I recently had the pleasure of meeting Emily White, music director of WVAU radio. WVAU is American University’s student radio station. They broadcast online 24/7 from the Mary Graydon Center in Washington, D.C. Emily kindly agreed to answer a few quick questions for me:
1. Do you have a policy at WVAU about covering local music?
EW: I wish we had more local DC music! Next semester, we are appointing a “Local Music Director” to work with bands and labels in the DC, MD, VA area. Local music goes through the same system as all other submissions.
2. What advice would you give musicians submitting music to you?
EW: It’s a largely digital industry now. The number of digital albums we receive far outweigh the physical CDs. In that way, it’s almost smarter to send us a physical CD or physical promotional items– they are much more likely to get my attention. A CD with interesting packaging by an artist or label I’ve never heard of is more likely to be listened to then something in a plastic sleeve. I love getting posters, stickers and buttons in the mail. Including a hand-written note is also a sure-fire way to get my attention.
We get a lot of emails every day. It can be very overwhelming to sort through them all and since I have a filter for emails from promotional companies and labels I already work with set up, new submissions can easily get lost. The best tips for formatting your email to get my attention are:
Address me and my station by name. I am automatically more inclined to read an email that doesn’t look like a form letter e-blast and is tailored to our station.
Give a link to an album download. I don’t care about your bands latest TV performance or newest tour dates, and I don’t want a link to stream the music on Stereogum— I want a link to a download of the album. And I don’t want to have to search for it.
Give quotes. When I get an email about an artist I don’t know, I automatically skim the email for a quote from a source I trust (for example Spin, Under the Radar, NPR or various other blogs, publications, and journalists.)
Don’t write paragraphs of text. It looks amateur, and I won’t read it. I’m looking for personal emails, but I am also looking for professional and well formatted emails. A short greeting, photo, links to social media and websites, some quotes, a tour date in my area and the download link. That is it. I can google any additional information for myself.
3. How do you discover music at the radio station?
EW: Some of the fondest memories of my college experience have been sitting on the floor of the station on Sunday afternoons ripping towering stacks of CDs onto my laptop. My personal library more then tripped after becoming a part of college radio. I discover new music through being a DJ every week. At our station, we have music staff to write reviews for every new album we select for the station. Every review includes a RIYL (Rip If You Like) label with similar artists and I often use this as a guide as to what I might like.
4: What key elements make a track “radio friendly”?
EW: A radio friendly track is under 4 minutes and doesn’t have an excessively long intro. We don’t have a policy on swearing in music or censor our content.
5. What grabs your attention online when you searching for details on an artist or music genre?
EW: A modern looking and up-to-date website. References to influencers and similar artists. What label they are on.
There’s no doubt about it. Mobile marketing is the term “du jour.” Music industry conferences, networking events, the twitterverse and blogosphere are on fire with mobile marketing chit-chat. Bands apps, QR codes, SMS marketing….it’s a never-ending mobile maze.
This is the first blog post in a three-part series attempting to demystify the issue of mobile marketing. I’ll be exploring the foundations of a solid mobile marketing strategy for musicians and identifying what tools are out there for the DIY music community. But firstly, what does mobile marketing actually mean to your average, trying-to-do it all local musician?
Recently the Washington, D.C. independent experimental pop-duo Bluebrain set a precedent by releasing the first ever location-aware album, The National Mall, via an exclusive iphone app. But is this level of mobile marketing accessible to other local and regional artists?
I set out to delve deeper by talking to a handful of local musician friends in Washington, DC.
What Mobile Platforms Are You Currently Using?
There are a multitude of mobile marketing solutions available. Companies such as Beetag and QR Stuff are offering affordable QR Codes for musicians. Band apps are now available to musicians via companies like Mobile Roadie and MobBase. But are these platforms being utilized on a regular basis by independent musicians? Has mobile gone beyond merely social media updates? Let’s hear it from the horse’s mouth…
“At this point, I use my phone to make social network updates and respond to emails. I realize it can be much deeper, but I have yet to dive into many of the latest apps and new technologies.” Dan Fisk, Singer-Songwriter
“I don’t have a mobile strategy that would necessitate a mobile platform. I do foresee a time in the near future where I will utilize short codes…Also, developing a mobile app for fans to download will probably be the way I distribute my next album. At that point I’ll research 3rd party companies who are providing these services….” Rene Moffatt, Singer-Songwriter
“We’ve used text messaging for years and have also looked into creating a mobile app for our band, which really was not that appealing for independent musicians until recently.” Zach Bella, GroundScore
“I’m currently working on building an “Adrian Krygowski” app. It should be part of my new campaign for my EP release, “Hope for Us” in spring of 2012.” Adrian Krygowski, Singer-Songwriter
“Apart from using a QR code at our shows a handful of times, we’re not really in the mobile marketing game.” Garron Marsh, BraveNoise
How Accessible Do You Think Mobile Marketing Is To The Independent Musician?
