I’ve said it before and I’ll say it again, video is the future of communication. This is not an easy thing for me to admit, but from everything I’ve seen in 2016 it appears to be an undeniable truth. In a time where fake news is causing a kind of global disruption we have never really witnessed before, video driven content can be a powerful tool for shaping the dialogue around pretty much anything.
There will always be a need for the written word, so please do not consider this post as a reason to slack off or stop writing every day. You need to write, but you also need to recognize the fact that people are consuming more information than ever these days through many more channels than ever before. A good amount of people still read the news, but many also listen to news related podcasts and watch lengthy video editorials about hot topics. Some learn everything they carry with them each day through video segments shared over Facebook. You can believe that is a good thing or not, but that doesn’t change the fact its true, and if you want to continue growing your audience in the new year you’re going to need to focus more on video. Here’s why:
Video helps people know, like, and trust you.
One of the coolest things about the internet has always been the fact it enables everyone to have a voice and share their opinion. As social media has taken off and further empowered this idea the ability for any one writer or thinker to stand out has become incredibly difficult. Discerning one writer’s work from another when most are communicating in 140 characters or less can be hard on consumers, but there is no denying who you are when you put yourself on video for the world to see. By presenting your thoughts and opinions through video you are able to establish a connection with your audience that the written world simply cannot duplicate. People will feel like they know you even they you have never met, and if you choose to broadcast live you can interact with your audience in real time (something, again, that written word cannot offer).
Videos can humanize you in a way the written word cannot
There is no escaping troll culture. No matter where you go or what you write there will inevitably some – likely anonymous – commenter who tells you that you are somehow a lesser than them and the rest of the human race. It happens to everyone everywhere online and making video content will not change that, but it can lead to a more immediate connection between you and your audience. People seeking out information online regarding the things they love are looking to hear that information from people who share their passion, and our brains are wired in such a way that we make that judgment far faster visually than we do through text. You can give the appearance of looking smart and informed far easier than you can make people believe you know what you’re talking about through text. Again, this is both a good and bad thing, but it’s a truth nonetheless. By putting yourself front and center you are inviting the audience to experience life with you, as well as through you, and if they enjoy that journey they will stick around, binging your updates as if they were the latest Netflix original series.
People are consuming more and more content on the go, and most of what they consume is video.
The Ericsson Mobility Report highlights how 50 percent of mobile data traffic currently comes from video, and in 2016 that number is expected to rise to 52%. Reuters predicts video will grow 14 times within five years and account for 70 percent of mobile network traffic. You can debate whether or not written word provides more depth and detail, but there is no denying what these numbers tell us about how consuming behavior is changing in the digital age. People want video, and there are no signs of that trend changing in the coming years.
If you don’t embrace video you will get left behind. It’s that simple.
Hello again, everyone. For the latest Blogger Spotlight we’ve decided to turn our focus from the world of writing to the world video. There are many great video teams creating content, and starting today we are going to do a better job of highlighting their efforts.
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 on Twitter and Facebook.
We spend a lot of time focusing our efforts on highlighting the best writers the world of music journalism has to offer, but we would be outdated dinosaurs if we did not acknowledge the fact there are some incredibly skilled media people who are also making their mark in the industry today. One such team of individuals, Real Feels TV, hails from Michigan. Today, in text form, we share their incredible story.
Thought I too call the mitten state home, my knowledge of the Real Feels team prior to setting up this feature was based largely on their work and the correspondence I read in promotion emails. Their talent was never in question, but to be honest I was a little worried I didn’t understand their multimedia efforts well enough to craft an interesting feature. I soon realized that the fact I didn’t fully understand what they did was the perfect reason to feature them, as they as managing to separate themselves from a very flooded marketplace, and they are doing it with content of the highest quality. I sent a few tweets, then an email, and just last week were finally able to connect. What follows are highlights from that conversation:
H: Hey there, thanks for joining us. Before we dive in, please take a moment and introduce yourself to our readers. Most only know your site, so why not let them know who you are:
RF: Hey, Haulix! My name is Jesse Speelman. I run Real Feels with my friend Todd. I’m 23 and live in Detroit. We’re a music outlet dedicated to sharing great music, whether it be local or national acts. We film live performances and interviews, write articles and album reviews, photograph concerts, and more.
