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Lessons for UPCOMING Bands
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Two steps to increase attandance to your next Gig.
Everybody knows that it's a lot of hard work to make a living at music. Not only is it a full time job, it's a lifestyle. I'm not talking about the substance abuse, the junk food diets, or lack of sleep, I'm referring to the work ethic you have to take to make things happen. It's not like most day jobs where you can sit back and let somebody else catch your slack. It's 24 hours a day, seven days a week, and if you don't do the work, it's not going to get done.
Every day, I deal with bands trying to make a living from their music. Before Kathode Ray Music will take a demo and even consider working with a band, we want to know what the band is currently doing to promote their music. We want to make sure we're all on the same page as far as promotion because some bands who initially express interest in our promotion help are so far away from our concept of promotion that it would not benefit them to hire us and we turn them down. http://www.kathoderaymusic.com/consulting/info.html has an example of the questions we ask prior to accepting a demo.
You'd be amazed at some of the answers we get. I want to look at three very different responses to this question that I have received over the last year and discuss why they worked...or didn't. Then I'm going to tell you what does work and how you can increase attendance at your next gig with just two simple steps...
1. One rock band that contacted us a few months ago, had just purchased 10,000,000 email addresses from a list broker and was in the process of sending out bulk email to let everybody know about their new release. These guys were unbelievably excited that they could get rid of their initial pressing with only a .001% response rate. This would allow them to pay back the for the mailing list, the in recording costs, and from pressing the discs as well as make enough money to hire me and get another pressing.
Have you ever purchased a CD by an unknown band because of an unsolicited email in your box? Probably not. Did anybody out of the 10,000,000 people they sent something to? I doubt it. While it's exciting to think only about the numbers here, don't think that even .001% of the people you contact are going to care. The Internet community in general doesn't seem to care for unsolicited email, so you'd probably end up with more complaints than anything and you might even end up with revoked web hosting as spam is against the rules of many provider.
Even if it was off the Internet, it's doubtful anything would happen for them. I have had reviews and publicity for albums on my label in magazines and newspapers with as much as 1,700,000 circulation. How many orders did we get? Maybe twenty. Indies just don't sell albums that way.
2. An electronica band put up a page on mp3.com and was consistently getting hundreds of downloads per day of their song. Convinced they needed management because they were so popular, they contacted a "very well respected" promotion guy who was in the process of hooking them up with some European radio stations and a compilation CD from Germany.
I'm always concerned when an artist tries to get involved with somebody who is promising big results on the other side of the World, so I called the guy up. He was very excited and didn't want to listen to what I was saying. He thought he was taking on the World and acted like I didn't really get it. After all, we're talking about HUNDREDS of stations! Yes, I know Germany is the 3rd largest music market and I know electronic music does very well in many European countries. Yes, I know the performance royalty rates there are sometimes twice as much as they are in the US. Yes, I know many bands go over to Germany and other European countries to get their big break. Big deal.
This guy was caught up in the ego stoke of being able to say he was on hundreds of stations in Europe. That might be impressive to Mom, but he didn't think ahead to realize that any play he was getting wasn't going to do him a bit of good for a couple of reasons. a.) He's thousands of miles away from any of those stations. If a band does break in Europe, more often than not, they are located in Europe. b.) His product is not distributed in Europe. If you are going to sell a lot of albums in Europe, they need to be available there.
3. A punk band has a five song demo tape that they're selling for during their shows. They invest everything they make from the tapes into making more tapes and are using the money they make from gigs to save up to for a full disc. They average between 75 and 100 people per gig and they bring home about per night, but they're not able to play often because they're not known outside their city and don't want to saturate the market.
This is a band that I can work with. They're not worried about World domination. They're out playing shows, making fans one at a time via their demos, and having fun. That gets people excited about the music. As the word on the spreads, so will their fanbase. It's a slow process, but it will be a great foundation to build on and much better than the foundation of the first two examples.
