playing. We love when a gig goes “just so.” We also love seeing beautiful scenery, meeting beautiful people, and the wonderful hospitality of so many venues and fans.
Seriously, as weird and challenging as it can be, touring is the best job ever. A grateful attitude and an optimistic worldview will change the way you tour.
Do you have any tips for getting along on the road? I have another long drive coming up next week, so let me know in the comments if you have some advice!
Liam Duncan is a full-time musician from Winnipeg, Canada. He likes to record music with friends and tour with The Middle Coast.
The following post is the latest in our ongoing collaborative series with Sonicbids.
For brand-new bands, landing that first gig can sometimes be a catch-22 dilemma: Booking agents and talent buyers want acts that draw a crowd, but you’re still trying to establish yours. How can you begin to cultivate a local following if you can’t score a show?
Luckily, booking isn’t so cut-and-dried. Maybe you can’t convince a mid-size venue to take a chance on you, but there are other routes to building your fanbase for live shows. Here are five realistic options for working your way up to securing those bigger gigs.
1. Open for more established bands
Talk to local bands who are booking at the level you’re reaching for about opening slots. If they’re iffy about allowing you to join a bill, offer to perform a short set for free. Make the most of the opportunity by manning the merch table, where you can interact with interested attendees. Let them know how to find you on social media and to stay tuned for your next date.
Venues aren’t too keen on featuring fledgling bands on Fridays and Saturdays, which is fair, because even clubs that are true champions of their local music community are still businesses with plenty bills to pay. If you can’t get in on a weekend, try organizing a show on a slower night, and offer to perform for free. Get a few bands to join you, so there are more reason for folks to come check out the show, or try a weekly residency for a month or two to help generate a buzz.
3. Hop on an existing event
This is different than asking to open for a more established band. Why not offer to play a set at an upcoming pop-up market event? If your music is danceable, you should try the same with a reliably well-attended DJ night. Any event that doesn’t already feature live music could be an opportunity for your band to add that component – and earn yourself some new fans, too. Same with the previous two options, performing at no cost to the organizers is usually your best bet for convincing them to accept your proposal if you have no existing track record.
4. Organize a show at a nontraditional venue
If you can’t book at a club, turn another spot into a temporary music venue. Know someone who’s willing to host performances in their home? Can you convince the owner of a local business – a restaurant, a clothing store, whatever – that a one-off concert could be mutually beneficial? (It definitely could be!) A free event is ideal in these kinds of situations, but you can ask for donations to help raise funds for the bands and host.
5. Use your social media following as leverage
While venues and booking agents do want proven results in terms of show turnout, bands that haven’t performed much or at all can use their social media followings to demonstrate their expected pull. (Tips for growing your following can be found here.) If this method doesn’t help you land a Friday or Saturday night gig at the club you’ve got in mind, refer to the aforementioned four ideas for working your way up to that level.
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.
The following article was created with assistance from the fine men of Whosah. If you don’t know about this amazing group and the unforgettable music they create, follow this link and get familiar before you’re caught looking like a fool.
Let’s face it- everybody who has run sound or a musician has at least a small handful of shameful war stories about how the other side has totally blown it at a gig:
“The sound guy didn’t know what he was doing and the mix sounded terrible.”
“The frontman cupped his hands around the mic and kept pointing it into the monitor.”
etc. etc etc.
The reality is, the relationship between the venue or headliner’s audio crew and the bands involved is the most important relationship in putting on a great show. You need each other. It doesn’t matter how well prepared the band is to perform, if they aren’t working well with the sound crew, the vision of the performance won’t translate to the audience with nearly the impact it could if the sound person and stage techs are completely on board with that vision.
Always assume you’re talking to someone who’s smarter than you- who’s a person who might surprise you when you get to know them.
I’ve stage-handed for 17,000+ attendee festivals, been the A1 at convention centers, and designed and installed AV systems in small Universities- but when I walk into a venue with skinny jeans and drum set, nobody I talk to knows what my background is. Conversely, how can I walk into a venue and assume to know the background (or lack thereof) of the guy standing across from me who’s running sound or stage teching that night? There have been times when after the show, I find out the guy mixing used to work for Journey, Steely Dan, or Prince. The stagehand could have just come off a tour with All Time Low or Hey Violet and be working this show as a favor for a friend. You never know what someone’s contacts are, and you never know what their chops are like until you actually interact with them. In this case as in any, always assume the best in the people around you.
