Thursday, April 19, 2018

You have to invest or take the slow road.

There is just two choices and none of them are easy. But I time from time bump into bands that can't see the logic in this, instead try to cut out shortcuts.

If you think you are good enough, or actually excellent enough to break it big so you start making money showcasing is the thing. Today there is guaranteed a showcase a week somewhere in the world. The good part to be on showcases is that they bring in people from the music industry and that playing on these festivals adds on your story, and as I written before the story is everything today, forget about numbers or cool gadgets, the story is number one. Also, you have a chance to meet new media

On the backside, the showcase never pays for you. Of course, that is the same in the whole business world. If you have a platform where someone can show off their product you don't pay for them to be there. Logically if you pay for bands then you are a festival and then you get the big names and small bands really never has a chance. Also here you are up against other really good new bands.

See the whole thing of it is an investment. Yes, you have to pay to get there and live there but it adds to your story and you can broaden your network.

If you want to take the slow road is that it won't cost that much. You start taking gigs in your home area. Then after 20 gigs, you take the cities next to that area and so on. The good side is that you build up a solid audience that sees you very often and might be superfans in the beginning. and the investment is low, just gas and you are in the same area all the time.

The backside, of course, this takes a long time to bring out the audience and it tends to be the same people. The risk is that your are nagging out the same places. Also is that you re not reaching any bigger stuff in your story.

Trying to do both is totally useless. That is where many think they can do it. If a smaller showcase festival they try to make them pay for the band or just ignore that festival. Instead, they try to get into the biggest festivals and pay heavily for that. Of course, you need the smaller ones to even make an impact on the big ones. Then they try to just take smaller gigs around that. This is never working and I see so many bands gets into that trap. Instead of just going and keep things rolling they put all on one gig on a big one.

In reality, they are on the myth that someone should just stumble in and see the band and start to invest in it. In the real world, they are checking the story and if the band is going somewhere they might invest in it. But the gap from where they start to invest today from twenty years ago is huge. Where bands broke before is today the threshold to start looking into an act.

So the big investment has to be done by the artist. And yes you can take the slow road but it can lead that you won't get forward fast enough to make it. The fast road and then you have to be really good and invest a lot of money and take every chance you get. But never try something in the middle that leads to nowhere.






Wednesday, April 18, 2018

The PR is ignored and that is the elephant in the room.

When you have meetings with artists they can spend hours talking about a certain sound or how they want the audience to connect with them. Also the look on photos and videos, that can take hours to discuss. Most are just small shitty details that have no relevant info on it.

They never talk about how to get this to the audience? In most cases that just happens in their world. Also, all these things around what it should look like and sound like must fit with the PR is never discussed. In many cases, they just leave that to the label or just ignore the problem.

Ignoring the problem, of course, leads to nowhere. And then you are like yesterdays post that releasing is not taking you anywhere. Leaving it to the label could be very dangerous. They might use their own PR people inside the company and those could be overloaded by other stuff. Or they hire just low budget people or just do a send out to media and call that PR. In the worst case, the material doesn't fit them and they will just ignore doing some special PR for it.

That is why I don't get it why the Pr discussion is never a topic? To really get these ideas the artist is burning for to an audience that is the key. Instead, it's just counted how many blog posts they get (never how many that actually read those blog posts) or if it gets Spotify streams (never what kind of streams it is, empty or someone really listening). Or most important, like I wrote if the material they make actually fit the campaign. There is no use of printing T-shirts if you are not touring. There is no use of a big fat video if you are not having PR in countries where it could be shown on TV or you have the marketing budget to get it big on Youtube.

We have quite many releases right now and I did a little test. When the songs came in and I looked at the schedule I gave 3 dates to choose from. All working fine. Of course, all of them took the closest date. Some not even asking if it would work for the PR, some actually did ask if it worked with the PR. But the critical question what kind of PR was never asked.
In reality, the more time gives the PR things to do more properly, so choosing the closest is not that smart. Sure we can do the basic in the shorter time, but these extras are usually not done in the shorter things. The most critical question of them all, no one informed me about what kind of PR things the artist would do. In the end, I mainly think they are doing a blog post and if I'm lucky they will bost that post on facebook.

The PR is ignored and that is the elephant in the room. It's not getting easier that people talks about "my music are not a product" shit.








Tuesday, April 17, 2018

Releasing music won't get you forward.