My point is that it's easy for bands to think they're working hard simply by thinking about numbers. It's like a "Make Money Fast" email. It COULD work, but I've never seen it work. Would you rather spend your life playing the lottery and have a very small chance at retiring a millionaire or would you rather invest the same money in a 401k and have a million for sure?
Success can be a guarantee, but you can't short cut your success. It may be more impressive to an amateur to hear you're getting spins on hundreds of stations throughout Europe than it is to hear about the 75 kids you packed in a pizza place, but think about the long run before you get involved with something. Will this really make me money or help my career?
10,000,000 emails to people who don't care? Nope.
Slot #15 on a CD from somewhere you've never been? Nope.
A good turnout, lots of merchandise sales, and an invitation to return and do it again? Yes.
You need to work your music career like a politician works his campaign. Musicians are a lot like politicians. Getting to know your potential fans on a personal basis is still the way to get people to do what you ask. It's easy to think you're working hard by sending out 500 unsolicited packages to labels or sending a bulk email to about a new gig to fans, but that's just a waste of time for the most part. If you want to make a living in music, you need to do something every day to put things in place so that it will happen for you. Sitting around and waiting for that A&R guy to hear you on a European radio station and phone you up with a $1,000,000 contract isn't going to work. Having the next show you do come off great will.
TWO STEPS TO INCREASE ATTENDANCE AT YOUR NEXT GIG:
1. Start visiting the clubs you play a couple of weeks ahead of time and get to know the people in the audience. Hand them a demo tape, a flyer, or a matchbook. Make sure it has the number for your band's info line on it! Spend a little time with them and get their address to add to your mailing list if they seem interested in local music.
2. A week before your gig, send out postcards* to the people that you met with a personal note thanking them for supporting live music and reminding them about the upcoming show. Even something small like "Hey, Tina!" will work wonders. Just make sure it's personal!
*About postcards: You can make them very cheap at Kinko's. Print out all the info on a single sheet, have them reduce everything to four per sheet, print everything on postcard stock, and have them cut. They should run you no more than a few cents each. That's it! A hundred or so postcards and a few bucks for stamps and blank tapes might not sound like a lot, but I promise you any money invested in a promotion like this will come back to you in the form of increased gig attendance and merchandise sales. Then you can do it again next week!
The music business is not rocket science. You make a product, you distribute the product, you promote the product, and people purchase it.
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Big in Japan.
"That's right...HUGE! We're playing stadiums over there, are all over MTV, and we're charting. We haven't made a dime yet, but we're HUGE! We're going to break in the US market any minute!"
How many times have you heard that? What do you think when you hear it? Are these guys suckers? Does the Japanese market really matter to US bands? If so, how come those bands are still working 40 hours a week at McDonald's to make ends meet?
Have you ever heard this one?
"I've got a band and we're huge on the Internet! We've got five web sites, are all over mp3.com, and our album is at Amazon. We haven't made a dime yet, but we're HUGE! We're going to break in the US market any minute!"
Now what do you think? Let's face it, there isn't much difference in the two. Being well known on the Internet (or in Japan) isn't going to help you out a lot when you're trying to get a gig at the hot club down the street or fill it with warm bodies. Isn't life unfair?
Yes, the Web is hot right now, the mp3 format is hot right now, and email communication is at an all time high, but don't let that be an excuse for you to neglect other aspects of your promotion. I'm by no means saying that you don't need to have a web site or be on mp3.com because these days both are part of a well rounded promotion, but this game known as the music business has been around way too long for us to change the rules on how it is played. You have to know the rules before you can break them.
More and more people are getting online every day, but don't let that make you think that the Internet is isn't a homogeneous place for the most part. It hasn't quite saturated the US (or the World) like those sexy publications such as Wired would make you think. Who are your fans? Unless you're targeting a demographic like upper class, college-educated, white males in the technology industry, you're missing out on a lot of people. Are your fans really like Bill Gates?