H: It’s great to have you with us, Jesse. I know we have been hoping to make this happen for a bit, but the holidays derailed our initial plans. How has the holiday season treated you?
RF: The holiday season has been great. We’ve had a handful of filming projects and have a nice amount of work to edit and release, so we’ve kept ourselves busy.
H: Real Feels is based out of Michigan, or at least it seems that way based on the venues most frequently featured on your site. Are you a native resident?
RF: Our team right now lives in the Metro Detroit area, but we have done a little bit of work in other states as well. Venues like The Crofoot Ballroom in Pontiac have been so helpful in giving us a place to film. We don’t want Real Feels to be just a Michigan thing. We’d love to have some people across the country in the future.
H: I’m from Michigan as well, but now live in Boston. I do miss the mitten state. Have you given any thought to one day leaving the area, or do you think you’ll call the great lakes state your home for life?
RF: I’m personally running a wedding photography business here and don’t have any plans to leave. Detroit has a fantastic music scene, amazing history, delicious food, and just something special about it. The weather can be rough, and the roads are atrocious, but I think the positives outweigh the negatives.
H: Before we get to the site, I’d like to know a bit about your history with music. Can you pinpoint a time in your life when you realized your interest in the arts was a bit more, shall we say, passionate than others?
RF: I think I just realized it recently. So many albums in the past few years have affected me in a way I’ve never felt before. I’ve been surrounded by amazing music since the time I was born, and until now I’ve taken it for granted.
I can’t help but show my friends and family the music that has done so much for me. I’m that kid that steals your AUX cord and turns your volume up.
H: What was your first concert?
RF: Music has been as important to my parents as it is for me, and I’m very thankful for that. The first concert experience I can recall is seeing Pat Benetar. I was young, so unfortunately there is no story to go along with that.
H: I typically do a lot of research for these interviews, but finding information on you has admittedly been a bit difficult up to this point. Have you sought out any formal education beyond high school? If so, what did you study and where did you study at?
RF: I took a semester at a community college, and realized early that it wasn’t for me. I learned photography and video from just doing it. If you come up against any problems, search YouTube or Flickr forums. Someone is bound to have had the same problem. Show your friends and family. Ask them to critique your work. Make yourself better.
H: You are stilling making your name known in the music business, but based on what you have seen and accomplished do you feel pursuing a college degree is or even useful in the hunt for permanent work in the music business?
RF: That all depends on what field you’re interested in. It might be beneficial if you’re working for a label or doing PR or something like that, but as a photographer / videographer, I think it’s more detrimental than helpful.
The only way you’re going to learn to take pictures is to take them. You can read every book there is, take every class, get every degree, but if you haven’t put in the 10,000 hours with your camera, you’re still going to suck. Save yourself years of paying off student loans, buy a camera, and just start shooting.
H: Okay, let’s get to the site. When did Real Feels launch, and what initially inspired you to step out on your own?
RF: We started up Real Feels at the end of 2013. I had done work for a few local outlets in the past that were starting to fizzle, and I wanted to dive in a little deeper.
H: The name ‘Real Feels’ is one that rolls off the tongue rather easily, but the meaning behind the name has remained a mystery. Can you please share with us the origin story of the name ‘Real Feels’?
RF: We consciously chose a name that was easy and fun to say, but we wanted it to mean something too. We’re chasing music that makes you feel something real. Whether that’s happy, sad, silly, serious: it doesn’t matter. We just want to feel something.
H: I should say that the proper name is ‘Real Feels TV.’ Do you get upset when people shorten it?
RF: The proper name is Real Feels. We’ve just been releasing our video work under the name Real Feels TV. We’re working on getting ahold of the Twitter handle, etc..
H: How would you define the content found on your site to someone who has never visited your URL in the past? What sets your efforts apart from other sites in the alternative music realm?
RF: The first thing that sets Real Feels apart from other music outlets is we’re working with bands that we really believe in. If a band has a lot of buzz and isn’t good, we don’t have any interest in working with them. If a band is fantastic, but somehow hasn’t caught a break, you better believe we ARE going to work with them.
Secondly, in our interviews we’re asking bands the questions that no one else asks. We’re tired of hearing questions like “What is your craziest tour story?”. YouTube has created this world where every 16 year old girl with a camera thinks she should interview a band, and for some reasons publicists APPROVE THEM. We’re asking questions that make the artists think, and that give you an idea of what they are like.
