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.

Tuesday, April 10, 2018

Nothing is perfect!

You get it time form time from artists. Well, it's not perfect to do like that. It can be that they should record in a less good studio. Doing a scaled down show or just a show without any good lightning.

It's like me writing, it's not perfect. In fact, I can do it a hell lot better. That would take me time so much time that I would post once a month. That would effect that people would be less interested to read it. Sure better text but overall not very interesting.

It's better to do something than nothing at all one of my musicians said. And that is try. Because it's never perfect. Yes, it will be when you are the size of Lady Gaga and a 200 people big production. Light, sound everything will be perfect. Until then don't even try to make it perfect. And instead of waiting for that perfect cool studio, record in the small one just to get something out there.

I think the most killing thing is when an artist just wait. that is when it slows down and in the end, dies. Because even if the perfect thing comes along you are not up to speed to take advantage of it. These things come to people who do a thing.

We are still believers of the doers.


Monday, April 9, 2018

What you need is someone who cares about your music!

Right now I'm a bit upset. I was going through a list of companies that we had speed meetings with on a festival. I was one of the people you could meet. I didn't have time to say hello to all the others now I looked through the list just to see what they were offering.

None of them cared about artists. The majority of them was offering distribution in one way taking rights and the business model was easy to see that to gain on this they had to have several thousands of artists. That will not benefit any of these thousands of artists. They don't care you are just a number. What these people were doing was just trying to collect as many artists as possible.

The other was, in the same way, they were offering connections with big brands. Well if you are JayZ it will work but as a smaller act they can't do anything or won't care about anything either.

Overall these meetings were nothing. Sure they might get you something if you already making it. But if you do that you don't need them.

What you need is someone that cares about you and your music. Any of these multinational labels, publishers or lawyers whatever won't care or do anything special. You will be better if you have a someone unknown that really cares about you. That person will do a much better job than any of these fancy stuff. Still, it's sad to see that many leaves their real people when their career is starting to go good, just to fail that the new company didn't care.

And I think this is the way things will change. There is to many of these companies out there. I went through my business connections and estimated that only 10% out of 2000 connections really cared about artists.

I would know I built several of these companies between 2000 to 2010. But I stopped 10 years ago since it didn't lead anywhere. We are down to care about the artist.

So as an artist what you looking for is someone that really cares about you and your music. Nothing else.


Friday, April 6, 2018

MeToo, some reflections.

Now when it has gone a couple of months from MeToo. I'm going back and see some reflections on it on the music side. First of all, it was a MUST that it happened, and it really changed in many good ways. At the same time when revolutions happen, it also brings up a lot of people that are just grabbing a piece of the pie.

In Sweden, they are opening a festival for only women. It's called Statement. I think it's not such a smart idea to exclude anyone, so I never liked the idea. What is next? No people with blue eyes? It is a dangerous road. Still, it's an interesting experiment, it is interesting to see what happens.

Of course, there will be stupid men that try to destroy the festival, just because they can. Which is not the way to go and is even worse than the idea of excluding. Then you have other obstacles like are you allowed to exclude a gender from a public event? You are not allowed to it on religion or other things in Sweden. Also, male musicians are allowed. But how about security can that be male or just female, vendors and such? And in the end are the public really interested in this solution at all?

The sad side is that they are not taking music seriously. The music is just a weapon in the fight. Many claims it is only a manifesto to show they can do it. And of course, Statement claims they doing it for the music. I would like to see them having this festival in seven years in a row to be able to claim they are doing it for the music. Also getting an audience coming for seven years. The first year is kind of easy then many just what to show sympathy for the thing. Right now they are mainly using music as a weapon. And it becomes clearer when the girl who started the whole festivals is going to Tallinn Music Week to talk. That is good that she is doing that, but with the words "We are talking in a panel and then we will drink beer, I take with me the economy lady on the festival, she needs some fun".

Doesn't sound like she is taking this festival that serious, more like an excuse to get drunk in Tallinn. Not a single word about seeing bands, listen to music, no drinking beer is the priority.

At the same time, I wonder if she will get such a good time. I have been speaking about Statement in several panels around the world. The reaction has been that female music industry persons are getting really angry around the whole project, thinking that Sweden has gone too far. The male has just listened and said nothing. Then I have asked why not? The most answer is that it's not the answer to sexual harassment and it will not make a favor for the hard-working women in the business.

The last one I also have heard a lot of. Many of the panelist we ask to Live at Heart ask if we choose them for their gender or their knowledge. Of course, we choose for their knowledge, still like Ulrika on Musichelp our CEO won't speak on festivals right now, because of this. The hard-working serious ones are afraid to be mixed with people just doing it to make a statement.

Then there is another thing that has struck me. So during MeToo, there were several secret groups on social media where the persons that were doing things was discussed. Some of that went into public and several record labels were exposed to have male employees figure in the discussions. Also on the labels, many of the artist with the biggest stories were given out.

If you find out that your boss is the worst kind of creep, would you not look for another job if you can't get him fired? I was expecting some female artists leave those teams. So far I haven't seen any changes. In fact, even male artists should be leaving these teams. And I haven't seen that either. In some bigger organizations some were replaced but on the whole, nothing changed. I even see some of the bigger whistleblowers now even make business with these teams. It was like of these chairs doesn't really have any power let just take a woman and put her on it for the sake of it. No real change was done. The power chairs are still men. The thing that change is the overall attitude against harassment which is very good.

At the same time, one of the more influential female lawyers in Sweden now has been exposed to more or less using Metoo to getting more jobs and money and treat the staff like shit.  It's so sad that a thing like Metoo is used by several people just for personal gain. Today I just bumped into another one, she has gotten a chair from a guy, but she won't work with the things she got to help other women, she mainly just sits there.  I hope though that it leads to some good things down the road, or I know it will. You just have to take off the Maximilien de Robespierres of every revolution.


Thursday, April 5, 2018

This is how you should post on social media!

I get a lot that artists don't know how to use their social media and post right. Most feeds for new bands is really boring. Pictures from recording sessions and rehearsals. There are many sites that have taken this up before about the percentage you should post around.

I'm really not good on it myself so I will try to fill my blog in the system just to show that it can be done (actually that is a reason why this blog is here, to show some artist that you can do a blog about almost nothing and still get readers and nurse them).