Many independent artists are creating simple band apps that make their content available to fans via mobile devices. These types of band apps are available from approx. $500 upwards. But what about the more complex apps and mobile initiatives used by established artists like Arcade Fire, Alice in Chains or Sting? Is accessibility merely an issue of money? It seems that various factors come to play….
“More advanced mobile marketing solutions/platforms are either harder to come by or out of reach financially for the average musician. But I expect music technology companies like ArtistData, Topspin and the like to roll out more mobile tools for the average musician to utilize.” Rene Moffatt, Singer-Songwriter
“I intend to fully embrace mobile marketing but it’s definitely not accessible to your average musician. Mainly because it is still so new and most musicians will wait until it is completely necessary to their career before diving in. Why spend time and money spinning your wheels until you see how best to use it?” Brian Franke, Singer-Songwriter “
Marketing in general is always a sliding scale of how much to spend vs. how much time and effort to spend on your craft, and mobile marketing is just the newest generation of marketing.” Adrian Krygowski, Singer-Songwriter
“For us right now, mobile marketing means very little. I think you need tech-savvy band members. Unfortunately we’re not in the position to develop much ourselves. I think if some software, or some kind of very user friendly platform came about, it would be hugely useful, and would find a lot of customers/bands that are in a similar position.” Garron Marsh, BraveNoise
The Take-Away
From observations and conversations with my local music community, my overall impression on the issue of mobile marketing is……
* The majority of independent musicians still only use their mobile devices for social media and the occasional SMS marketing.
* The world of personalized and exclusive band apps tends to be accessible only to a handful of artists. These artists tend to be extremely tech-savvy, have the strategic direction of a label/team, or they have the finances to hire a developer.
* Those independent artists who have experimented with mobile marketing in the past have been inconsistent in their efforts. Their actions have not been framed by a strategic or consistent marketing plan.
So where does this leave us? 2011 has seen an explosion in consumer mobile consumption. For example, according to comScore, more than 14 million Americans have scanned a QR code or bar code with a mobile phone in 2011.
Hubspot also revealed some interesting statistics regarding mobile phone usage this year, a standout fact being that 91% of all U.S. citizens have their mobile device within reach 24/7.
We’re all realizing the importance of mobile marketing. Independent musicians are indeed starting to experiment and explore their options. Will 2012 be the tipping point between experimentation and integration? Check back next month for my post exploring the key to effective mobile marketing – strategy!
Album finished? Check. Tour dates? Check. Press photos? Check. Press release? Check. Biography? Urgh!
If you’re not a spectacular storyteller or wondrous wordsmith, then the task of writing or updating your biography can seem like an arduous task. However, a biography is an essential item in any musicians marketing tool kit. It positions your brand identity, communicates your key achievements and provides background info to fans and media alike. Here are a few pointers to help you on your way…..
Interview Yourself
If you’ve not yet put pen to paper, the best thing to do is put yourself in the position of a journalist. Devise a list of questions covering your career and interview yourself. Gain ideas and angles by reading up on blog Q&As, or identify interview questions you would ask a favorite band or artist. This will make the process of gathering your bio content a lot easier. While you are interviewing yourself, write down as much info as possible. You can edit this all later.
Plan Your Structure
Mumford and Sons
Your bio is not your life story. It’s a concise and well structured overview of your music career. This is why planning the format is key. Think carefully about what you want to include in each paragraph and keep the following in mind:
1. Define your key achievements. If you have performed with well-known artists or received awards or accolades, then now is the time to rave about them. List them according to their newsworthiness.
2. Your bio does not need to be chronological. In fact the first couple of paragraphs are often the most important as they’ll determine whether a journalist or fan will read on. Ensure that the beginning of your bio provides an effective summary of your sound. For example, the Mumford and Sons bio conjures an image of their offering from the outset.
3. If you’re in a band, stick to writing about the band’s overall story, rather than each individual member in detail. It’s okay to dedicate some space to each member as long as the bio starts and ends with the band. Don’t kill the reader with detail – keep it focused.
Find Your Narrative Style
Adele
If you’re not a naturally gifted writer, than discovering your “writer’s voice” is one of the most difficult tasks. But don’t panic! If you write with passion and personality, you are halfway there. If you get stuck, utilize press quotes or even quote yourself. Adele’s biography is a good example of this.
Alternatively ask your friends and family to provide descriptors, and get feedback from them on your writing style. If in doubt, keep it short and simple. Balance style with substance.
Create a Work In Progress
Make life easy for yourself and write a biography that is easy to update on a regular basis. Adopt a style and format that is timeless and easy to add additional information to as your career progresses. Keep your bio as concise as possible — make every word count. If you struggle fitting all relevant information into one page, create both a short and long version that can be used accordingly.