Real Feels is a passion project. We’re not trying to get rich from this. Every cent we’ve earned in the past year has been reinvested directly into what we’re doing. We want to grow and become a bigger platform for people to find great music.
H: Video is obviously a big part of the Real Feels TV, and I’m curious what initially attracted you to that area of media creation. Have you always had a strong interest in video?
RF: I began in music photography when I was 12 (more than 10 years ago now), and just recently started getting serious about video. The two seem to go hand-in-hand, but in reality each is its own entirely different world. Audio is its own third world, but I leave that up to our sound guy Jan Calo.
H: What was the first video you shot for your site, and how did you go about setting up the shoot?
RF: The first video we did for Real Feels was with my close friend Joshua Waldorf. Josh used to play guitar and sing in the band Strange Vacation (previously The Boys Of Summer). After leaving the band, he continued to write music but kept it to himself. When he played some of his songs for me, I was blown away and knew I that people had to hear it.
H: Do you have a video segment you’re most proud of? I’ve personally watched your acoustic session with Emarosa roughly two dozen times since its initial release. In fact, I’ll probably include it with this post.
RF: Circa Survive has been very important to me through my youth, so having such an intimate conversation with Anthony Green meant a lot to me. We had a lot of time to prepare the set, and we managed to stretch the 10 minutes we were given with him to 20. It helps to care about the music you’re covering, because you know which questions to ask. Anthony was very candid and honest in the interview, and it was a pleasure to talk with him.
H: You have featured a number of smaller bands on your site, as well as plenty of headliners. Do you plan to continue trying to maintain this balance, or do you have your sites set on working with bigger and bigger talent as time goes on?
RF: I think we’ll try and keep the balance. I love being able to pick the brains of artists that have already made a name for themselves, but there is just SO MUCH incredible local music that people need to hear.
H: At the end of the day, what are the main goals of Real Feels?
RF: Our goal is simply to share the music that we love. We want to keep improving the content and growing our viewership.
H: You mentioned this on Twitter not long ago, but aren’t you currently working on a new website?
RF: Yep, we’re currently in process of developing our first custom website. The site is launching at the beginning of March, and along with it will come some more content, merchandise, and announcements.
H: You’ve been on Tumblr up to this point. Will you still be using that platform as the backbone to your site, or are you launching a standalone effort?
RF: We’ll continue to use Tumblr but the custom website will take over as HQ for us. We wanted something that sets us apart and gives viewers a place to find out exactly what Real Feels is about, and Cemah Creativeis doing a beautiful job designing that for us.
H: What are the biggest lessons you have learned running your site over the last year? We’d love to have some fresh advice/perspective to share with our readers?
RF: If you want something, make it happen. This year I toured with one of my favorite bands (Conditions), interviewed another one of my favorites (Circa Survive), and photographed another (The 1975). The industry is smaller than it looks, and you can work with the bands that you love.
H Where do you hope the site is at this point in 2015? Go on, dream a little:
RF: We have big plans for the year. Like we talked about, the website is launching in March. I don’t want to give too much away, but we’re in the planning stages for a full-length documentary film. The third FeelDay is planned, and we’ve assembled some of Michigan’s best musicians to perform for us at The Warehouse in Marine City. We want to continue growing our team and working with as many new, great artists as we can.
H: What are the biggest obstacles standing between you and these goals?
RF: Absolutely nothing. We’re so fortunate for the opportunities we have, and plan to make the best out of them.
H: I thank you for taking so much time to speak with us and share your view of the industry. Before I let you go, are there any closing thoughts/comments you would like to share with our readers?
RF: If you’re in a band that is interested in working with us, e-mail us!If you’re interested in writing, photographing, videographing, designing, or just spreading the word with us, e-mail us!
Hello, everyone. Welcome to the second Blogger Spotlight of the week. We have been inundated in recent weeks with requests to feature the person at the center of today’s post, and we could not be more excited to finally share their interview with all of you. If you know of a writer or blogger who would be a good fit for this column, let us know! Email james@haulix.com and share your idea.