Be friendly and personable.
Now, I can tell by their demeanor that many of these guys have been treated like crap over the years, but if I avoid the pitfall of being the stereotypical arrogant, diva musician, I may be surprised at the wealth of resource in front of me. I might even make a friend. Memorize their first name and use it regularly when speaking with them. It doesn’t happen often, but sometimes that friend I make at the soundboard references me to a local band who just sold the place out last night or gives me the contact of a promoter who puts us on a sweet show next time we’re in town.
More than that, it’s just generally a sad and disappointing reality that many bands are disrespectful or dismissive of sound crew. I’ve met some of my closest friends through this industry- as a general trend sound guys are some of the most selfless, generous, and authentic dudes and ladies out there. If you lead with a friendly handshake and a smile, you might be surprised by the connection you inadvertently make.
Be accurate and specific in your rider.
You’ll make a bad impression early on if you don’t pass along your tech information or if you walk into the venue and the first thing you say is, “oh yea, that email was wrong. We actually also have….” Not only does this make the sound guy roll his eyes and probably not like you, but it will also take you twice as long to set up for your soundcheck and will have you playing catch up the rest of the night before doors. Not fun. Much better to plan ahead with specific information so that everyone’s on the same page. Make sure your technical rider is crisp, clear, as simple as possible, and up to date.
Leverage your gear so that processes are streamlined. The time it takes you to load onto stage and be ready for soundcheck should take no more than 5-8 minutes.
I’m a little bit of a fanatic on this. In order to avoid any need for a monitor guy and to significantly reduce stage volume, I built my band a custom in-ear-monitor rack controlled by everyone’s iPhones. This system contains 5 wireless in ear systems, a digital mixer, and a splitter for all the channels going to front of house for every show. Regardless of venue or stage size, this setup is pre-configured and tested fully at rehearsal. It has labels on everything, and has repeatable steps for assembly each time we set it up. Each person in the band has a rough aspect of this system he is primarily responsible for, but everyone is at least vaguely aware of how it all goes together so that during setup time we’re always ready to help each other out if one part needs more time than another.
Now, I recognize that not all bands are equipped financially or tech-minded to be able to have a system this robust, but the principles still apply to any band. Label all your equipment. Have general responsibilities on stage for who sets up what. Have labels (color coded if possible) for all your cables and other common equipment so you can quickly glance at a pile of gear and know which one is yours. Preset as much of each member’s equipment as possible off-stage before your allotted setup time, so that when it’s your turn, all you’ll need to do is lift your rig onstage in 1-2 trips and patch into the system.
There’s are several huge wins you’ll earn for your band if you take on this mentality. First, it’s never a bad thing to be thought of as “easy to work with”. For sidemen and sound dudes, this is the best way to earn a positive regional rep. Second, it makes you an easy book as support for a big show- if they know you aren’t a lot of work and you have a professional changeover time, you’re more likely to be asked back. Third, being a quick setup means you’ll have more time at the show to interact with your fans and meet new people, which is still the number 1 way bands build a following. The faster and simpler your setup is, the more time you’ll have for this critical face-to-face interaction.
Always be explicitly thankful and grateful.
Not only is this just a good rule of thumb for how to do life, but it is a simple, unassuming way you can breathe life into the day of the guy running sound. It’s one of the most thankless industries to work in, and one in which the people slave away on crazy hours for often very low pay. While these types of folks might typically come off as a little gruff and weathered, a simple, non threatening way to meaningfully “see” them is to just thank them explicitly and behaviorally throughout the gig. Truly, your fans experience of your show would not be even possible without them, and when human beings feel valued and appreciated, they always produce their best work.
A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2015. In this column we bring together every job opening we can find from the companies responsible for building the future of the business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.
Each week we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to james@haulix.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.
Job summary: We are looking for an outstanding Ad Sales Account Director to join our team in San Francisco.We’re looking for someone with a proven record of revenue generation and a deep interest and passion for online media and innovation. We want someone who loves our product and knows how to sell creative solutions for clients and partners. You should be confident without ever being arrogant and you work hard, but know how to have fun. Above all, your work will impact the way the world experiences music.