Don't buy in. In ten years, the Internet might be the center of Western civilization, but it's not now. People still like to get out and see live bands. People still like to go to the record store and hold a disc in their hands before purchasing it. People still like being around other people. These are things you just can't do online...not yet.
I'm all for the potential of the Internet and am in no way saying that you shouldn't be online, but take it for what it is. The club owners in your area don't care about how many hits your web site gets, the radio stations you're trying to get the attention of don't care that you've charted on mp3.com, and your own Usenet newsgroup isn't going to translate into sales at your local record store. It just doesn't happen like that.
So, take advantage of sites like mp3.com, CD Baby, and others like them, but don't think that an online presence is going to keep a roof over your head. You can't neglect the main staples of this industry just because a new trend has come along. It's too early to tell if sites like mp3.com will catch on.
Live music is still the staple of the independent music business and I don't see it going anywhere soon. People want to get out and see bands. Be there for them.
Your Band is a Business!
Before I start working with a band or even hear their demo, I have them fill out a form to let me know their goals, what they've currently got going on, their future plans, and other information that I use to determine if we're on the same page. I want to know that they're as committed as I am before we do anything. It doesn't do a band any good to pay me for advice that they're not going to take.
About 8 out of 10 bands that submit an "application" to work with me list something about quitting their day job as a major goal, Having worked a stint in Corporate America myself, I know the feeling. It's not easy to put on a monkey suit and put up with forty hours a week of bitching customers, temper tantrums from your boss, and sales quotas. It's also not easy to make a living in music. A day job is much more than free Post-It notes though, my friends. You might also find out that the dream of being a working musician is much more fun than the reality. The music business is anything but what MTV wants us to believe. Many people find it worthwhile though. I know I do.
A day job is a double edged sword. I almost never advise a band to quit their day jobs right away. There are a lot of other factors to think about and I believe that, working with a good regional promotion plan, they won't have to. It's not going to be easy though. Bands who want to make it in the music business need to treat their music career like a second job and working two jobs is never easy.
Of course, you COULD quit your day job and still make a living, but I don't recommend it. A lot of bands think they can do a balls out tour of the US and survive just fine. Most of those bands have never been on tour and think it's all fun and games. You'll be able to survive, but very few people can cut constantly touring and most get burnt out very quickly and end up right back where they started. That's REALLY humiliating and a lot of people never recover. The people you work with will never let you forget that you had a moment of independent thought and wanted to do things on your own.
Sitting back a while and playing it smart a few months will let you tour all you want when the time comes and you'll have a much better foundation than going out right away. If you take your time and plan things out, you'll be able to give Corporate America what we here in Nashville call the
"Tennessee Salute" soon enough. There are a few important things to consider though. Obviously, money is important, but you also need to think about your mental heath as well as the music you're creating.
The music business is expensive to break in on. You'll need money to get things rolling and a day job is a definite advantage in this area. You could be like a lot of people just charge up your credit cards, but I don't think you should go into a huge debt because that's one more thing to worry about. If you do fall on your face with a large debt, you'll just be that much more obligated to go back where you came from. Debt is too much to deal with in a crazy environment like the music business. Keep your day job while you break the first region and just go into the plan knowing that the next few months are going to be HELL. It's going to be better eventually, but you're going to work all the time for a little longer at making money or getting the band established. You're going to have to save up every cent and you're going to have to sacrifice a lot. This is where a lot of people find out they're not cut out for the music biz. No problem with that. People change and their plans change. I'm not cut out for being a working musician myself, but I still enjoy playing. You won't have to give up music. Just because I don't make a living from playing my guitar (or anything else) doesn't mean that I don't have a rewarding experience when I play.
How about mental health? One look at Behind the Music on VH-1 and you'll see that there are plenty of bands in the world that found out making a living in the music business was a lot more work and mental stress than they thought it would be. People who get involved in it having a lot of fun with people who are their lifelong friends often find that things change more than they ever thought. Things will change, but don't lose your friends, your dignity, or your life over the music business. Planning ahead is the key.