Anthony Fantano may not have started writing about music with the intentions of building a career for himself, but that is exactly what has transpired in the seven years since The Needle Drop debuted online. Through reviews and engaging editorials, Anthony built a rabid following of fans, and in 2009 took things to a whole new level when he launched the site’s official YouTube channel. He’s one of the few self-made independent bloggers to be featured in this series who are fortunate enough to write about music full-time through their own publication, and in the interview below he offers some insight as to how it all came together.
The music business needs more people like Anthony Fantano. He’s a driven, forward-thinking individual that understands the evolving relationships we have with technology and art. It’s nothing short of an honor to feature him in this series, and we want to encourage everyone interested in learning more about his work to follow The Needle Drop on Twitter. Additional questions and comments can be left at the end of this post.
H: Hey there, how are things? Before we dive in, please tell everyone your full name, job title, and the name of your site:
A: Anthony Fantano, uh, editor-in-chief, I suppose, and The Needle Drop.
H: Thank you again for participating in this series, Anthony. It’s a pleasure to have you with us. When you reflect on the key moments and experiences in life that lead you toward the career in music b/vlogging that you now have, what memories come to mind?
A: Getting a boombox as a kid, getting into punk music in high school, taking bass lessons, running a college radio station, and interning at an NPR affiliate out of Hartford. I think all of those moments played pretty pivotal roles.
H: Was music always a major influence on your life?
A: Maybe not when I was in the single digits, but its influence on every facet of my life seems to increase every year.
H: Who was the first band you remember obsessing over, and how did you originally discover them?
A: Rage Against The Machine, probably. I heard ‘em over the radio when I was a kid. I was a huge “Weird Al” fanatic, too.
H: As far as writing is concerned, when did you initially take an interest in the world of music criticism?
A: Just as I decided to take The Needle Drop onto YouTube, really. Up until then, the blog and podcast I ran were mostly curated to feature artists I thought were great, not my opinions.
H: Do you remember the first review or feature you created?
A: I remember writing a really positive review for Wolves In the Throne Room’s Two Hunters back in ’07. Even earlier than that, I would occasionally write things about artists that I liked on this personal LiveJournal account I had. I liked having a place to share music I liked with the people I considered to be my friends. However, I wouldn’t really call any of what I was doing “critical” since I would only post positive things I knew I enjoyed going into the process of writing.
H: Let’s turn our focus now to the site that first brought you on our radar: The Needle Drop. What can you tell us about the site’s origin?
A: It started as a Blogspot blog in ’07, and has undergone numerous redesigns since. I’m actually looking into another one soon. It’s just kind of the hub for all of my reviews, and new tracks that are grabbing my attention.
H: When you initially launched The Needle Drop, what goals did you have set for yourself? How would you say those goals have changed or otherwise been refined over the last 7 years?
A: I basically wanted TND to become my career, and sort of grow into one of the top music sites out there. While the first of those two things has happened, I still think I have work to do on the 2nd. Even if that manages to happen, I’m still gonna feel like there’s more to do. It’s hard for me to feel like I’m DONE doing something.
H: For those who have never stumbled across your corner of the web before reading this article, how would you summarize the type of content found on The Needle Drop?
A: Album reviews performed via video, and posts dealing in recently released songs and music videos.
H: The about section of your website notes that you are an NPR-affiliated publication. How did that relationship develop?
A: It started when my internship began in ’07. While I don’t work over there in a paid capacity now, the relationship is still good. TND’s just been demanding more attention the more it grows.
H: You launched a YouTube channel under the name ‘The Needle Drop.’ What inspired you to take your efforts to the world of video?
A: It actually started in ’09, but the reason I started it is I thought my efforts in blogging and podcasting weren’t going anywhere. I needed a way to differentiate myself from other music writers out there. It was an awkward transition at first, but I’m here now.
H: Your following on YouTube has swelled to thousands in a relative short amount of time. To what do you contribute your quick success? Do you have any tips for those considering the world of video journalism/criticism?
A: It’s always been a slow, upward hike, in my opinion. There was never a moment where TND just “exploded,” and I like it that way. Nobody’s gonna get famous overnight for a music review, and I understand that, but it doesn’t get me down cuz I’m more of a long-term thinker anyway. As far as advice: Find your voice, style, preferred mode of communication. Then do what you do, and hope it resonates with a crowd.