It’s easy to forget the importance of good old traditional human contact. With all the hype over Facebook, Twitter, Foursquares and now Google+, most musicians are under pressure to be online 24 hours a day. However, one of the most effective ways to network is still face-to-face. Remind yourself of these following five principles when you go on your next schmoozathon and you’ll be good to go -
Quality Not Quantity
Networking at industry events should never be viewed as a numbers game. Musicians and industry professionals who race around trying to gather as many business cards as possible are forgetting the most important aspect of networking – good conversation. I strongly believe that establishing a genuine connection with a handful of people (even just one) will make you much more memorable than getting into the face of dozens.
Think of it as similar to dating – ask questions, listen and get to know your colleagues or potential fans. You may not gel with everyone. That’s okay. You don’t always have to aggressively target the people you feel you “should” know. Being relaxed, friendly and genuine will make you much more memorable.
Giving Not Getting
When I first moved to the US, I was really touched by a handful of people I met at events who went out of their way to help me for no reason at all. They either introduced me to friends of theirs or sent me information about a topic of conversation we were discussing. They asked for nothing in return, and as a result instantly stuck in my mind. This made me realize that by focusing on what you can give, rather than what you can get will lead to more valuable relationships in the long-run.
Everyone is Equal
We’ve all seen it hundreds of times before – those people whose eyes glaze over when they realize that the person they are talking to is “not important enough”. We all have agendas, and time is money, but mental hierarchies are presumptuous and arrogant. You should always view everyone as equally valuable. Remember the proverb “great oaks from little acorns grow’.
Be Prepared
No one likes a musician who aggressively shoves a CD in your face. However, being prepared with CDs, business cards and flyers is a must. You just need to ensure that your timing is right. Use your judgement, be courteous, humble and realistic. Always remember the basics too – label your CDs with contact details, and ensure that your business cards and flyers are striking, brand-consistent, and readable.
The Art of The Follow Up
We all know how important it is to follow up. You just need to think carefully about how you are going to do it. I hate it when someone tries to friend me on Facebook without as much as a message to say hello again. Try to make it as personal as possible – a chatty email re-introducing yourself or a shout-out on Twitter. Even better, send a hand-written note or put in a phone call. Think it through and make it worthwhile.
I’m finally getting around to re-posting a blog post I wrote for the Marketing Trenches blog back in December 2010 which discusses mobile marketing and the music industry. I wrote the blog post after attending a 6 week Interactive Marketing course at Georgetown University. We covered topics such as e-commerce, search engine optimization and search engine marketing (to name a few). However, the topic I enjoyed the most was mobile marketing, led by Vince Buscemi, VP of Mobile Operations at MindGrub. Here’s the blog post again -
Buscemi’s presentation made me think about mobile marketing in the music industry. The music industry is one of the first arts industries to embrace mobile marketing. Many successful music marketing campaigns have centered around SMS marketing. For example, the multi-platinum selling British band Take That launched a joint mobile marketing campaign with Play.com to promote their 2009 “The Circus Live Tour.” Via text messages and redeemable online vouchers, fans were offered exclusive content at concerts.
In the live concert setting, SMS marketing is constantly used. I recently attended a Black Eyed Peas concert at the Verizon Center in Washington, DC. At the beginning of the gig, fans were asked to text comments to the band. During the gig, Will.i.am performed an improvised rap using the text messages sent in by fans as his lyrics. The audience loved it, and in the space of an hour, the band collected numerous cell numbers for future mobile marketing campaigns. Results!
However SMS marketing has its drawbacks. As Keith Center, lead singer of The Dreamscapes Project, says: “Text messaging makes a huge difference in your connection with your audience and attendance, but your welcome can be worn out extremely quickly!”
So does our future lie more in the mobile apps market? The Grammys seem to think so, judging by the launch of an application earlier this year called “Guess the Grammys.”According to MobileMarketer.com, the app allowed consumers to “register their guesses and challenge friends to play along.” After the show, consumers were sent an email showing how well their guesses stood up against the actual winners. Consumers could also buy the nominated music because the application redirected them to the iTunes store. Apparently, after just one week, the application had 50,000 downloads.
What other mobile marketing trends will be affecting the music industry in the near future? According to Buscemi, “Augmented Reality” and location-based marketing will dominate. I’m familiar with location-based marketing with the rise of FourSquare and Gowalla, and the success of companies like Groupon and Living Social. However, “Augmented Reality” is a new concept to me.
According to Webopedia, Augmented Reality is “a type of virtual reality that aims to duplicate the world’s environment in a computer. An augmented reality system generates a composite view for the user that is the combination of the real scene viewed by the user and a virtual scene generated by the computer that augments the scene with additional information. The virtual scene generated by the computer is designed to enhance the user’s sensory perception of the virtual world they are seeing or interacting with.”
Buscemi provided a more accessible example of Augmented Reality. He explained that very soon, we will be able to walk into a shopping center, and, thanks to information from our mobile devices, every sign we see or walk past will be targeted to our individual likes/dislikes, location/preferences etc. This is similar to how Facebook caters ads to our personal preferences, but it will take place in the physical world. For more, check out Mindgrub’s blog post on Augmented Reality.