So 10 % should be self-promotion. So, in this case, it would be me telling people to read my blog. And yes I do that every Monday to Friday by just posting one of my posts on my social media. And with a good headline, I lure people in and rad it. Actually around 200 people every day. What I shouldn't do is to promote the same post over and over again even though I'm very pleased how it turned out. Here is a difference between you and me, you might just have one song out to promote. Still, you have to be smart around it. Make posts that should be in the 70 %, It's down in the text.

20% of the post should be shared from and or for other artists. I suck on this. Sure I share funny pictures and sometimes someone's post. I should be sending more out of articles I read. Yes, let's do that. Also, one thing I'm a real sucker on is promoting my own bands. I should do some of the bands I like as well.

70% Should build your brand. In my case should build my story. I guess I do that but can be better on it. The people that follow me on Facebook and Instagram know how I post pictures from the view of the hotel room. The one that has been with me longer also know the reason. I should actually do things like that more so people can follow more and make a person behind the stories.
I guess posting new stories is actually in the 70%. I don't ask people to read them. I rather take up a subject that they will hook on. My problem is that people read them, but won't comment on them so it is more like a news channel. In fact, over these three years and over 600 posts I only got around five comments.

Of course, this comes from another cool blog check it out.

http://www.musicthinktank.com/blog/how-to-perfect-your-bands-social-media-strategy-the-70-20-10.html




Wednesday, April 4, 2018

Can you this without a budget?

"Look, if you had one shot, one opportunity. To seize everything you ever wanted. One moment. Would you capture it or just let it slip?"

Yes, you recognize the words from the start on Eminem:s "Lose Yourself". The problem right now is that people won't capture the moment, they would let it slip. A career is like a rocket and you just ride it. When you start to say no to things you reached your hight and the rocked stops and starts go down again.

Right now I see so many record labels, managers, artists do this mistake, saying no to opportunities thinking they getting bigger ones in the future. The reality is that the rocket starts to stop already with the first no.

Most of the time they blame that they don't have the money to take the chance. That is also bullshit. If you really going for it you find the money.

I watched one band that has done pretty well but have been very picky and said no to many things. In the end, they got a really nice deal. The problem is that since they have said no to many opportunities many won't take in them and also they have taken the chances to develop to make an impact good enough.

The deal got them on one of the bigger showcases in Europe. A chance they had waited for. The problem was just that since they haven't been around on the smaller ones, they got a really bad timeslot on the big festival. In reality, it was just a bought spot it was not that they were good in any way.

I was down on that showcase, and there was really no bigger industry people there. And with a smaller audience, they really couldn't do a good show. After that, they said that showcasing was not a good thing, cost too much.

In reality, they paid more money for this chance and didn't use its capacity.

At the same festival, one of my bands had one of the gold spots. Of course, since the festival knew that this band has done several small festivals and famous for their good live show. Packed room, TV, radio, and journalists were there. Opened doors to four new festivals.

Sure these four new festivals will cost us money, but it gives fuel to the rocket and open more doors. The other band I have a hard time to see that they are getting anywhere fast. They are still waiting for a bigger opportunity as an opening slot for a bigger band. the problem is that it will cost even more and they are definitely not ready for it. The waiting game cost you more then take a chance. The best things I have ever done was to let bands showcase on small festivals, there are the real opportunities. So would you capture it or let it slip?

Tuesday, April 3, 2018

Here is the best song in the world!

"We have really great songs and a really great performance". I have written it before that I would be rich as Mark Zuckerberg if I got a dollar for every time I have heard that.

Sometimes people just say stuff like that and deep inside they know it's not true, but it's a way to sell in things. The hard part is when they truly believe that they actually are that good. It usually takes a bit of the conversation before you can judge which one you are talking too.

If it that they really think that they have a product that can fight in the top of the market, but in reality, barley won't be a local hero it's really tough to give some answers why this artist is not moving forward and what to do.

If the songs are not good enough be on a showcase won't make a difference. Neither would it to get in front of "the right people". The dilemma is to explain this to the person. Not that I can't just tell them "it sucks". The problem is that they will only think I don't know my stuff and is just a person in the row that don't understand the greatness of their work. So it's no point of just saying "it sucks".

And in some cases even though it sucks now, with the right training and work it can be great. I have seen several cases around that as well.

The difference here is that someone has just taken their hands and then start working on them to prove that they could do better. In most of the cases, they have taken that info and developed.

I really don't know how to tackle this problem. I usually just give some random advice to change, usually knowing that these things don't matter since you don't have the product. And I have been there several times myself. When I got The Magnettes the developing company was sure they would be a big hit and make some noise. They where right since The Magnettes has done just that, but also a long, long development of different things have also been done. At the same time if they haven't believed so much in the band they wouldn't have been anything.

And that is why this is so hard. This person maybe is right they just need to meet the right persons. And maybe they can do that on a showcase, I mean The Magnettes did that. Still, if they showcase and don' t do their work since they think the songs are good, it will go nowhere.

To show how far it is between stuff. The first clip is my first time seeing The Magnettes it was on New Music Seminar in NYC.



That song and another one was the only song I really liked. And both were never released. But it was enough to take them further and meet some other persons, me included, that changed the whole thing. And here is the latest show on SXSW three years later. It's an amazing development. Mainly done by the band with right people pushing in the right directions.



I wish I could see this in the bands that say they have the best songs and performance. Still it's hard.

Monday, April 2, 2018

A new recap

Yes, we have finally released our 2017 recap. They become bigger and bigger a year. Even though I cut out things. It was a crazy 2017 I literally went around the globe with my artists. So many fun things and successes.

Friday, March 30, 2018

The fear

One of the fears for artists is that the record label will change them or change their music or style. In reality is not that common, sure it happens but most of the time are the artists doing something that is good and you keep it and try to build on that. And you don't change stuff just to change it.

What is more common is that artist comes up to the record label with ridiculous recording or market plans. Their suggestion that they should use producers that cost more than the salary of the whole 8 person staff for a year. Printing of merch items that is mainly because the artist wants them (hell all people that want o print double vinyl on the all the remixes that just has streamed 1000 times). And their best friend with no track record can easily do a video that cost more than all the videos you should do that year together. And to be able to book a tour they really need a tour bus.

You ask can't you book a tour an then when you have the dates we fix the bus? That question is never good to say you just get the killer look from the artist.

Thursday, March 29, 2018

The reason why Spotify is not that interesting anymore.

I found a tipoff from Daniel Johansson blog in Musikindustrin (a really cool blog in my mind, unfortunate just in Swedish).