H: I’ve noticed there is some advertising on your site. Are you able to operate The Needle Drop full time? Do you have plans to monetize further in the future?
A: Yes, but I make my living off of YouTube mostly. Website advertising is only a bit of what I generally make, and I’m always open to new monetization options as long as it doesn’t ruin the functionality, credibility of the reviews.
H: We should mention that there are more contributors to The Needle Drop than just yourself. How large is your team right now?
A: It’s just me, a few voluntary website contributors, and a good buddy who edits for me for several hours on weekends. Pretty tight crew of 3-4 people most of the time
H: Are you currently looking to add to your editorial team? If so, how should people interested in writing for The Needle Drop go about sending you an application?
A: Not at the moment. You can always reach us at our contact page on theneedledrop.com, tho.
H: You have helped a number of up and coming artists from a variety of genres gain exposure to new listeners. Where do you turn when hoping to discover new music?
A: A number of blogs I list on my site, but my viewers recommend me stuff all the time that’s very worthwhile. Plus, I’ve made a number of friends who are fellow bloggers as well, and they’re always happy to share what they’re listening to.
H: What advice would you offer artist trying to make it today?
A: If you’re trying to make being a musician your career, then you have to think of yourself as an entertainer, a communicator. Think of who your audience is, and what you think they need to hear. What do you want to tell them, what do you want to make them feel. What are the best sounds, rhythms, melodies, lyrics, and recording techniques to make this happen?
When you’ve got your answers to these questions, make songs. Keep making songs. Release them, share them, spread ’em.
H: When it comes to receiving music for review/feature consideration, which distribution platforms do you prefer and why?
A: I prefer digital platforms these days. While physical is always nice, I’ve always got so many promos to sift through. Giving me a place online where I can hear the records I need to hear without creating a huge pile of clutter is important.
H: If you could change one thing about the music industry, what would it be?
A: I wish records still made a substantial amount of money, and that more of it was going into the artist’s pocket.
H: I think that covers everything. Before I let you go, do you have any final thoughts or observations you would like to share with our readers?
A: Eat your fruits and veggies, exercise, get a good night’s sleep, compliment someone who deserves it.
Hello and welcome to the latest Haulix spotlight feature. Our PR series is taking the week off due to the incredibly lengthy process of interview transcription, so instead we’re bringing you the story of a blogger who saw an opening in the digital journalism world and made it his own. If you or someone you know would would be a good fit for a future edition of our spotlight series, please do not hesitate to email james@haulix.com and share your story.
When I was younger I spent a lot of time thinking about what life on the road was like for my favorite artists. In my mind the lifestyle of a musician was something akin to the best moments of Almost Famous and This Is Spinal Tap rolled into one, but as I grew older I learned that is rarely the case. The vast majority of artists working today spend a lot of their time in vans, or some variation thereof, and until a few years ago life inside those mobile homes was the stuff of internet legend. Then one day a young man by the name of Joshua Weidling realized that he could expose the behind-the-scenes life of bands large and small to others through multimedia blogging, and not long after Digital Tour Bus was born.
Fast forward to 2013, and the same young man who had a vision in 2009 now stands at the forefront of digital journalism as one of the top video bloggers in the alternative music scene. Even better, however, is how far the site as a whole has come in that time. From relatively simple beginnings, Digital Tour Bus has blossomed into a one-stop shop for all things related to music, and they show no signs of slowing their growth anytime soon.
My first encounter with Digital Tour Bus came in 2010 when I was thinking of using a similar idea for a new feature on the site I was writing for at the time. A friend in publicity mentioned the existence of DTB to me and I remember thinking that I could have kicked myself for not coming up with their concept myself. I logged onto the site a few hours later and quickly fell in love with everything Josh and his team were doing. Three years later, I still stop by DTB regularly, and I believe you will too soon after reading this feature.
If you would like to learn more about Joshua and his ongoing efforts in music, be sure to bookmark Digital Tour Bus. Additional questions and comments can be left at the end of this post.
H: For those unaware, please state your name, the site you work for, and your role at said site:
JW: My name is Joshua Weidling and I’m the owner/founder of Digital Tour Bus, www.digitaltourbus.com.
H: To what or whom do you attribute your interest in music?