Mashable also recently published a post providing examples of other Augmented Reality type marketing tactics including QR codes and NFC tags.
So what does “Augmented Reality” mean for the music industry? I’ve already noticed the use of QR codes at the SXSW music conference last year. Fans could scan a bar code on a poster and download music and content straight away. Will we soon start walking past music venues and see adverts for bands targeted personally at us? Will bands be able to cater their set lists according to the information they receive about certain types of fans attending a certain gig on a certain night? How predictive will our musical experiences become? Will these marketing tactics be available only to a privileged elite, or accessible to the “musician’s middle class”?
Check out my second blog post for music industry website WeAllMakeMusic.com ……………
If you can’t afford the luxury of a publicist, dealing with the media can be a daunting, even overwhelming task.
But it is also a necessary one, and to make the process bearable, there are a number of things you must do BEFORE you can approach music journalists. Here are a handful of tips:
Research, Research, Research!
The first step is to research the media you want to approach in each city. Put together a list of TARGETED media, and familiarize yourself with their submissions process and editorial lead-times.
This involves old-fashioned legwork – find the biographies of certain journalists and read past articles, and call editorial teams to ensure you have the right person’s contact details. This will take time, but taking a targeted approach to your campaign will pay off. It will be much more beneficial to reach out to 50 journalists you know cover your genre of music (and cater your pitch to each one), than send impersonal emails out to 150 journalists whom you are unfamiliar with. Journalists will notice your attention to detail and are much more likely to get back to you. It will also avoid the problem of calling or emailing them when they are on an editorial deadline.
Be Physical AND Digital
Although we are moving more and more towards a digital submissions process, there are still plenty of journalists who want to receive physical product for review. Thereʼs something about receiving a well designed, professionally produced CD with eye-catching artwork that still says, “Take me seriously.”
Those adjectives are key. DO NOT send demo CDs or CDR copies of your album. They will not get reviewed. Your best bet is to have both physical CDs ready to send, and also have your full album available for download and streaming via a secret link. SoundCloud is great for this.
If you are sending physical CDs, do NOT send them shrink-wrapped. Also, always put a sticker on the CD with your full contact information; the CD will probably get separated from the press release.
Keep It to One Page
If you are sending out physical product, you donʼt need to send reams of information with it. I recommend sending a one page press release or biography that sums up your music, unique selling points and career highlights and achievements so far. If you aren’t a good writer, then get a professional to write something for you. Itʼs definitely worth the investment. If your one-sheet is good enough, you may even see journalists use certain sentences/summaries in their write-up about you. Itʼs also helpful to have the press release or biography professionally designed with your album artwork or logo on it. The more visually engaging, the better.
Online Press Kit
Always have your press kit available online too with your press release, biography and press photos available all as downloadable documents. Also have high-res and low-res versions of your press photos. You can have this available on your website and/or utilize sites such as Reverbnation, SonicBids or drop.io.
Be Web Ready
This may seem obvious, but you should make sure all your online platforms are up to date before pitching to media. If a journalist is interested in you, he/she will most definitely check you out online. Although Myspace has declined in popularity from a social networking perspective, many journalists still go there first to listen to your first track before deciding to request a copy or download of your album. Make sure the first track on all your online music players is your strongest!
Also, make sure your website and social networking sites are branded consistently. Make it easy for the journalists to listen to your music and find further information about you.
Follow Up, Up and Away
Last but not least, donʼt forget to follow up on ALL your media outreach. Journalists receive hundreds of pitches per day, so you really need to draw attention to your enquiry. They will expect this. Just make sure you are courteous and professional with your follow up, and ensure that your persistence doesn’t turn into harassment.
Whether you are a new local band that is trying to break into the Richmond circuit, or an established band outside of Richmond who wants to become a bigger part of the River City scene, you will want a little advice on which direction to get started. Whatever the case may be, here are a few pointers to help you take advantage of what Richmond has to offer and help you break into this musical microcosm.
1. Get in the Streets, on the Web, and on the Air
The best way to take Richmond by storm and get your band’s name and music out to the public is by being proactive. Hitting the streets to hang posters and hand out flyers in coffee shops, bars, and local hangouts throughout the Slip and the Fan districts is a great way to reach potential new fans, as well as build up buzz for an upcoming show or record release, etc.
Making sure that you have a strong local web presence is very important as well. Sites like the “Scene + Heard” blog on Richmond.com and the “One Way Richmond” blog, as well as live music calendars are all ways to make yourself more accessible to your fans. Join the social network of local Richmond artists on Facebook’s “RVA Musicians” group page. It was recently created to help improve local artists’ networking abilities. It currently has over a hundred members and is growing each day.