THE ODDS OF AN ARTIST BECOMING A ‘TOP TIER’ EARNER ON SPOTIFY TODAY? LESS THAN 1%.

https://www.musicbusinessworldwide.com/the-odds-of-an-artist-becoming-a-top-tier-earner-on-spotify-today-less-than-1/

It's really interesting reading about how Spotify doesn't want to be the gatekeeper but still act as the gatekeeper. Also that it's still just 1% that makes the money as artists.

The perspective I have is that most money actually comes from the live side. In fact, it's 50% is live and 25% is master and 25 is publishing in simple terms. So this 1% is mainly on the 25% master side. It comes down to a pretty low number. And I bet you that these artists that are in this 1 % are daily touring artists touring quite heavily.

In reality, that means to break an artist will be in the live section. Especially when the master side will be challenged by AI made songs that can pump out quite much music in big quantities (it's already here and yes they will do good music, no doubt about that).

When Universal also sold Ingrooves you know that distribution and master side is not something they look as being big. At the same time as many others are doing painfully mistakes trying to lure percentages from smaller artists thinking that would build artists to the 1%.

At the same time, a totally new breed of gatekeepers is forming around the showcase festivals. I 'm seeing it written on the wall that it's here the next 1% is being built. Spotify is just a tool to bring in one of several income streams. It will be not the major one and not the gatekeeper they think they might be, that race is already over.

Wednesday, March 28, 2018

Poor artists on this label

Dumb and dumber, yes that what I would call the conversation I had with a record label today. I have been sending out how it works with showcasing to the Swedish record industry. we have just opened some cool stuff for Swedish bands on Live at heart and you can get a serious scholarship if you are nominated. Of course, the only way to even have a chance is to play on the festival. So I wrote a newsletter about it and explained how you should do it and some tips and stuff.

I sent it out to the list of all the record labels who are members of the different organizations, mainly the official address, and some personal. I was standing talking to a label that got this email and she was very happy to read it and was discussing it how it could benefit her artists.

Another guy that I know came up to us and heard about the things and started to ask questions since he thought it would really suit his artists. After a while, he asked why he didn't get the newsletter with this information. I was sure he was on there and asked if it was this address, and yes it was the right address. I thought it was a bit odd. But I forward the link to him to read.

A bit later I checked my computer and checked his email in our newsletter system. Yes, he was on the newsletter list but had put off the subscription. I meet him a bit later and told him that he had unsubscribed to our newsletter.

- Oh, there was a letter earlier that didn't contain any good information for me so I unsubscribed.

I guess how stupid can you be. So every newsletter should contain information totally suited for your interest and that you should make some good insights from it. That is just so I didn't want him to get the news at all.

- How do I subscribe again?

- You click on the bottom link in the link I sent you, I answered.

Poor artists that missed info just because this bozo thought one letter was boring. I looked and saw several shootouts that really he would have some benefit from. I guess if they are not smart enough to change from his label I guess they deserved it.


Tuesday, March 27, 2018

Clouded judgment!

Music taste, what is it? Really I have just been through a lot of bands applying for different things. To my help, I have several people with different music taste. Sure you have some preferences what you like and don't like but you have to set these aside when it comes to going through applications. If it is for a festival, just because you don't like jazz music doesn't mean that th4e audience will think the same and love jazz music. If it is to work with an artist, just because they do cheesy music doesn't' mean you should not work with it.

That seems pretty clear, doesn't it? Well, it's not clear when you are out there working I will tell you that. The whole day has been a long race with people that can't make these differences. Their personal taste has taken over and clouds the judgment what is really best in the situation.

Right now I think about myself and hope that I'm not in the same way. I guess it's hard to see it when you are in the middle of the whole thing. I try to be as open as possible in most cases, but I guess I'm clouded as well.

At least I have found out one thing and that is that the artist applying is not making it easy for these people to make a decision. Instead of getting the right stuff to them they tend to give whatever they think is cool themselves.

So music taste, what is that?

Monday, March 26, 2018

P4 Nästa nagelfars är det värt att ställa upp?

Another one in Swedish since this is only for Sweden.

Jag vet inte men P4 Nästa känns verkligen inte som ett plus i kanten för en artist. Tävlingen verkar inte heller leverera speciellt mycket heller. Okay radio är inte lika inflytelserika idag som de har varit, men det här känns väldigt nödtorftigt. De lockar med en plats i melodifestivalen, men som alla vet att göra melodifestivalen utan kunskap i ett stim av amatörmässiga personer i musikbranschen är aldrig ett bra val. Det här känns mer som en genväg som blir en senväg.

Helt enkelt vi kolla in vad som hände med de vinnare som kom just från P4 nästa eller Svensktoppen nästa som det förut hette.

2008- Camilla Wallin - "Vid sidan av dig" - Ingen joker utsågs till Mello
2009 - Martin Häggström - "En väg tillbaks" - Ingen joker utsågs till Mello
2010 - Staffan Stridsberg - "Black Crow" - Ingen joker utsågs till Mello
2011 - Manuel Fervenza  - "The Lucky One" - Ingen joker utsågs till Mello
2012 - Terese Fredenwall - "Drop the Fight" Femma i deltävling på Mello
2013 – Eko - "Yellow" - Åtta i deltävling på Mello
2014 - Kalle Johansson - "Den där dan" - Sexa i deltävling på Mello
2015 - Michael Fannon  - "Kommer tid, kommer råd" Blev inte joker utan Smiling Swedes blev joker med låten "Weight of the world" - Femma i deltävling på Mello.
2016 - Noomi Thorstensson -"Intoxicated"- Blev inte joker utan Les Gordons "Bound to fail" - Sexa i deltävling.
2017 - Stiko Per Larsson - "Kumpaner (Vi är som)" – Sjua i delttävlingen.

Statistiken talar sitt klara språk. Ingen låt någonsin från P4 Nästa har tagit sig ens till andra omgången inom gruppen. Alltså inte spelats två gånger i TV ens. Alla har direkt flyttats till artist sophögen trots att de fått kontrakt med majorbolag. I princip bolagen har plockat upp dem för att få procent i tv framträdandet men inte för att lägga några som helst pengar på artisten eller utveckla deras karriärer.

Vi kan titta på Spotifys streaming. Man räknar att man bör bara med exponeringen få runt en miljon streams eftersom man automatiskt hamnar på en massa mello listor. Dock en hit ligger mer runt 4 till 5 miljoner streams. Vi ser även vad singeln efter mello drog.