How are you going to be different? I suggest to treat your band like a business BEFORE you make the move to quit your day job. Get to know what it's really going to be like before you give up all those great benefits like paid insurance, company car, and a 401k. There is nothing wrong with enjoying music on a non-career level. Paying your rent and utilities on "band money" is tough. A band is your own little business and you're competing in a big popularity contest that you'll only be on top of for a short time...if at all. The average career of a band is seven years. Those seven years are going to have to count A LOT.
If you can you can keep things going with the "band as a business" attitude for 12-18 months with a day job and you have people who will do it with you, you'll definitely get an edge up on 95% of the other bands. The #1 reason that most bands aren't making a living in music is because they expect things to come to them right away and without any work. You have to get out there and work. If you can do it for just a year or two, you'll be able to quit your job and make a living. You'll still have to work though because making it in the business is hard. That's what you want to find out as much as possible before you start dipping into that GTH fund and burning all your bridges. Being in a band is not just a life of playing 3-4 hours a night with wild parties after the show. You're going to have to do a lot of interviews, stock your product at stores or at least check on it, follow up on calls, book shows, and take care of business. Other people aren't going to come in and do it until you're going it for yourself. If you're not doing this stuff now, you better start because that's what it takes.
Trust me, none of this is easy. I get calls from financially successful bands that I worked with to quit their day jobs and have a career in the industry all the time who have changed their minds about what they really want. There are a lot of problems that come when something changes from a hobby to a career. It's not as fun for a lot of people. I sometimes get accused of selling out because I try to help bands mix art and commerce, but the truth is that finding that balance myself is one of the main reasons I'm not a working musician. I like the creative process and don't want to jeopardize it by being forced to make a living from it.
So, don't go anywhere without a good plan! You'll be glad you took your time and did things right!
Manager VS. Agent.
NOTE: This lesson is by Kari Estrin, President of Kari Estrin Management in Nashville. Visit http://www.kariestrin.com/ for more info.
Your band needs help - better gigs, new promo materials, and a betterdemo. Should you hire an agent, or a manager, or both?
Exasperated with lack of work and with calling club owners, a band considers hiring a manager. After hearing the band tape and a brief phone call, prospective manager details some ideas he has for the group. Although they all seem to be in agreement, a band member anxiously interrupts and asks, "But what kind of gigs can you get us?"
What this band is probably looking for is someone to keep them working--an agent, not a manager. One of the most common mistakes made in the music business in confusing the functions of agents and managers. Since an agent's or manager's responsibilities may overlap, it's easy to see where this confusion begins. But, there are some basic differences between their roles, so let's begin with a rough definition.
Which Does What?
An agent is someone responsible primarily for procuring and accepting work for hire on the artist's behalf, in the form of gigs, tours, and paid performances on television and radio. It is the agent's responsibility to negotiate and issue contracts, collect deposits, send out promotional materials, and plan a sound tour route. An agent may also set up press and other media interviews and make road arrangements, depending upon your agreement with him.
The Manager
A manager assumes many different roles, depending upon the nature of the relationship with the artist. In addition to "normal" managerial duties, it is not uncommon for the manager to step into the role of confidant, friend, or adviser. A manager's work is centered around developing the artist's career, not only in the long run, but on the day to day level as well.
The manager helps plan career goals and outlines a campaign for achieving them, develops promotional materials as well as the artist's image, occasionally directs the artist's booking agent to ensure more effective touring and routing (the manager does not book the dates himself), negotiates or oversees the negotiation of various contracts, and hires the artist's support team, including an accountant and layer.
The Agent
Although agents may perform some managerial functions and vice versa, it is best to define your needs before deciding whom to hire. When a band is first starting out they generally need the services of an agent, to keep the band working.