JW: Believe it or not, I wasn’t really a “fan” of music when I was younger. It wasn’t until I was in high school that I really got into music. I attribute my interest to one of my good friends, Jon Lewchenko (current drummer of Chicago-based, Mighty Fox). He joined a band and asked me if I could promote one of their upcoming local shows. I really enjoyed being involved in the local music scene and decided to dive in.
H: Do you remember the first album you purchased with your own money? Do you still own it?
JW: I believe the first album I purchased was “Stop” from the Plain White T’s and I still own it today. The T’s have always been my favorite band and still hold a special place in my heart.
H: Interviews play a big role in what you do. What first sparked your interest in journalism?
JW: My interest in journalism sparked during my senior year of high school when I started working for a local music magazine called, Crescendo Magazine. When I first started, it was just to help out with Marketing and Advertising, but after a few months, I started to come up with many of the spread ideas for the physical issues. I also wrote at least one article in each issue, although my writing was far from stellar, at the time.
H: You were involved in booking and promotions before writing. Are you still active in that area of the industry?
JW: Booking and promotions is where I got my start in music. It was something that I really enjoyed doing and not to give myself too much credit, but I was pretty good at it. At this point, I’m not directly involved in this part of the industry, but due to my knowledge of the touring industry, I have a few promoter friends who consult with me when they are looking to bid on a tour package.
H: So let’s talk about the origin of your site. Did you write online before stepping out on your own?
JW: I did write a little bit online before starting Digital Tour Bus. I wrote for both, Crescendo Magazine’s website and another site called, For The Sound. Neither of these sites are still active, to my knowledge.
H: What was the inspiration for Digital Tour Bus?
JW: I’ve always felt the need to push the envelope and do something that is unique and different. Digital Tour Bus has served as my outlet for creativity for almost 5 years. When I came up with the idea behind the site, my goal was to give fans access to a part of a band’s life that was, at the time, mostly private.
H: Most sites we ask how their name came to be, but yours is fairly straightforward. That said, it is unquestionably unique. Who was the first band to let you film their ride? How did it come together?
JW: The first band to let me film their ride was the Equal Vision band, Damiera. They were playing a show I put together at a venue in my hometown. That video is and will remain, unreleased. I can admit, when I started doing Digital Tour Bus, I had no film experience and had no clue what I’m doing. I bought my camera, which I still use today, when I decided to develop the idea in January of 2009. That being said, the video I shot with Damiera didn’t fit the standards I set for myself shortly after my first couple of video shoots.
H: What was the original goal of Digital Tour Bus? Has that changed over time?
JW: The original goal was simple, take fans inside the touring vehicles of their favorite bands and artists. Although that is still part of our goal and lives strong in our “Bus Invaders” video series, our overall goal has become much more broad. Today our goal and tagline is “Bringing You On Tour” and essentially what that means is, we want to give our visitors features and news that will both entertain and educate our audience about touring music.
H: How many contributors do you have at DTB? What do you look for in new writing talent?
JW: Between all of DTB’s video editors and concert reviewers, there is a rotating cast of between 10-15 people working on stuff for the site at all times. At the moment, I’m the only person who posts content to Digital Tour Bus’ website, YouTube channel and our other social accounts. The public imagine of Digital Tour Bus is very important to me, but I’ve recently started letting go of some of my personal tasks due to the site expanding past what I can handle on my own.
H: Episode 500 of your ‘Bus Invaders’ series is fast-approaching. Do you have anything special planned for the occasion?
JW: I wish I could say yes and reveal some elaborate video or event that I’m working on, but to be honest, episode 500 is just going to be a regular release in the series. As of right now, episode numbers are just a way for me to tell viewers how many videos of each series exist and I’m more focused on developing some new video series that I’m working on, as well as schedule video shoots with some unexpected touring acts.
H: I noticed a few ads on the site. How much effort have you put into monetizing the site thus far, and do you plan to expand those efforts moving forward?
JW: We currently use Google’s Adsense to monetize the site, but we’re currently working on a few new revenue streams that will take some of the weight off of this source of revenue. I can’t go into detail about all of our future monetization plans, but I can say that we have a definite plan to launch a merchandise store very soon.
H: What are your thoughts on ‘pay walls’ and/or premium content offerings?