Terese Fredenwall - "Breaking the silence" 1,4 miljoner streams, singel efter mello  Drop the fight under 4000 streams.

Eko – ”Red”  - 710 000 streams lyckades inte släppa något mer trots signering till Warner.

Kalle Johansson – ”För din skull” – 1,6 miljoner streams, andra singeln ”Inte ge dig mera” 258 000 streams. Signerad till indie bolaget PAMA.

Smiling Swedes (bytt namn till Smilo) – 3,6 miljoner streams, andra singeln  ”Young again” 558 000 streams trots signering till Universal.

Les Gordons – Bound to fail” – 691 000 streams, andra singlen “Let the music speak” 11 000 streams trots signering till Capitol Music.

Stiko Per Larsson – “Titta vi flyger” – 476 000 streams, andra singeln har inte kommit än men är signerad till BMG.

Vi kan lugnt konstatera at en medverkan inte direkt leder till någon karriär om man hamnar i mello sammanhangen. De andra då

Camilla Wallin – inte ens över 1000 streams
Martin Häggström – finns inte ens ute
Staffan Stridsberg – 22 000 streams
Manuel Fervenza – 342 000 streams har dock inte lyckats släppa något mer.
Michael Fannon – 581 000 streams signerad till indie bolaget Starlab.
Noomi Thorstensson – Låten finns inte ute men en annan på 2000 streams.

Vi kan väl inte direkt säga att det är lysande karriärer. Michael Fannon har lite på G men det har han fått senare av Starlab.
Vi kan med enkelhelt säga att det är större chans att få en karriär att spela på en showcasefestival  i sverige än att ställa upp i sådan här talangtävlingar. Ändå tycks artisterna gå på det här gång på gång.


Friday, March 23, 2018

Mastering the Music Business in Romania

Another conference done. And I feel I get so much more done with these smaller ones. In this case, it was Mastering the music business in Romania.

Since it's small everyone who is there is carefully selected and usually a person with a jack of trades. This gets a smaller group of people with a fascinating network. Since it's small you also get time to talk to all and find a business opportunity that you thought never existed. I guess I just opened the doors to at least five new territories just on this.

The bigger conference like SXSW is more to update already existing contacts. It's the small who creates new opportunities. I'm really excited to visit at least five more this year. Right now I'm really glad that I got the opportunity to be on #mmb2018.


Thursday, March 22, 2018

Follow the tastemakers

One of the things I have seen when going to the new music landscape is that music lovers are more and more pushed out.

Look on Austin. In the beginning, it was a cheap town to live in with old run down bars where live music was the main ingredient. This attracted many musicians. Suddenly Austin was hip and had a great selection of entertainment. That attracted big companies that sought a cheap place but cool to attract young employees to hire. Suddenly the prices went up and the bars disappeared and with that the musicians. Right now the last phase of this ongoing. I wait and see where the new Austin is going to be.
Right now Austin just becomes a technical mecca with nerds in suits. Okay, more money but it will fast die. These yuppies will soon kill the slogan "keep Austin weird".

Same I feel around the conferences that are going down. First, it was music lovers they become replaced by startups and tech since it's more money. But that makes these tastemakers to leave and just leave an empty fair with no soul. I guess what happened to Midem. Just it companies no music and suddenly all people with taste disappeared. SXSW is heading there and I can see several others too. The new game is to follow the tastemakers.


Wednesday, March 21, 2018

Update sxsw 2018

And I wait for my Uber to take me to the airport. It has been a good SXSW. A lot of business and good stuff. Of course some of the usual problems with backline and visa but nothing that was not solved.

My reflection tough is that SXSW this year was a bit calmer. In my mind it's better you get more chance for networking and don't have to wait in ridiculous lines. Still, I can see that the competition from many new festivals takes its toll.

Also how the festival has spread out. 6th street has become a giant hip hop scene where the rappers stand on the street rapping the same song for 4 days. Don't get me wrong it's not that it sounds the same, they do the same song since it's so many people passing.

The rap scene has then taken over the east side of 6th. The export people and brands have moved to Reiny street and are in the shadows of the new skyscrapers.

South Congress has spread out and far far away is the folk and country.

The hard rock is nowhere to be found. I managed to find a stoner fest in the north far away from it all where old guys with no hair but a lot of beards were doing "Iron Man " in different versions.

Still, it is the largest one and you do things here. They have to change to keep that momentum.


Tuesday, March 20, 2018

Was that me?

Was that post about me? I get that question quite often. But no it was not. I change quite many scenarios in different ways so it's impossible to tell what it was. Also I add and take off. The core might have a person, but the story is added and changed.

Still sometimes several people does the same mistake at the same time and I mix these together, and people get upset thinking I write about them. At the same time when they get upset they might see it in a different light.

The best is when I write and disguise it so good that the person that the post is about is comment that it was a crazy thing to do, when the post is about that person.

So why I don't write about good stuff? I do but then I usually write out the name. The errors is easier though to write about.

Don't take it personally. But if you do there might be something to think about.

Ba ett exempel hegge.

Monday, March 19, 2018

Don't worry about things that won't happen.

I had the funniest conversation. A person that runs a management contacted me on Facebook. Okay saying that it is a management is maybe too much. It's totally new and I have never heard of it or any of the bands. Well, they just wanted to ask a question so I answered to ask the question.

They asked if we took submission on our label. Kind of stupid question since if you go to the home page there is big section how to send music. If you don't bother to do the simplest research you look kind of stupid.

After sending the link I got another message:
-I just sent the song to you, when do I get an answer?

I wrote back that it might take a couple of weeks and that we will be in touch if it's something. Then came:
- Ok, I really don't know what the label has done. Maybe you are not the right label. We are not accepting a deal over 50%.

There are no worries. Right here I know there's no point of listening to it. We won't get deals with people really don't know what they are doing. So worry that we will offer you a bad contract is just not worth it.



Thursday, March 15, 2018

Hopeless showcasing

In speaking of hopeless showcasing (see yesterdays post). I see quite many stupid artist projects showcasing as well.

First of all. No, not really that someone will just pass by your show and discover you. Their stories are fabricated. You can quite often read that The Magnettes was discovered on SXSW. In reality, we did a quite big job talking to people beforehand and we had several leads. In the end, Digsin took it, sure it was the first time they saw them. But they had been nagged on for at least a year before.