Finding agents in your particular area may not be easy, but begin by looking in music-related publications, alternative papers, the phone book, or world of mouth. Many of the best agents (and managers) do not advertise--they are the ones who are already very busy--and that's the kind of agent you want. However, if you have not already built up a certain amount of your own bookings, you might not be able to attract an agent until you do. However, ask bands who are a step or two beyond your level about their agents. If this search turns up nothing, you might consider hiring an enthusiastic friend or a competent fan whom you can train to do your booking.
Once you have the names of prospective agents, do some homework. Does this agent/agency book the kind of music you play and have the connections with the right rooms? Check with other artists he works with--are they happy working with him and are they getting a good number of gigs?
When your band is ready to approach the agent(s) of your choice, appoint a band spokesman to make the introductory phone call. Be prepared--offer to send your promo package, complete with tape, bios, pictures, reviews, and other relevant materials. Ask when it would be convenient to call back to see if he's received and reviewed your materials. Don't be afraid to ask questions. Find out what services he performs for his fee and if he works on an exclusive or non-exclusive basis (whether or not he will be your sole agent, or if you may hire additional agents to work with you).
At this point your band should have a good idea of the kinds of places you want to work, but you may not have the experience, time or contacts to get you there. That's just what your agent is for. Once you are actively working, there will be enough money to give your band some confidence and to keep them committed.
Perhaps you've begun to attract some local attention, and are even considering making a record. Perhaps you're finding it more difficult to keep your publicity current, and would like someone to advice you about the next steps to take in your career. Now you are ready to look for a manager.
The Manager
Just as in hiring an agent, do some research. Check with other artists and ask others in the business if they know about a particular manager's track record. Once your potential manager has passed your early screening, know what you expect from him. Too often artists are content to remain vague in this area. Presenting a job description to a potential manager and stating in what areas you need help will be beneficial to both parties.
If you agree to work together, you will want to cement your agreement with a contract. An initial contract is usually valid for one or two years and will help you develop a time frame in which to evaluate your manager's progress toward your stated goals. Before hiring a manager, make sure you are both in agreement with the goals and directions for the band, and if the right chemistry exists for a good relationship.
Compensation
Agents and managers are normally paid on commission. Agents will usually charge on commission. Agents will usually charge 10-15 percent of your fee. Payment is usually made in one of the two ways. If there is a deposit, it is typically one quarter to one half of the fee, and the agent will take his commission from that once the gig is played. The band gets the balance of the deposit, directly from the club after the gig. If no deposit is involved, you may send your agent a check after each gig, tour, or on a regularly established basis. An agent may charge you for phone calls and mailing expenses, depending upon your percentage rate and your agreement with him.
Managers may take anywhere from 10 - 25 percent of your gross income, that is your total income before your expenses are deducted. Your agent's commission is considered an expense, therefore your manager's commission is in addition to the agent's commission. On the average, your manager will probably agree to 15 percent, but if he offers you a wider range of services, expect to pay more.
If at all possible, before you sign any contract or agree to any percentages with either an agent or manage, it is worth your investment to hire an entertainment attorney to look over these contracts and give you advice. Even if hiring legal counsel seems expensive, it may save you hundred or thousands of dollars in the end.
The Reality
Industry norms have been briefly described in this article, but there are few hard and fast rules in the artist/agent relationship, and even fewer for the artist and manager. Due to the nature of the business and the individuality of these relationships, the best guide to running your own affairs is to learn as much as you can about the business: attend seminars, read related books, talk to others in the business , and temper it all with a dose of common sense.
It is easy to be taken in by promises of recording contracts, higher fees ad better jobs, but don't accept too much at face value. Look into a person's motives for working with you, and your motives for working with them.
An agent or manager will be most effective if you are prepared and know what you expect from him. It's your career, so ultimately it's up to you to make the most of these business relationships and to make them work.
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The truth about major Labels.