You should also send your demos and EPK to local magazines such as RVA Mag and Magazine 33 for example. Try asking if they are interested in running a story about your band, or reviewing an upcoming show. Another way to reach Richmonders is through the air waves. It is always a great idea to send demos to local college radio stations and/or radio shows that play music similar to yours. WRIR 97.3 is Richmond’s independent radio station and features a weekly show called “Activate!,” with Mike Rutz. In essence, the show is a music calendar for your ears that takes place every Wednesday night, with songs from bands that are to be playing throughout Richmond that weekend. Getting air time on shows like these can greatly expand your exposure, as well as build buzz for an upcoming event.
While implementing these strategies, be sure to pay close attention to your brand and how you are marketing it across these different media. You don’t want to be sending conflicting messages that confuse or turn off your fans.
2. Get to Know Your Fans
Email lists are a great way to reach your fans, increase your exposure, and thus open up marketing opportunities. You should always have an email sign up list available at live performances, as well as on your website. You may also consider giving a limited number of free CDs, digital downloads of new songs, or other perks to those who are first to sign up for your band’s email list. By sending out important monthly newsletters with pertinent information about your band, upcoming shows, record releases, etc., you can more easily target your market and grow a deeper connection with your fan base, while simultaneously keeping them in the loop. If you don’t already have a mailing list set up then sign up to Reverbnation.com or Fanbridge.com
3. Know Your Venues
When deciding on venues, one should look at the types of bands that typically perform at certain venues. Be sure to pick those closest to your musical style. For example, if you are a jam band, maybe you want to play a show at the Cary St. Café, where the Dead had played shortly after Jerry’s passing. Or maybe you’re a punk rock band that wants to play at Strange Matter, the former Nanci Raygun. No matter where you decide to play, you always want to have a nice demo and press kit, if possible, to give to club promoters, managers, or whoever organizes the live music when trying to book gigs for the first time. They want to know that you can bring in a large crowd, so if you can show them that you have X many friends on MySpace (or that mailing list you just made) or pictures/video of your performances with big crowds, do it! Also, remember to be professional, on time, and never burn any bridges. It is a big little city, and people talk about the good and the bad.
Here is a list of twenty venues/restaurants/bars that host live music throughout the week:
4. Create Strategic Alliances
Creating strategic alliances with other bands and sharing resources will help save time and money while increasing your listenership. For example, by sharing the bill and implementing cross promotions with other local bands that have comparable styles, you can cut costs on advertising while combining your mailing lists to bring in new listeners and increase each other’s fan base. This tactic is great for up and coming bands on tight budgets that really want to play for larger crowds and build a following.
I was very excited when I was asked to be a regular guest blogger on NY-based music industry website WeAllMakeMusic.com. Check out my first blog post below regarding album release dates which ran a couple of weeks ago -
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All too often, musicians rush their new album’s or EP’s release without considering what the best time-frame for that release may be. Just because your album is done doesn’t mean you have to rush it out – there are numerous factors to take into account before you confirm your release date.
Here are some tips on how to schedule and promote your album’s release:
If You Can’t Ship It, Don’t Promote It
Don’t announce your CD release show or release date until you have your physical or digital product in hand! Most of the time recording, manufacturing, and artwork take a lot longer than expected. Don’t start creating hype about your release date, unless you are certain you can deliver the product to your fans! This also applies to your CD release shows. If you don’t have your physical product to sell at the show, then this is a wasted opportunity!
What’s the Best Quarter For You? Each sales quarter has its own advantages and disadvantages. The fourth quarter, for example, which runs from October to December, is traditionally the most competitive time of the year to release an album. All the major labels and big independent labels are releasing their latest products, and therefore consumer and media attention is often focused on established acts. That leaves little space for unsigned or local acts. It may be a good time of the year to start a teaser campaign by covering a well-known holiday song and posting it to your Youtube channel or using it as a free download. This will help you build up your fan base, tap into the fan bases of other artists, and maintain your visibility during the manic holiday music season.
By contrast, the first quarter of the year, January to March, is often the best time of the year for a new artist to release, as it’s the least competitive. Media is on the look out for what will be hot in the new year, so it’s perfect timing to introduce yourself to bloggers/journalists/radio producers etc. However, it may be hard to draw a big crowd for your CD release shows as consumers will be watching their bank accounts after the Christmas spending spree. The Valentine’s Day period is one of the biggest sales periods of the year so also think carefully about your release around this date.
The second and third quarters are festival time, and a lot of editorial space in music media will be dedicated to festivals. If you have managed to secure some festival slots, then this is a great time to have a new product out in the market place. You can harness festival fever to your advantage. Be aware of key holiday dates like July 4th when people often take vacations, or big sporting events; consumer, media and gig attendance will be low around these periods.
Know the Time-Line of Your Target Market
For example, if you’re targeting college kids, then be aware of term time dates, college radio schedules and lead times for college gig bookings. Don’t release an album over the summer when everybody is on vacation.