Then you need to have your team there. A showcase is so big that you need to spread out to get things done. Just sending your artist and not be there yourself is just stupid. Then the artist has to refer to a person that is not there. You can send to smaller sometimes but like SXSW is just a waste of time. In our team, we are around 3 to 4 people not counting the artist.

Just because you get the business card of a big shot means that the deal is sealed.

Drinking with just people from your own country is rather stupid, these you can meet home. No, you are not cool just because you see each other abroad.

Look into what kind of time slot you have and work hard.


Wednesday, March 14, 2018

Failed projects

Since I'm on SXSW this week I see a lot of hopeless projects showing off in the Texas sun.

One of my favorite things is to be at the booth where companies are showcasing new ideas. I usually go around and collect t-shirts from companies that have a 99% fail rate. I usually come from there with quite many T-shirts. My favorite one the past years is Gloumper. An app that was quite the same as Instagram but had a few more filters. Or the company that built an app that you can hum your tune to the app and the publishes it online.

First, you can use the recorder. Second, why would I want other people to hear my humming? I can understand you want to have it to remember something to write on, but not give it to the rest of the world. Third, what was this company business model? Of course, they didn't know. I took my t-shirt and just added to my collection.


Tuesday, March 13, 2018

Like reading about having sex.

Reading about starting your own business is like reading about having sex, the sign in the subway in NYC said. I agree, most of the stuff I have done has been by doing mistakes and learn by doing. What's keep it up is passion and persistent work.

In an artist career, it's also the same. Every career is unique and really can't be copied.  In a way, you have to take your own path. Do your own mistakes. Minimize the mistakes by getting advice, but still evaluate this advice to your own path. In the end, there is no right or wrong it's just hard work and like we say in Sweden "you have to like the situation".

Actually, the sign in the subway after said "in doers, we trust" yes there you have it.


Monday, March 12, 2018

You want to get rich.

I just went to one of the world's largest casinos. It's total madness and people are sitting in front of a slot machine and just press a button. You know you can win the big jackpot and become rich, that is the driving force.

It's the same mechanism that you have your artist career. You want people to recognize your piece of art. Discover your expression. And like many says, make a living off your music.

There is a big difference though between the two. The slot machine is a very low entrance. You just get there and sit down in front of the machine put in your money and press the button. At the same time, you are at the mercy of the machine. You can't predict when and where it releases its gold.

A career is harder to make an entrance. You have to practice and test things. But the biggest difference is that you can affect your career by doing things. You can market, talk to people and in various ways effect that you are going forward.

Still, I feel people are more or less acting like they are front of a slot machine, sitting and waiting for the machine to release its gold.


Thursday, March 8, 2018

There is no control

No, I really don't know what color it is on the amp on the stage. That was my last answer to a barrage of questions that an artist with over control need had.

The funny part is that I know the artist has this need and had sent the most information I had got. Still, it is not enough for the person with control anxiety. The problem is that the last question the artist had was, are you making sure the right people will be on the show? Well since most of my time is going on to find answers that are not that relevant I guess I need to stay quiet on that one.




Wednesday, March 7, 2018

What to say to the best band in the world.

I'm speaking with a band and of course, they are selling themselves to me. The argument though is that they are really good. And by this time I haven't heard the music. But on and on they tell me that they have really great songs and are good live.

Some days pass and I manage to listen to the music, in fact, I get a hold of a live video from 6 months earlier. Let's just say this is far far away from the best band in the world. The live show is not even up to a local talent show.

Then they call again and after a couple of minutes they go for the same argument, we are the best band in the world.
The problem is that they really think they are. Maybe not the best but really good. You can easily figure out that they have some friends telling that to them, maybe also parents. How the hell do I break to them that the reason they are not progressing is since they are not good enough? In a sense it's like telling the guy in the subway that shouts out that Jesus loves me, sorry Jesus is fake Buddha is the real thing. It will just be an endless conversation about two different views.

I guess I will just move along and tell some advice to the band. Still knowing the error and that the advice is fruitless unless you are good enough. The sad part is that I know they will get back to me in six months telling me that they don't feel they have progression and don't understand why since they are the best band in the world.


Tuesday, March 6, 2018

Make it harder

Damn got a severe eye infection and writing messages on the phone is really difficult. Usually, just the time is hard to do it and all autocorrections and small buttons. This takes it to a new level. Well, at least I'm in NYC.

Monday, March 5, 2018

Going to USA

Finally at the gate for the plane to the USA and some meetings in NYC. Right now I have been delayed for more than 48 hours with planes and weather and canceled flights.
Also with a bad eye infection that slows me down. But hurdles are for getting over.

I guess when this is posted I'm in USA.

Friday, March 2, 2018

Another meeting.

Is this meeting really necessary? Many times we get so many calls about meetings with artists. And the only question is what should we do next? And what happens this summer?

You know what? You should do as much as you can next there is no way you have done everything that should be done, and I have no clue what is going to happen this summer. I guess if you get some summer festivals we will market those.

So many of these meetings are really nothing to talk about. Its most of the time guessing stuff that needs to change anyway because of different reasons. Yes, I would do much better use to do some work instead of sitting in these endless meetings about nothing.

So before you start asking about meetings, can you also provide a list what we should talk about, and agenda would be nice.


Thursday, March 1, 2018

The next step! Mc Donalds style!

I think this has been on the blog before. But I can take it again since it always comes up. Most artists (and people around) seems to think the music industry works like a job ladder. No this is not Mc Donalds where you start on the floor as a cashier and then move up to make burgers than to be a team leader, then somewhere in the line, you might get to be a restaurant chef.

In these situations you can always call on that you have done certain hours and that is your turn etc. In the music industry, it never works like that. If we take it in the Mc Donalds style. We would count the money. Yes, you would be upgraded not to your hours instead of many burgers you sold. And when we needed a new team leader then we would just go out and hire a new person.

Here it is no marks or goal you can set up in that kind of way. You have to be darn good and then things come along. It's not about time or how many streams you have what will take you forward. Is how many burgers you sell, or in this case how many fans you get.

I see so many bands comparing themselves to other bands. We started the same time as they did, we should also play on that big festival. We have this many streams we should be on TV not them they have much fewer streams. This is the utopia the industry wants to build. Still, music is the ears of the beholder and it can't really be done. The only thing that matters here is hard work, you can only compete with yourself.

Wednesday, February 28, 2018

The wrong answer!

A bit of a continue on yesterdays blog post. I give someone an advice. You really have a conversation about it for at least an hour. Let's take an example.