Releasing music is not like a lottery. The more you release is not getting you closer to get an audience, buying more lottery tickets might get you a bigger chance to win, even though it's already is small but releasing music is not in that way.

Okay, I can understand that after the latest single that didn't take off it must be tempting to go on to the next one. And it could if you did your PR homework. Unfortunately, most artist just focuses on the release. The PR work will contain the same as last release, and that didn't go that well so hoping that the music is good you need to change on the PR side.

No don't change PR team, that is not what I'm talking about. The error usually lies closer to home. If you really did all that stuff that is needed for a release I doubt you are that keen doing it again two weeks after release. It's the same as when you spent a week in the studio, you are not so keen to go back two days later to do the whole thing again with the same songs!

PR work done right is exhausting, and done right it takes at least two months to follow up and do it right with videos, lyric videos, tags and all other stuff that is to be done.

In the end, don't treat the release as a facebook post. It's the PR work that is taking you forward not the release of music.


Monday, April 16, 2018

More and more that DIY can't be done.

I'm getting more and more from that DIY can be done. Sure DIY with a team works. But totally DIY with the artist is impossible.

The reason is quite simple. The artist can't get enough information to make the right decisions. Then you think, give them that information? It can't be done, you need to have skills to understand and use this information and that would take them away from the music. In reality, you can't do both at the same time.

To make an example. If you are a professional soccer player at the same time you want to be the president of a country. The training and games will make it impossible to get to all meetings and duty a president has. You can't do both things. 

Both also take time to put yourself in the position and know the different rules and get good at it.
Just last week I watched two DIY just crashed their career by doing big mistakes and making assholes out of themselves. The sad part is that they don't even get that they made their career harder, lost opportunities and lost information. In practice, they should stop giving out music that is pestering the online services today.

I would guess we need a new Spotify where you only find music from professionals. Okay, I know Spotify is already doing that in a way. Keeping these off the playlists in different ways. Yes, the last part is the knowledge that the DIY seldom has a clue about.

It's the same with live shows there are systems to keep the DIY off the stages. Usually kind of simple systems, but like I wrote in the beginning that is why we can totally leave the artist DIY, it will never work.


Friday, April 13, 2018

Panel day on Westway Lab

I'm speaking on Westway Lab in Portugal today 16:30 How to place in playlists.

Thursday, April 12, 2018

Are you doing it a 100%?

I'm fascinated by people that really don't see that what they are doing is contra what they saying.

You have a friend that tells you that he wants to take a fishing trip with you. Going to this great lake and fish and sleep in teent for a weekend. He is really nagging about it.

Then a weekend arise to be empty a month ahead. So you call him up telling that weekend we could do it. Suddenly it change, he is doing laundry that weekend. At least he planned that. You more or less tell him to move the laundry duty to another day.

Then he can't get off work early on Friday from work with short notice (well a month is not short, but hey on some places it is) so then he can only fish for two days and it's a bit short. And if he looks on the weather forecast it could be rain.

Here you see that he is not into go fishing. The only way is to nagg him down and if it would work it has to be perfect.

In reality he is not that interested and when you notice he get off early from work just to play golf in pouring rain, then you know what he is ticking for.

If you really going for something you only see the possibilitys. When you don't you just see the obstacles.

When I work with people in the music industry it's the same. So many says they going into this to a 100% but then can't even have a Skype meeting on a Sunday evening since it's not a work day. Or they won't take a chance since it's not a 100% perfect. In the end all comes around and begg for that fishing tripp that would be nice.


Wednesday, April 11, 2018

The loose cannons

Yes I work in a creative industry and many weirdos are drawn to it. I guess we are all someway crazy that works here, but there are the really crazy people.

And I would guess they are more than in a normal industry like dentists or doctors even though I heard they have other craziness in their line.

The problem though with the loose cannons is that they take up time and space. And in average it's one out of 100.

In the beginning you really can't see the difference between the loose cannon to the creative exenctric. The act the same but has a hughe difference the loose cannon thinks they are artistic and gives something to the world. While the exenctric actually gives something artistic in value. The loose cannon is just annoying and have little artistic value. The ratio is though that it goes 100 loose cannons on 1 excentric.

After awhile you get really good to spot them. They crash many things and always blame some secret person or organization in the music industry for their failure. It's amazing how many conspiracy theories they come up with.

It always why you are coutiouss when you meet new people. If they are "too on" it might be a loose cannon.