Plan a Comprehensive CD Release Tour in Conjunction With Your Release
Journalists will want to see that you are in demand as a live performer before writing about you. Keeping that in mind, it’s important to note that the two quietest touring months are January and July. That can make it difficult to find other acts to partner with on gigs.
Ensure Your Music Fits the Season
Is your new album/EP jam-packed with summer tunes? Are they winter-y and romantic? Again, think about creating bonus tracks to exploit holiday themes in order to capture the imagination of new fans.
Be Aware of Lead-Times
Typically, magazine editors plan their issues three months in advance. This means that, even for the biggest artists, PR reps need to notify editors about upcoming releases several months ahead of time.
In comparison to established acts, your release date won’t be “newsworthy” to the media, so you will have the flexibility to work your release for six to nine months. You should still be aware of editorial lead times as many journalists will want to link album reviews with your tour dates. Even for short-lead media, such as online magazines or blogs, the process of introducing yourself, sending out information and following up takes time and persistence.
To summarize, make sure you thoroughly research the following factors before confirming your release date:
Sales periods across the year.
Holiday dates and festival dates.
Editorial timelines and factors affecting limiting editorial coverage of new artists.
Local, regional and national events that may interfere with gig attendance and fan outreach.
Remember, do not rush your release. Plan, plan, plan!
I was very happy when Amber Foster, one of the most well-respected booking agents in the DC area, agreed to do a quick-fire Q&A with me. Check out her insights into the DC music scene and her invaluable advice to musicians on the touring industry:
1. Tell us about what you do in the DC music scene?
I am a full-time booking agent for Last Call Entertainment, a managing partner in an artist development/management firm, and a producer for a local radio show on DC101 called Local Lix. I’m also a fan who gets out to see live music as often as possible.
2. Have you seen the DC music scene change a lot in the last 10 years?
In some regards, yes. The goal for most bands has changed…musicians are no longer relying on record deals to succeed- today there are so many DIY tools that have changed the game completely. Technology has changed the game also…Years ago I remember having to stand outside shows and hand out postcards to promote a show for bands I was managing…these days you have mailing lists and Facebook and MySpace and Twitter and text-messaging and all these ways to connect instantly with fans. Technology has changed booking also…today it can be as simple as sending an email or and EPK (electronic press kit) or even a link to a YouTube video to a prospective talent buyer, promoter, agent or venue owner. I can’t remember the last time I actually had to send in a physical press kit with a CD for one of the bands I represent, or the last band I booked as a result of receiving one of those. Our entire booking system is automated…even contracts are generated automatically and electronically. It’s much easier these days for bands to gain exposure and there are so many outlets for discovering new music, whether online or even with film and TV licensing or video game placements.
In some regards the scene is the same…there are still tons of bands…there is still no cohesive “scene” but rather sub-scenes based on genre and location…Bands and musicians continue to move to bigger music markets (NYC/LA/Nashville/Austin) to “make it” as though geography is what is holding them back. (and perhaps it is, though I don’t subscribe to that- I think it’s merely a matter of time before the spotlight is on DC)
3. What DC bands are you particularly into right now?
This is a tough one as there are SO many great bands with roots in DC. Some closest to my heart were DC transplants who have since moved on to NYC and these include Alfonso Velez, formerly of Monopoli fame, and Shwa (Losben). I know they both consider DC a home of sorts so I hope that counts. Other favorites have included: Justin Jones (first artist signed to 9:30 club records which recently launched!), Middle Distance Runner, The Dance Party, The Blackjacks, Army of Me (and I’m super excited about Vince’s new project- River James), David Andrew Smith, The Hint, Todd Wright, The Sketches, Shane Hines, Emmet Swimming, Niki Barr Band…I really could go on and on…there is so much talent here!! I’m also excited to see Deep River, which is Luke Brindley’s new band and first release for Go Team! Records, a new label founded by Daniel Brindley. I’m fortunate to be surrounded by so many insanely talented artists and music industry pros.
4. What are your top tips for bands and musicians wanting to tour in the DC area?
First, do some research on the venues that make sense for your bands style…i.e., if your band plays death metal, then IOTA Club & Café might not be your best match. Don’t waste your time trying to book shows at the wrong venues.
Team up with similar genre bands and gig swap- Host them as an opener at your hometown headliner, and let them return the favor so that you will have higher chances of performing to new potential fans.
When reaching out to agents/venue owners, be proactive and list your avails, or the timeframe which you will be routing through if this is a gig inquiry for an upcoming tour. Give the agent a few alternatives and be realistic about your draw in that market. Outline your typical promotion and media plan so they can feel comfortable offering your band a chance. If you have family or friends in the area, be sure to mention that as well.