A band that I work with comes up with the brilliant idea that they should dress up in monkey suits on stage. Funny thing but I have a hard time seeing that they can perform these deep songs about the political landscape of today in monkey suits. Also, the heat of the lamp and the movement on stage would make these suits almost impossible to have on stage. Just the smell inside them after three tour dates would make this a really bad idea. And how hard is it to play the instruments locked in a gorilla suit? After an hour killing this idea and smash it to pieces I think the artist has got that this is not a good idea at all.

Then two days later the artist comes back and had a meeting with the rest of the band and they think it's a really good idea anyway. Of course, they see my insights but they can live with that they smell like apeshit after three gigs. And the songs might stuck anyway with the audience. So they ask you what you think about the idea.

You are back to square one. It's not a game to prove anything. It's still a bad idea. What should I say? I just give the same reasons once more. If you ask for advice use the feedback, don't try to over prove me. If you want to do a stupid mistake, go ahead be my guest.


Tuesday, February 27, 2018

Use the critism!

I have seen several managers write about this on Facebook several times so I guess it's kind of usual. You get in an artist that sends you music and wants your help and ask for your thoughts and criticism.

Just that is kind of rude. I mean you just sent me music out of the blue and want me to listen to it and then afterward also put in some free work to give back to you about my knowledge. You know what, I'm actually such a decent an nice person that I would do that. Yes, it will be around 40 minutes of free work, but yes you sent your music I will try to be nice back.

So I listen to the music that is just average pop that has no soul and nothing that attracts me. When I write back I actually tell you that you have to work on your songwriting and also on your social media since I looked on that at the same time when I was listing.

Here you go ballistic and tells me that the song is not average. It's really good. And your Instagram is actually kind of pimped.

If you ask for criticism take that one, don't trust to argue or try to convince me that you are right. Sure my opinion is just an opinion, still it's important enough for you to send me your music. I answer that back.

Then it comes, what should I do to make it better?

Hey wait here I'm not your employed manager. I really can't spend more free time on a project I don't like and really has nothing to do with. I just hate this kind of favors. Worse I just had this conversation with one of Swedens biggest publishers. Taking criticism is part of the damn fucking job don't argue with it.


Monday, February 26, 2018

Is this a good deal?

Okay, so I tell you to build me a house. You will work full time to build the house, you can build it as you like on my piece of land, I will provide you with the material for it, well at least the material I can afford. If I like the house I will pay you for your job. Sounds like a good deal?

No? Why? You like building houses and be creative. I give you free material?

Still no? So what is wrong?

Oh, you want a security that you will get paid when you have finished building my house? Okay but if I don't like it I don't really want to pay if it's ugly or so. Of course, I trust your building capacity. You have built several nice houses. But I'm not sure anyway. I think it's a good deal.

Oh, you want security to get some paid for your work you do?

I guess no one would agree on that deal up there. Still this deal I get from artists almost every month. I offer to work with their music they produce for a stake in the rights. I will put in long hours with really no chance to even get paid. But I like the music so I'm willing to put that up. But I want a small security so if it goes right I get some paid by getting some percentage of the rights to the music that I work with. Then the artist tells you, well if you get something you can get paid from that amount.

That is the ultimate insult. Yes, you can work for free, building a house on my property and if I like it I might pay you.

I get something like a record deal or a placement then I would get some money if you like that placement or deal. I might work my ass off for months to get a placement in and then you can just say no since you don't like the brand.

Never offer anyone to work for free and get something if something happens. That just means you don't trust my building experience. And that just get me to not want to work with you.






Friday, February 23, 2018

It' s an ungrateful world

It' s an ungrateful world is a translation of a Swedish proverb. And that is what you feel so many times. I had a band a couple of years ago that really wanted to play on one of the biggest festivals in Sweden. The problem was that they were not really that big and was not close to being picked by the festival. Still, they nagged about it for two years that they wanted to play on this festival.

One day I had meeting with a friend and out of the blue, he gave me an opportunity to pick a band for his stage that he had on the festival. It was not really free, I had to do some favors in other stuff for him. Still here was the opportunity to get the band into the festival.

Even though it was a friend I also knew that it was not totally controversial that he picked one of my bands for his stage. I knew he would get some shit talk from other people at the festival, still, he did do it and booked my band.

I went back to the band with the good news that, yes they were at the festival this year. Of course, the band was thrilled. I had to stop them from posting it on their webpage. Of course, the festival was not announcing them in their first round so we had to wait.

Then the ungrateful began. The band was complaining that they were not announced fast enough. Since they were very small we knew they would come late, and we told them that. Still, they thought we should press on the festival to get it out faster. Not a good idea so we just let that idea pass.

Then two months before the festival they announced it. Actually in pretty good time. Then we got the stage and the time. Of course, since we were not a priority band we got a slot four in the afternoon. Actually, we should just be glad to even get a spot at all. The band complained that it was an early time and on a small stage. Couldn't we talk to the festival to get a later time and a better spot?

My friend put his ass on the line to just get them in there, of course, I can't ask for more. In the end, the band played at the spot they got, but was really rude about it and didn't promote the gig since they didn't like the spot. The gig didn't go that well. It could have if they weren't acting like a spoiled child.

If someone does you a favor don't try to push it. And I never did that band a favor again.


Thursday, February 22, 2018

Live at Heart

Today we announce the first names on Live at Heart 2018. So get into their homepage and have a look.
http://www.liveatheart.se

It will be a great new start for Live at Heart and it will have many changes. And I'm a big part of the whole process. It's really fun and really creative.


Wednesday, February 21, 2018

Spotify dosen't care about artists.

Now everyone will say, I just told you that one. In reality, it is several people speaking to me on the same subject, but it comes down to one thing many artists see Spotify like a promo channel and it's not.

The truth is that Spotify actually makes it hard to promote to them on purpose. Their goal is to get songs to grow organically. In real life songs that people really like will be surfing up in their system.
Of course, the record labels always think that their stuff is the best so they try to influence Spotify to get them to get their own songs a better chance. Still, much of the information that Spotify goes on is actually information that comes from other sources. Remember they have bought up a bunch of companies that collected data to tell which artist gonna be the next thing. Of course, Spotify goes on that as well.

So there is no "I just speak to this person and you will be on all the playlists on Spotify". We just found out that they will stop making favors for the major companies as well and the lowest start for a campaign is 50 000 Swedish crowns so that also won't contain a shortcut. Pay to get on strange playlists is a certain way to kill your Spotify chances.