JW: Honestly, I’m not a fan of pay walls, especially for sites, like mine, that are in growth mode. It would be dumb for me to limit access to our most popular series, Bus Invaders, since I believe most of the potential reach for the series hasn’t been tapped yet. For larger sites, I believe pay walls can work, but have to be dealt with very carefully. With the internet being and ever growing and changing platform, restricting access can drive visitors into the open arms of your non-pay wall competitors. On the other hand, I am in favor of offering content on a “pay-what-you-want” basis. Although most people will choose to pay nothing, there are many people who are willing to pay for content that is available for free, just to support the creators. Services like Flattr is a good example of this mentality.
H: You’ve featured a number of young artists on your site. Where do you turn when seeking new music?
JW: I’m a big fan of Spotify, for streaming full albums, and YouTube, for checking out singles and music videos.
H: What are some of the biggest mistakes you see young artists make when attempting to promote themselves online?
JW: Easily, the biggest mistake that I see young artists, as well as established artists, making, almost across the board, is thinking they’re too good to talk to interact with their fans. Creating a conversation is so important when trying to establish a fan base and so many fans simply think that having good music is enough. Good music was enough before the internet, but those days are long gone. Also, a big mistake is artists caring too much about the numbers. Having 20,000 likes on Facebook means absolutely nothing if those people aren’t willing to come out to a show or buy your album. I currently manage a band named, Jocelyn, out of Iowa City, IA and although they only have 8,625 likes on Facebook, they recently managed to raise of $20,000 on Kickstarter from over 600 backers. Also, they just finished up their first tour and they drew more people per night then bands that have 50,000+ likes on Facebook and a record label backing them. If artists want to make it in the modern music industry, they better start interacting with your fans and stop treating them as just a number.
H: When it comes to receiving music for feature consideration, which services do you prefer and why?
JW: Like I said previously, I like checking out music on Spotify and YouTube, when available, but if it’s pre-release of an album, services like Haulix are great. I’m not saying this just because this is an interview on Haulix, but because it is probably the most widely used service by independent publicists, at this point. All of the major labels have their own platforms and I personally think they are a big hassle. If possible, I’d like to get all music to be sent to me the same way. Personally, I prefer to streaming music when I can. I avoid downloading albums like the plague. There’s only so much space on my computer and external hard drives.
H: What is the hardest part of this ‘job’ you’ve made for yourself?
JW: My overall goal is to release content consistently, but this is also the hardest part of what I do. This is, in part, due to there being so much flexibility in my schedule. I’ve learned that the more organization that I can add to my daily life, the easier staying consistent becomes. Being complacent is the mortal enemy of a person who owns their own business, so I always try to stay positive and reach for the stars to keep myself focused.
H: How do you feel about music piracy? Can it be prevented?
JW: I’m completely over music piracy and everyone’s focus on it. The big dogs in the music industry, are still, so focus on the unattainable task of eliminating it that they’ve destroyed many of their opportunities for new revenue streams. Any labels who aren’t using streaming services, like Spotify, are not only missing out on a new and growing revenue stream, but on huge promotional opportunities as well. If labels aren’t willing to make their releases available on the platform of the listener’s choice, that is when people resort to illegal methods of maintaining music. Also, sometimes it is easier to obtain a music legally then it is to purchase it. For instance, when albums are released on separate dates in different parts of the world, people become impatient and find a way to get the album on its first release date.
H: If you could change one thing about the music industry, what would it be?
JW: If I could change one thing, it would be the industry’s constant resistance to change and innovation. Technology is a beautiful thing, but not when you work in an industry that has refused to embrace it to the point that it’s too late.
H: What is your ultimate career goal?
JW: My ultimate goal is to be able to make a comfortable living doing what I love. At this point in my life, doing Digital Tour Bus fulfills my creative goals, but you can never predict what the future holds. If you would have told my younger self that, at age 23, I’d being doing what I do, I would have laughed. The American Dream is alive and it lives in the people who you feature in this interview series.
H: Before we let you go, can you tell us a bit about what you have planned in the months ahead?
JW: In the coming months, be prepared for a lot more videos for both our current series, Bus Invaders, Tour Tips (Top 5) and Crazy Tour Stories, and new series that I’m currently developing. Also, look out for new additions and changes to Digital Tour Bus’ website, as well as a merchandise store.