When I was growing up, I always thought that being signed to a major label was the pinnacle of a music career. It was my dream at the time to one day get a record deal, play arenas throughout the world, and earn millions. The media made it look so carefree and easy! All it would take is that one A&R guy to see me at the club down the street, that one demo tape I'd blindly send out, or my friend of a friend who had an uncle that worked in the accounting department at Warner Bros.
Of course, I'd sometimes see bands like Men at Work or Culture Club on MTV talk about never seeing any of the millions of dollars their music was earning and basically being broke. How could it be that somebody with a Top 10 album and air-play all over the place is broke? I didn't believe it and choked it up to the probability that Boy George and I just had a different opinion on what exactly a ton of money was.
Fortunately, I eventually gave up the pipe dream that a major label deal is the key to a successful career. Surprisingly enough, many musicians have not. It still amazes me to this day the number of clients I get that think they are ready to take on the world with a major label after only selling 1000-2000 discs...and how many of them have the same friend of a friend with an uncle at Warner Bros! Those bands don't understand what a major label really is.
Although I prefer independent music, I am definitely not anti-major label by any means. In fact, I really think major labels are the best thing for some artists. I also think they're perhaps the worst thing for many others. Jumping to a major label before you're ready can kill your career before it really starts. It doesn't look bad to get dropped from an indie, but getting kicked to the curb by a major label and coming back home to your gig as the house band of the hole down the street is humiliating!
A MAJOR LABEL IS AN EXTENSION OF YOUR BAND. They're basically going to be doing the exact same thing that you're doing now (or should be doing now), but on a much larger scale. While you're only able to earn one fan at a time, a major label can help you earn hundreds. While you're only able to get a small endorsement with a local music store, a major label can get you hooked up with national sponsors. While you're only able to get in a regional music magazine, a major label can get you in something nationwide. A lot of doors can open up.
A MAJOR LABEL IS NOT A MAGIC PILL! There are always exceptions, but most bands don't just come out of nowhere. There really isn't such thing as "artist development" these days and major labels are picking up bands who already have the fan base, musicianship, songwriting skills, and professionalism in place.
Major labels don't care about music...they care about selling "units." They're big corporations who look at numbers rather than the people behind them. If your band started a buzz by farting and belching, a major label would release a CD of you if they thought they could make any money.
You've probably heard the saying that banks don't like to give out loans to people who really need money. Those with good credit get good rates, while those that don't have good credit have all kinds of extra charges and hoops to jump through. The same could be true for major labels and record deals. Those who don't really need the deal can get a good one with a major while those who are in need of SOMETHING to help them make a living get can really get the short end of the stick...if they get anything at all.
Labels love to pick up acts that already have a good foundation in place. It's less work for them as well as less chance of losing money. You have to show the majors that you don't need them in order to get their attention and get a good deal. Dave Matthews, KC and the Sunshine Band, Def Leppard, Ani DiFranco, and Hootie have all put out their own releases and done very well on their own without major label help. Those who have decided to move on to major labels have gotten great deals that have made them megastars. Those who haven't signed on with a major are still making a very good living.
You can't go wrong with a good foundation! Nobody is going to care about your career until you start caring about it yourself. A major label is great to jump you from 50,000 in sales to 500,000 because you've already done a lot of the leg work at that point,. They're not going to be that great at getting you up from the 2000 level though. For those guys, they're just throwing it out there to see if it will stick. Most of the time it doesn't. Even if it does, that still doesn't mean you'll see any money. If you don't mind those odds, go ahead and sign. If you'd like to hold out for more of a sure thing, get out there and start building that foundation one fan at a time. Your deal will come in time.
The Time Released Priss Kit.
I get a lot of promotional materials for my company. Stickers, shirts, pens, postcards, and CD openers are just a few of items we have used over the years. Some of them work for us, some of them don't.
When going through my mail today, I got a sales solicitation from one of the companies we had purchased pens through. This one contained a new pen style they were trying to get me interested in. Imprinted on it was our name and mailing address.
Every week or two, I get something new from this company. I can't wait to open the package to see what is enclosed. Most of the time it contains a new type of pen, but I have gotten letter openers, pocket knives, calendars, clocks, day planners, and several other promotional items as well.
Over the years, I have ordered a great number of pens and other promotional items from these guys. Why? It's not because I need them. It's because they constantly put their name and product in front of me.
How does this apply to you and your band? Because the same techniques will keep you on the minds of people you know...or just want to know.
PART 1: GETTING IN THE DOOR OF THE MUSIC BUSINESS!
Have a record company guy that you're interested in meeting? Instead of sending him your press kit in one big chunk, why not break it down into several pieces? Keep the image of your band in front of him! It's a proven fact that it often takes more than a single exposure for something to stick, so dragging your promotional materials out over time will be of great benefit to you.
Before you start, make sure you have a logo or some sort of symbol that DOES NOT contain any words. Not only will this be important to develop the curiosity of your subject you are targeting with this promotion, but it is also important in general since we live in a society of symbols, graphs, and sound bytes.
1. Start with a fax containing just your logo or icon on it. Don't mention where you're from or what you want. If the office is small (less than six people), don't include a cover letter in order to add to the mystery. Also be sure to change up the contact information on your fax machine.
A promotion I did on Sniffing Glue by the Visitors sent two faxes. The first simply said, "Do you like Sniffing Glue?" The next was a few days later with the symbol from Elmer's glue and the message, "We think you will!"
2. Send a postcard with the symbol and/or message about a week later.
3. Do you have a gimmick with the symbol such as a shirt or pen? Wait a week and send it.
Do you have a novelty item that will be attention getting? That is even better! We sent out tiny glue bottles to promote Sniffing Glue. I know a band that sent out vibrators to promote their song called "Buzzz (the Sound of Love)." Novelty items work especially well!
NOTE: Everybody has done condoms and matchbooks! Stay away from these unless you can find some way to relate them specifically to your album or band!
4. Send your CD along with a cover letter encouraging the recipient to act! Make sure that they can associate your package with the promotional materials you have already sent. Chances are, they'll be very curious and put you on right away.
5. Follow up in a couple of days with your request!
PART 2: KEEPING YOUR FANS EXCITED ABOUT YOU!
While a "time delayed" promotion is a great foot in the door, it is also an excellent way to keep your band on the minds of your fans! It's a great way to combat all of the distractions we have in the World today!
At Kathode Ray Music, we send out a monthly newsletter of promotion tips and other music opportunities. Your band can do something similar with gig dates, stories from the road, and DEFINITELY a sales pitch to promote your latest single.
One of the best newsletters I have ever gotten was from a band in Memphis called Techno Squid Eats Parliament. These guys were on the road almost all the time and had a section of their newsletter called "Bitchin' Product Alert!" about interesting regional products they found. For example, they once wrote an entire article about finding "Coconut Yoohoo" and spending all of their money on it since it was not available in Memphis and they had never seen it before.
Make your newsletter as interesting as possible and try to appeal to everybody. Your die hard fans may be extremely excited you're finally going back into studio after two years, but you want to win people over. Interviews with the band members' first grade teachers, recipes from the singer's grandmother, or a crazy advice column from the bus driver are all things I have seen make band newsletters very successful.
Send your newsletter out via mail (not email!) monthly. Any more than that may turn people off. Any less and people might forget about you!
Have fun with it and you'll soon be able to get people as excited about your music as you are! Good luck!
Musicians' Intellectual Law and Resources Links
Musicians (and writers and artists) need to protect their intellectual property, i.e., their compositions, sound recordings, album cover art work, writings and band logos. Hopefully, this web page will assist musicians in this regard and provide them with resource links helpful to the promotion of their music.
Musicians' Intellectual Law and Resources Links
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