Having Spotify as your target is by that totally stupid. Spotify comes when you deserve it. When your fans start to go into Spotify and search for your name and REALLY listen to your songs, the system will bring your songs to the top. The problem usually is that you are not doing that great song and don't spend the time to get people to listen to it, to learn what they really like.

The playlists are like empty streams. It's just numbers and the industry just starts taking them as just numbers nothing to be so excited about if they come from added playlists. I would be rather excited with high numbers and no adds on playlists.

It's not like radio in the old days when you actually talked to someone and they took a chance and played the song. In Spotify, they have algorithms and statistics what people really like, and what they really listen to. So the best is to get back to your fans and present good music and communicate with them. These are the people, the users, Spotify cares about, not artists.


Tuesday, February 20, 2018

Be prepared!

It's quite funny how an artist can nag you to get things to happen. Like, we need a show in the city and everytime you speak to them they just nag around that nothing else. Then you finally get that show that they need and you get back to them.

Suddenly I need a promo picture, a biography, graphics for poster and a tech rider for the club that is gonna have them. With almost 100% certainty, nothing of that is ready. All members of the band are running around like headless chickens and send me different versions, some updated some not. The pictures will be in the wrong format and no one knows where the person who did the eps for the logo went off.

The most annoying thing here that I always tell the band when they start nag that has your shit together. It never happens. It's like you can't move anything as long as you have something to nag about.

After two days (one day after deadline) the things arrive, not in best condition but ok. we get this to the booker and everything is fine. Then a week before the show you find out that the band has done nothing on social. No event page on Facebook no updates on Songkick. No sponsored messages, nothing. The answer then is, ohh do we need to do that? Nothing gets done even if its so in front of them if you don't tell them. Suddenly they do it but with such limited time, ut get a very limited effect.

And this I get when they release something, get a show, going on tour etc. The assets around them are never there. Maybe one asset like the promo picture is taken, but then it's not on the homepage to get for the press.

Be prepared, start does these assets when you start to nag, pretend it's gonna happen before it happens just to have everything ready. Don't update just one thing, update the whole chain.


Monday, February 19, 2018

Strain at a gnat and swallow a camel!

I just learned a new thing. I love this with the blog that you learn so many new things. There is a saying in Swedish and I found out the English version of it. "strain at a gnat and swallow a camel".

And that is just what I want to write about. Too many are worried about small things that don't matter in the long run. the most famous one was a band that I had that was arguing what kind of stage clothes they would wear on their first world tour. They were almost fistfighting over the whole thing. What never occurred was that they had never had a European tour, not even a Swedish tour. In fact, their music has just been played once on the radio when this happened.

Okay, that was a really bright one. Most of the time they are more settle but at the same time quite the same. Right now we quite often get artists that think that since they got over 100 000 streams would be booked to the bigger festivals. What they haven't thought of is that the last year only did three gigs and that their Facebook numbers are under 2000 people and the Instagram under a 1000 and they don't have a Twitter and haven't updated the banner on Youtube since they were there the first time.

And then you have the artist that gets upset that someone spelled his name a bit wrong in an interview. That it's a tiny little blog and not Rolling Stone Magazine well doesn't matter. Also, the ones that argue around a small guitar sound on a song that is 7 minutes long and complains that this guitar sound could be the thing that it won't make it to the radio. that the song is just a long epos with strange noises and barely no lyrics, well that is not important.

I guess I bumped into it every day in some way. It's easy to go crazy on the microscopic things but won't see the whole picture. Stop shoegazing and see the world, but maybe you can't see the forest for all the trees.


Friday, February 16, 2018

Really! I should help you?

Lately, I have got so many emails from industry people that think I will help their acts to get into showcase festivals or help them out on showcase festivals they are booked on. Of course, they think I should do it for free and just as a favor since we know each other on facebook.

You know what, I use to do that and it never leads to anything. I still do that but I expect that you are are getting me something more, yes I need a return favor or payment in the deal. Not that I will get it later or something, I need it right now.

And most of these people have no clue what is out there or have the knowledge to help me back. I have just taken off my two board positions jobs since the labels and industry people of Sweden are so behind and really doesn't give me anything. I have built up an international network for twenty years and I won't give that for free to a Swedish nobody that could destroy it in minutes by doing the wrong mistakes.

I have said it a couple of times that I would stop helping the export situation in Sweden, and now I'm finally at the gate where I leave these behind and just go on my international network. The ones I keep are the ones that give something back and help me out with other tasks. The rest you are on your own until you have some currency to trade with.






Thursday, February 15, 2018

They treat you like dirt!

One of the signs that you are getting somewhere is that people treat you like shit. They smile and give you hugs but then when you have gone around the corner they stab you in the back.

I was part of a bigger job the past month and yesterday they had a big show off and a press release around the whole thing. They, of course, didn't invite me or even tell about my work in the project. No instead they took what I had contributed with and let a more inexperienced person tell the things I contributed with.

First I was really pissed. I even was on this press seminar, and to hear your own work be read by someone other as their own is not that fun. Then I started to question why do that? Then I realized I'm too much of a threat for them. They had even taken out my past out of the biography. In the end, I don't even know if my name was there.

This is one of the things I really hate is to be ignored and right now it happens a lot since I have quite too much success with my projects. To explain what they do is. You take an artist on a world tour get them high rewards around the globe and really makes a success, and then they give the prize to the local guy that put out a single and played on the square in the summer. To compare.

Later on, they say oh, yes you did something and try to pretend that they didn't know what you achieved. Mainly just they are afraid of you. The thing is that then when you grow your band even bigger they come back and lick your ass with a lot of phony awards try to make it up. Still, when you are at that point you are too big to be ignored. When you are in this stage you are on the way to the big stuff. You just have to swallow your pride and move on.

Wednesday, February 14, 2018

Seminars that tells you nothing.

I have been on quite many seminars about really nothing. Right now is the big trend to tell me things around social media that I can't do. It's always from some social media company telling you tips and tricks that you can do on social media.

The first they start with is to show you what Beyoncé did on her last campaign. No shit sherlock can you do that, what is the price tag? Of course with the budgets, we have for our artists there's just starting out the things Beyonce do is not even in our reach.

Sure many things are quite simple. The thing is there are some lectures that talks about the easy nice things you can do almost for free or a little budget. Then you have the ones that talks like getting your own damn filter on snapchat are something a small band even could do.

The funniest things are it never fails when I look up these companies own social media numbers they are often much lower than my own blog. I guess next time I would demand to get Beyonce there to tell me the things she has done. It seems like a bit of the same chance that it will happen then I will learn from this.


Tuesday, February 13, 2018

It takes years to build network!

I don't know how many new people that want to get in the industry every year. I would guess 5% is still there after 5 years. Many end up on some service function in the office many go out to never be seen again.

The mistake they do is to count in that it goes fast. I have now worked 30 years in the industry. That is my whole adult life. It has been up and downs. The most important change of network.

It's the network these new ones miscalculate or the time to get them. My first network took 10 years to build up. Today very few are still around. Since the network built on physical sales and distribution, they were wiped out around the year 2002.

Then I build a new network, quite Indie also a lot of testing and new innovations. And that took 10 years. And to be honest most of them are also gone now.

I'm in my next 10 year round. I don't know who will be around in this new wipe out. The few people that been around all periods are surviving. But they are around 10% of the network of today.
For example, the students that come out think wow I got an education and know how the basics work and I had an internship at a music company is a safe ground. No, you have to do the first 10 years then a wipeout (wipeout is technical changes that happen every 10 years). Then you start to be something.

Many calculate that this goes faster. But there is no way. You have to do certain errors to learn to calculate the situation. You also have to adapt, sitting on one post won't do anything.


Monday, February 12, 2018

The Damager.

I usually speak good about to have a manager. It great having someone doing tasks and stuff and hopefully gives new opportunities to your career. But it's not always that good.

The past week I have been meeting managers that really just destroy for their artists. Mainly managers that are too pushy. Also, demanding things that are really not relevant and are quite frankly rude in their approach.

I just had a conversation with a manager that was bragging and pushing to get a deal. Of course, he used the old thing, that he had several other interested and couldn't wait. I managed to get out of him who the other was and one of them was a friends company. The funny part was that we had been discussing this band a week earlier and my friend told me they had applied but he had turned them down since he didn't like the manager.

Another manager contacted me for a PR job in Sweden. All she had to tell was that I should get them a record deal in the Nordics with the PR I was supposed to do. Here is a major problem no one gets a record deal from a bit of PR. Then the PR must be very very good and cover quite unique things. The more I spoke with her to more I really got how inexperienced she was. There was no clue what so ever what she was talking about, all same old cliches were used.

These bands might be good but the reflection of their management can be very devastating. In this case, I meet both the artists in other things and they both praised how much these managers got them done. They had no clue how much that was probably taken away from them with the pushy attitude and inexperience nonsense.




Friday, February 9, 2018

Update is very important

Update people. Yes, you really need to update your team. I think I wrote about this a while ago but it's so important I can do it again.

This is really not my strong side either. I try to set up schedules so I can update teams I work with on regular basis. I know through I can be better on it.

Also updating is a really good way to remind people. The art is to do it at the right time. If you update too many people doesn't pay attention to the message. If it is too seldom people start to forget about you.
And update with news what you have done. No one likes messages where you ask what they have done for you lately. Or if you can check that they have done their job properly.

Thursday, February 8, 2018

See the whole picture

If I could paint just the mouth of Mona Lisa as good as Leonardo Da Vinci did, it's still not the Mona Lisa.In The Mona Lisa, there are details that are really important. But it's the painting as a whole that makes it a piece of art.

When it comes to developing bands you have to look at the whole picture. I know it's tempting to start looking into details.

What's the point of having a really nice front cover of the album if the music on the album sucks?
I just spoke to a band and they were arguing what their backdrop should look like. My question was how many tour dates they had and the sizes of the stages.
- We don't have any shows booked, but as soon we have the backdrop we will start to book.
The backdrop detail that really doesn't matter, now almost became the downfall of the band in disagreement.

Just a great guitar solo won't make a song. The best microphone in the world won't change that the singer can't sing.

It's always the whole picture. You need to get things along the way when you really need it. Not let the things be the scapegoat to continue one. In many cases start practicing to get better and then add the details so the whole picture gets strong and a piece of art.

Wednesday, February 7, 2018

Pay to play

Showcasing gets more and more complicated since it becomes more and more vital for artists that really want a career. The festivals provide the gateway to a more and more international global market.
So far it has been quite fair. The best discoveries have been invited and you had special stages for organizations (bookers, export offices, record labels etc).

Now I can see a rising trend to buy into festivals. Last year one of the bigger one in Europe didn't even have application almost all stages were bought by organizations.
The problem with this is that the organizations in many cases demand to have their own picking of bands. The organizations also have an agenda and are not always pick the best and choose more political.

Okay, many are going to showcase festivals to meet people in the business and not so much seeing bands. Still, I can see the quality going really down on some festivals.  Even to the point I just took one off my schedule.  The lineup is so corporate there is no point scouting there any longer.
Also, I can see like two camps forming in the festivals. The camp with paying artists that very often doesn't reach the standard. And then the second camp with extremely good bands running over these paid options. It's becoming a problem.

Tuesday, February 6, 2018

Wrong aim

I was talking to a manager during a showcase that was complaining about that his band never got out anything from showcase festivals.

He was taking his band to this festival and complained that he didn't get a record contract. I asked if he got something. Yes, a booking agency got interested and signed the band. He kept complaining that the booking agency didn't get his band a tour fast enough and had kicked them. He now wanted to go back to a smaller showcase festival in the same country. I wondered if that was wise since I know the Booker and they are the best in that genre and the festival is perfect to be discovered. So why try a smaller one?

Later that night I meet the organizer of the smaller festival and talked about it. Then the organizer told me that they got paid to have that band and told me that they always paid well to get this band into festivals. Their country's export gave money for that.

We later saw the band. And it really sucked. A mediocre shit band. Of course, they could brag about many festivals, they paid their way in. Of course, the results were not that good. The product was not ready at all.


Monday, February 5, 2018

Better Networking

I'm on my way back from MENT a showcase festival in Slovenia. Of course, I come back with several opportunities for the artists I work with. Right now I think the smaller showcase festivals are the best to get a bigger network. And where the future music industry is happening.

What I don't get is people that attend these festivals and complain that nothing happens. Sure if you only play and not mingle around. I guess you can manage to get nothing to happens. But then you have missed the purpose of showcase festivals.

Also if you are aiming totally wrong. You might think that you get nothing out of it. No, the biggest festivals won't book you just because you play.