Once your agent confirms a gig, there are a few important things to remember. First of all, make sure you do what you can to have a contract for the show. Most established agents will send you a contract. Be sure to sign and return by the stated deadline. Make sure you also save a copy of the contract to bring with you to the venue in the event of any discrepancies when it comes time to get paid. (By the way, when you do get paid, make sure you count back the money to the person who gave it to you, if they pay via cash. Don’t just stick it in your pocket and assume their math is correct…you might get screwed out of what you are owed. If you are given a check, make sure the amount is correct, that it is signed, and that it was made out to the correct person/company. It is much easier to correct payment errors on the spot than after the fact! Trust me on this!)
Besides making sure your paperwork is in place for all confirmed gigs, also advance the details once again. Call the venue the week of the show, or prior to heading out on tour, and reconfirm all details to be sure there are no discrepancies… I have heard many stories about artists who drove all the way to a club several hours away to find out they had no show upon arrival, whether due to double-booking or just general confusion.
Your next step should be to list the gig on your website/MySpace/etc. You should also send show posters, usually 4-6, directly to the venue to arrive about 4 weeks before your show date. If you have a demo CD include that also in the event the house DJ wants to spin it before you arrive. Venue owners like when bands promote themselves and they will be more apt to rebook you when they see this effort.
After your gig, take a few minutes to say hi to your fans if time allows and there is no band after you. If you are not the last band, move your gear as quickly as possible off stage and load out. Make sure you thank the manager for having your band. Please be sure to tip your bartenders/servers well. These people sometimes have influence over who gets rebooked and they will sell you out if you fail to tip a customary amount. If the bar was kind enough to comp food or drinks, be sure to tip on what it would have cost, not the discounted amount. Thank your sound engineer as well- a nice gesture is to tip them, even if something minimal…$10-$20 goes a long way. They too have influence many times over the management as to who should get a second show. The next day or so, send an email to your agent to follow up on the show, and to thank them again for the opportunity. Do the same with the venue- bonus points for sending a handwritten thank you note. That will go a long way towards ensuring they don’t forget who you are so next time you want to play that room, chances are it will be easier. Finally- if a booking fee is due, which it likely is if you used an agent, Please pay on time! Agents rely on your booking fees…it is likely their only source of income! I know agents who refuse to rebook bands who are consistently late on paying commissions. Don’t become that band!
On occasion gigs get cancelled and it is beyond the agent’s or venues control. Please be flexible and understanding when this happens. It is already frustrating enough to the agent to lose the gig…they do not need additional attitude from the musician. In this industry- things change every day. Venues close down. They change management. Etc. Know that things can change anytime. If one cancelled gig means you won’t be making rent…or you might not eat…perhaps you should consider getting another job. You cannot count on things to work out perfectly every time. Know that going in! Sometimes agents make mistakes…they are human, and it happens. Occasionally you will have to cancel a gig also, and agents should be equally understanding of that. People get sick…emergencies happen…if this happens to you, please make sure you call both the agent AND the venue as soon as possible. Don’t wait until 7pm the night of a gig to cancel if you can avoid it…if you wake up sick, call in the morning so the agent has a chance to re-fill it.
5. Are there any online tools you recommend to artists for tour promotion and management?
I recommend Reverbnation for an EPK (electronic press kit) and that or Fan Bridge for mailing lists. Bands need a real website in addition to social networking sites like Facebook and MySpace, and Twitter is a great way to connect with fans also. ArtistData is an easy way to update all those sites at once. Bands who want to track finances and merchandise should try Giggin’ Band Accounting software. Check out Sonicbids, OnlineGigs, and GigMasters also for additional booking opportunities. Actually…this has several great resources: http://www.youtube.com/watch?v=c7ANYvXP1hY
6. What are the most common mistakes you see musicians making when they are trying to book tour dates?
Some bands try and tour before they are ready- Start locally and grow your fan base in your own market, and then start to expand other local and regional markets. It does not make sense to spend the money to tour in an area where no one has ever heard of your band, and if you don’t have an existing fan base it will be tough to even book shows.
NEVER lie to an agent or promoter about your anticipated draw. Inflating your numbers will only hurt your bands reputation. It’s always better to be honest. Under-promise and over-deliver.
Don’t try and tour until you have merchandise to sell or even give away. This is not only a great revenue generator to help with the tour expenses but it ensures that your new fans will remember the band. At the very least you need to be able to leave them with music, even if it’s just sampler CDs you burned on your computer…getting the music out there is really important.
Tour smart- minimize unnecessary expenses. Do you really need that band van and trailer? Maybe you do…maybe it’s more economical than driving four separate vehicles, but make sure you can afford the payments if you go that route…it doesn’t make sense to come home from a tour in debt. Ideally your band will be making money, or at least breaking even. Consider renting a U-Haul as opposed to buying a trailer until your band is generating enough income to pay for it comfortably.
Bandleaders who are rude and demanding will cost their band gigs…Toe the line between persistence and annoyance when following up with agents and talent buyers…They are busy and can get hundreds of inquiries a day so it’s good to communicate regularly to stay on their radar but allow some time between follow ups and always be nice and polite.