Job summary: The iHeartMedia Account Executive will identify and solicit new business; service and grow existing account. They are responsible for developing persuasive proposals in response to client needs and/or opportunities. They will guide their clients based on market, platform or station information. They are responsible for ensuring client satisfaction through cooperative communication. They will also negotiate rates consistent with iHeartMedia operating goals and budgets and ensure prompt payment. They will utilize all available iHeartMedia resources to create effective marketing campaigns. This is a commission based outside sales position.
Job summary: The Manager Special Events at the Chicago Theatre is responsible for booking Special Events at The Chicago Theatre; a role that involves both sales and management functions, as well as working with both existing and new clients. The role includes negotiating contracts and financial terms as well as oversight over all aspects of event implementation to ensure client satisfaction and retention. The Manager Special Events role requires a strong team orientation and focused interaction with various executives at The Chicago Theatre and here in the New York office in order to succeed. This role will also be on an on site presence during events and work with the Special Events team on marketing strategies.
Job summary: We are looking for a vibrant, creative, part-time Social Media Coordinator to join our team and help us grow. This person will help develop social content and strategies for all of our clients. The role requires the ability to manage multiple, concurrent projects and initiatives while maintaining a high level of energy and a positive attitude.The Social Media Coordinator will serve as a community manager for multiple brands, including monitoring all social properties, creating unique, engaging content and participating on social media on behalf of the brands.
Job summary: MTV seeks a full-time Communications Assistant to support the SVP and VP of Communications for MTV. The Communications Assistant will be responsible for maintaining schedules and phones, preparing travel arrangements, filing expense reports and additional administrative tasks in a fun, fast-paced office environment. The Communications Assistant will run the MTV Communications social media accounts including Twitter, Instagram, Facebook and manage the MTV Press website. The Communications Assistant will also assist in the development and implementation of communications campaigns for MTV’s original programming and work closely with the team to execute media outreach, internal communications, live events including the MTV Video Music Awards.
Job summary: Reverb.com is looking for a genuine music-gear obsessive to help moderate our rapidly expanding community of musicians. This role will involve supporting all users as they buy and sell on the site, arbitrating disputes between different users, and working to prevent fraudulent and suspicious activity. Other responsibilities will include curating listings and contributing to our marketing and social media content.
Job summary: In this role you’ll be tasked with developing cutting-edge multiplatform marketing campaigns, writing inspiring proposals and presenting concepts to potential clients to win business while working in a fun environment with a group of forward thinking individuals.
Job summary: The Branded Music Licensing Coordinator will mainly support the Branded Music Supervisor on all the day-today licensing needs of an international branded program.
Job summary: Provide administrative and marketing support for Vice President of Marketing. Responsible for developing comprehensive strategies for marketing our artists as well as coordinating all efforts (internally and with outside parties) on all projects.
Job summary: The ideal candidate should be self-motivated, quick-thinking and open to working in a fast-paced, team-oriented office environment where he/she is capable of performing administrative tasks. The individual should be adaptable, highly organized and detail oriented, and able to effectively multi-task. Strong knowledge of, or interest in learning about, music touring is a plus. Administrative duties include heavy phones, coordinating meetings and schedules, preparing expense reports, producing correspondence, issuing contracts, special projects and personal assistance as needed.
Job summary: The Programming Specialist, Digital Music will program owned and third-party playlists to get Red Bull Sound Select artists heard millions of times over, across leading and emerging music platforms. The Programming Specialist, Digital Music is responsible for choosing the best tracks and creating the best playlists for all of Red Bull Sound Select’s third party streaming partnerships, including: Soundcloud; Spotify; 8Tracks and more. He/She will have a through understanding of how and where consumers listen to digital music today. This person will ensure that the right Sound Select songs are delivered to the right consumers on the right platforms at the right time. Just like a DJ carefully curates his song catalog based on venue and audience, this role will expertly curate the Sound Select song catalog for each music platform to delight listeners every day. ch music platform to delight listeners every day.
Job summary: C+C is looking for a Production Designer with at least 3-5 years of experience, who is interested in joining a team of 40 or so communications experts and one piñata. Job responsibilities will include overseeing a print or web project from the initial phase of reviewing client requirements to the final stages of production and distribution. Also you’ll be expected to use expertise in design and computer applications to finalize designs and layouts as well as create holiday party invites and put together embarrassing photoshop mash-ups. Other technical duties may include scaling, cropping, retouching, repositioning and preflighting. But the main thing is that you like to have fun and like doing work that actually means something in the grander scheme of things. Oh yeah, you’ll also be responsible for archiving, updating graphic files, and on occasion, donuts.
Job summary: This position offers the opportunity to work with influential people in the EDM community via press, blogs, social media, newsletters and other cross promotional projects.In this position, you will work with a closely knit team of rave fashion enthusiasts who have a passion for festivals. You will be the trendsetter for rave fashion and have an opportunity to be a part of a passionate movement in youth culture.You will have the opportunity to be involved with our daily social networking strategy, sponsorship and influencer programs, event marketing, new product marketing, and much more.
Job summary: Direct the public relations, social media and other communications strategies for the National Association of Music Merchants (NAMM), NAMM trade shows, and the NAMM Foundation.
Job summary: Frontrunner Magazine, a quarterly online arts magazine founded in New York City in 2009, is seeking music writers to interview and review indie rock, folk, and electronic musicians for future editions. We are in search of self-starters with sharp ears for new sounds. Experience developing contacts with press agents, marketing agencies, music managers, and record publicity companies are a bonus.
Job summary: We are looking for a new Account Executive to come and join our LA based Ad Sales team. A background in mobile Ad Sales is a must, as is a knowledge of the entertainment landscape and a creative mind when it comes to how we might be working with the brands we aren’t already working with – or how we might support the ones we already work with differently.
Job summary: We’re looking for someone to spearhead our marketing strategy. That someone is philosophical about messaging and analytical about results. Cares deeply about music and the people who make it. Is passionate about technology, can keep up with the speed of innovation. Wants to be a part of something positive, and can infect others with their excitement about it.
Job summary: Seasoned professional with excellent relationships across artist managers, publicists, and record companies. Must have background in booking musical artists for performance and editorial video pieces. Should have a basic understanding of music publishing, music rights, video/editorial creative and production, and artist and management psychology. Position will either be located in our New York, NY offices or Atlanta, GA offices.
Job summary: Rooster Teeth is seeking a Marketing Coordinator who will be responsible for collaborating with internal constituencies to bring to completion marketing and promotional projects. This role will also identify, socialize, and steward to completion new marketing strategies and aspects of distribution and content creation programs to ensure industry competitiveness and growth. This role requires an understanding of the dynamics of television, film, and long and short-form content marketing, including media strategies, publicity strategies, advertising best practices, talent engagement, creative visuals copywriting, and more in order to achieve success across digital distribution platforms and a content development studio. Key goals will include coordinating and tracking all consumer promotions executed through content marketing in support of driving digital distribution acquisition and retention, as well as Studio content releases. The ideal candidate would have a passion for and knowledge of YouTube, digital entertainment, and the world of Internet influencers.
Job summary: This is a hands-on media relations staff position with the primary responsibility to raise awareness and tell the story of NPR – with a focus on NPR News, NPR Music, programming and journalists – through creative and comprehensive media outreach and effective placement in national and regional outlets. The successful candidate will handle a portfolio of NPR news programs, desks and beats, staying in constant cmmunication with these editorial units, editors, producers and journalists to effectively identify opportunities for publicity. S/he will create and execute effective strategies to publicize show and desk-generated reports, series, breaking news and investigations, and work to grow the external profile for related journalists, hosts editors and producers. S/he will work extensively throughout NPR, NPR member stations and the public broadcasting system to help generate awareness of NPR in national, regional and local media. The position reports to the Director, Media Relations.
Job summary: Provides support in the coordination and supervision of programs in the area to which the job is assigned. May supervise subordinate staff, student employees and/or volunteers.
Job summary: To provide artistic, musical and administrative leadership for the Dartmouth Symphony Orchestra. Recruits and trains performers. Plans and conducts rehearsals and performances. Responsible for associated administrative duties.
Job summary: The Grant Park Orchestral Association in Chicago, Illinois seeks a Marketing Manager at the Grant Park Music Festival (the Festival). This position will report to the Director of Marketing and Media Relations. The Marketing Manager works in collaboration with the Marketing and Patron Services team to assist in the planning and management of the Festival’s membership campaign. Strong candidates will demonstrate a passion for the arts and the mission of the Festival.
Job summary: The Manager, Ad Sales Marketing is a key member of Ad Sales Marketing team, supporting all aspects of the sales and marketing process. The Manager is responsible for the development and execution of select marketing proposals and programs. Additionally, the position is responsible for development of ad-based opportunities across programming and to identify key opportunities to the sales team. Other responsibilities include the writing and updating of all sales materials across all channels. This position handles on air executions as pertains to advertiser sponsored programs.
Job summary: With its broad roster of new stars and legendary artists, Warner Music Group is home to a collection of the best-known record labels in the music industry including Asylum, Atlantic, Cordless, East West, Elektra, Nonesuch, Reprise, Rhino, Roadrunner, Rykodisc, Sire, Warner Bros. and Word, as well as Warner/Chappell Music, one of the world’s leading music publishers, with a catalog of more than one million copyrights worldwide. The Marketing assistant will be responsible for developing comprehensive strategies for marketing our artists as well as coordinating all efforts (internally and with outside parties) on all projects.
Job summary: Seeking dynamic, self-motivated individual to help assist with our marketing and promotions for a group of live music / dance themed venues, festivals, and events. We need someone who is detail-oriented, focused, can work quickly and efficiently with distractions in an easy-going, fun workplace. This person should be passionate about new music and the Los Angeles/Southern California events scene. We are looking for someone who loves live music and will represent the company with pride and enthusiasm at our venues and other events around the city.
Job summary: The Classics Coordinator is responsible for the administrative work required to ensure the execution of all sales, marketing, publicity and distribution functions, as well as elements of the planning and implementation of marketing and advertising initiatives.
Job summary: This senior executive position with the Barbershop Harmony Society (BHS) in downtown Nashville, Tennessee, will oversee global and internal marketing initiatives, image development and partnerships for a vibrant, 78-year-old fraternal society of 22,000 organized and passionate singers in North America, who are part of 70,000 affiliated singers worldwide. This individual will lead the marketing efforts of a deeply-committed volunteer membership and an experienced marketing staff and executive team.
Hello, everyone. Thank you for taking a few minutes out of your day to spend on our blog. The post your about to read is part of our long-running artist advice series, and like many of the posts in this column the entry you’re about to enjoy was written by a band with experience in the topic at hand. This week’s guest authors are Fox & Cats, a promising young pop rock outfit from Texas with a new record titled ‘Ampersand’ due out next month. Click here to learn more about the band and their plans for the future.
When Nicole and I decided to play music together as Fox & Cats we actually intended to play as a four-piece. When we found it difficult to find reliable people to fill the extra spots we ultimately agreed to press on as a two-piece. This turned out to work really well for us for quite a while. We only had two minds collaborating on the project, which made it easy to set out clear ideas when it came to song writing. It also made it extremely easy for us to travel around. All of our equipment fit perfectly in the back of Nicole’s Toyota Tacoma, so we never had to worry about parking a trailer or taking multiple cars out to shows.
Being a two-piece also gave us a bit of an edge for our live shows. People seemed to be drawn to the fact that it was just the two of us up there making all that noise. It wasn’t until December of 2014 that we finally started playing with the idea of adding other musicians in to the mix again. Being a two-piece had its perks, but there’s just something so satisfying about a driving bass line to fuel a song. I also have this habit of hearing lead parts that should be filled by guitar and keys in my head when we write and play shows, which creates this hole that I feel compelled to fill. So, we had a show booked at Scout Bar in Clear Lake, Texas for The Texas Buzz award ceremony and we decided this show should be special since we were nominated for two categories and had been fortunate enough to be asked to play. For the first time in almost 4 years we performed as a four-piece and it was extremely satisfying to hear the parts I knew should be there but hadn’t been before.
Since then we’ve continued as a three-piece, keeping our friend Chris Dunaway on bass. We’ve already been working on new material and it’s very clear how much creative freedom having an additional member will allow us. After all, some of the best songs ever written are fueled by badass bass lines. Just imagine ‘Another One Bites The Dust’ by Queen without that sweet, sweet bass. Having an additional member on full time is also a huge help when it comes to touring and playing shows. Hauling around gear, dealing with merch and making long drives between cities can be quite a handful with just two people. It has definitely given us some perspective and allows us to truly appreciate having another set of hands.
The biggest challenge when adding additional members to a band is finding people who share the same musical vision and who also are able to fit in and get along well with the current members on a personal level. That’s the main reason it’s taken us as long as it has to add new members to the band. We truly got lucky with Chris and we hope to continue to grow and build our live sound as we move forward