Be strategic when routing your tour also. Make sure dates are manageable when it comes to travel and that you’ll have plenty of time to get from each gig to the next, allowing enough time for things you cannot control like weather and traffic.
Make sure your press kit and demo is a good reflection on your band and an accurate depiction of where you are. First impressions are important and you want to be represented in the best light.
Speaking of representation, make sure you have the right person pitching the band, whether it’s a band member, the bandleader, a manager, agent or publicist…Otherwise it could be detrimental to your success if that person is inexperienced or unknowledgeable or difficult to work with.
Finally, do what you can to book follow up dates in a reasonable amount of time…ideally every 6-12 weeks in a given market. There is no sense in trying to develop a market you won’t be able to return to for a year as any fans you may have made will likely forget about the band. Make sure you connect right away with fans who you meet at these shows- if they sign up on your mailing list then send them something…don’t just throw the sign up sheet in the van and forget about it. Treat those fans like gold…they are instrumental to your success and can be great ambassadors for your band.
With Hurricane Earl passing by DC on its way up the coast, the normally draining humidity had temporarily subsided, making more room for love, peace, and music in the air at the “Abbey Road on the River” festival that was held at the National Harbor on Labor Day weekend. The festival had five stages spread around the complex including an acoustic stage, a pier stage on the Potomac, as well as an indoor stage for late night sets, among others. Over thirty bands had performed over the course of the weekend, with many coming from outside the U.S. ‘Sir Frankie Crisp’ of Italy, ‘Lucy in the Sky’ of Germany, and ‘The Norwegian Beatles’ of Norway rocked out with high energy sets filled with classic Beatles tunes fused with their own psychedelic rock styles.
There was no shortage of things to do and see other than music at this year’s AROTR. Movies, such as, “Hard Day’s Night,” as well as “Paul McCartney Really is Dead,” were shown on multiple occasions in the conference rooms of the Gaylord Hotel. Late night tours of the D.C. monuments were also organized, including a John Lennon sing along on the steps of the Lincoln Memorial, which took place on Thursday night. Last, but certainly not least, AROTR’s special guest and former Beatle, Pete Best was in attendance. He spent hours speaking with fans, answering questions, and signing autographs on Saturday and Sunday afternoon.
With AROTR offering free tickets to those 21 and under, it really helped cultivate a friendly environment and fun loving experience families could enjoy together. All in all, it was a festival with love, peace, and non-violence at its heart. I think that’s something John, George, Paul, and Ringo would all approve of.
Check out this Q&A with AROTR founder, Gary Jacobs: 1) What can you tell us about this year’s AROTR Festival at the National Harbor?
This year was the first time we have hosted AROTR in Washington, D.C. It is actually the first time we hosted the event anywhere other than Louisville since we started back in 2000. I can also tell you we had over thirty bands playing throughout the weekend on five different stages. The bands hailed from all over the world, including countries like Germany, Norway, Japan, Puerto Rico, Great Britain, and the United States. Our special guest, Pete Best, was signing autographs and talking with fans on Friday and Saturday afternoon. We also had a great tour of the D.C. monuments and held a John Lennon sing along on the steps of the Lincoln Memorial which went over great.
2) What made you decide to branch out from only hosting the festival in Louisville, KY?
We have been hosting AROTR in Louisville for the past eight years, and it continues to be a wonderful event with loyal fans, great bands, and good times. Russ Lease, a Beatles collector, and a close personal friend of mine had brought up the idea of hosting AROTR at the Gaylord Hotel in National Harbor. I pretty much fell in love with the venue at first sight, and how can you not; it is such a beautiful place.
3) Have you had any time to check out any local bands? What do you think of the current D.C. music scene?
Unfortunately, I have not. I have been so busy with preparing for the Festival that I have had minimal personal time during my stay here. One of the bands that performed this weekend was from D.C., but I didn’t get a chance to check out much of the music scene here. However, I did enjoy taking the water taxi over to Old Town Alexandria for lunch and riding my bike to Mt. Vernon to burn off all the food I ate in Old Town.
4) What were some of the biggest challenges you have faced in organizing a large scale festival of this type, and how have you overcome those obstacles in the past?
There are a lot of known unknowns associated with organizing an event like this. Good preparation is imperative and will make things run that much smoother. There are always bumps in the road and kinks that need to be worked out. Those things need to be taken in stride; always keep your priorities in order. Having great staff doesn’t hurt either!
5) Let’s take a ride in my DeLorean… what do you think the future will hold for AROTR in five years time?
Well, after seeing such a great turnout this year at the National Harbor, we will definitely be coming back next year! We want to make sure that we constantly keep adding dynamic experiences for all of our guests, and maintain the peace, love, and rock n’ roll atmosphere that keeps them coming back.
I recently had the pleasure of meeting Emily White, music director of WVAU radio. WVAU is American University’s student radio station. They broadcast online 24/7 from the Mary Graydon Center in Washington, D.C. Emily kindly agreed to answer a few quick questions for me:
