Female Artist Development

Lessons from the Industry Formerly Known as "The Record Business"

2011-10-25T07:36:00.000-05:00

by James Barton and Brian Message

A record company's value used to be measured by the acquisition, protection, and exploitation of copyrights. Exploiting those copyrights by selling songs is an easy business model to understand and used to be the foundation of a very healthy global industry. Historically, the record business was the heart of the music industry. Sell a lot of records and you were a successful business. And artists also succeeded through record sales: they became household names when they had sold a lot of records.

From the business perspective, artists and songs could be viewed as interchangeable commodities. If any given artist failed to deliver hits, another waited in the wings to take their place. This impersonal approach allowed the music industry to grow extremely profitable by simply selling "product."

But the sale of recorded music has taken a battering over the last decade, and it's no longer smart to judge an artist's commercial viability on record sales alone — not least when there is a new generation who questions the need to pay for recorded music at all. For many artists and their managers, record sales are now just one of many revenue streams and one of a number of factors with which to judge success.

Despite this dramatic change in the marketplace, many struggle with the concept of uncoupling success from record sales. It doesn't help that most measures — the charts by which many fans learn about new music — are still based on this notion. For emerging artists this is particularly precarious, since careers are too often ended early if a first set of recordings fail to sell.

So how should a "content producer" behave in this new environment? And what lessons can we learn from this new model of value? Here are the two keys:

Do not treat artists as commodities

Value the artist-fan relationship as highly as traditional rights

Smart managers realize every artist is a standalone business that generates income from multiple revenue streams. A manager's job is to create those businesses and run them well. This requires thinking globally and being agnostic about which revenue stream or territory is the most important. As long as those channels can deliver the aesthetic the artist wants and make a profit, the business is a success.

But the business of relationship building is not a quick one. Artists have to earn the respect of fans, convert that respect into trust, and, eventually, convert that trust into faith. Building communities takes time, and it can only be achieved over the long-term. In this model, artists can no longer be treated as interchangeable hit makers.

The key to artist-management success is identifying talent early and developing it cost-effectively over a long period of time. Artists — and their art — are the only real assets. The systems and structures that surround them should be treated as a means to maximize the commercial value of each artist. As such, the traditional music industry — be that companies that make and distribute records, publishers who collect performance royalties and create sync opportunities, concert promoters, or merchandisers — should be regarded primarily as service providers to artists.

As the digital age gathers pace, managers must engage in the shaping of the music landscape. That landscape is still plagued by a mindset that regards copyright as an instrument of control (which further limits commercial exploitation to traditional models) rather than as a remuneration right that can generate revenue wherever a market may be. The future is about accepting consumer behavior and looking for as many ways as possible to monetize it.

In addition, managers must also simplify the complex structures of the industry and create healthy businesses based on monetizing the behavior of consumers and those businesses that wish to use creators' works for their own profit. Without a simpler, better structured digital market, the direct artist-to-fan business will struggle to grow. Moreover, it will undermine the modern-day manager's opportunities to improve their artists' business.

Managers must also figure out alternative investment for artist businesses. Traditionally, it was the record business that invested in new talent. Restricting investment to direct rights exploitation keeps the emphasis on making money from record sales, which keeps the "investment risk" for would-be investors high. A viable alternative would be a market for investors to put their money into artists' whole businesses, where artists retain rights and investors participate in all the profits.

The music industry was the first of the creative industries to be affected by the disruptive nature of the internet. But it's not all bad news. Disintermediation has forced a focus on talented individuals who produce great art. One of the jobs of their managers is to create an environment that allows them to do so. Ways of collecting fans and connecting them to artists are ever changing, but by embracing new technology opportunities, creative businesses will flourish. Other content producers take note.

2011-07-23T17:00:00.001-05:00

This post originally appeared on BMA on December 20, 2005.
“There are amazing women musicians out there. But the industry signs acts based on marketing. It’s definitely a loop. There aren’t women out there doing well, because they haven’t been signed, so (the record) industry doesn’t sign any more, figuring they won’t do well.” - Jason Mraz

The explosion of music downloads in the late 1990s cut deeply into the cash coffers of record labels. As a result, record executives decided to cut back on promoting ‘unproven’ artists, and went from focusing on talented female artists, to looking for a marketing vehicle. Out with Lilith Fair, in with Newlyweds: Nick and Jessica. So as Gen Y helps prompt a change in the country’s musical tastes, this poses a very tough question for female artists whose last name isn’t Spears or Simpson: Do they try to reinvent themselves like Jewel did, or forge forward relying on their talent to win them fans?
And this isn’t a problem reserved for undiscovered artists. Some of Jewel’s contemporaries such as Sheryl Crow and Alanis have seen their album sales slide since their Lilith days. Many of today’s labels see a woman onstage with a guitar in her hands as a ‘marketing risk’. But musicians don’t have to reinvent themselves every few years simply because tastes temporarily change.

A perfect example is Sarah McLachlan. Her music is basically the same today as it was in 1989 when she released her first album, Touch. Touch sold over 500,000 copies, while Afterglow, which is her fifth and latest album of new material, currently has over 2 million in sales.

The best way for Jewel and other female rockers in her position to re-establish a strong bond with their fans could be, you guessed it, the internet. There are so many ways to reach out directly to fans. Artists can tap fan sites, mailing lists, MySpace, anything. Blogs are another obvious way for artists to reach their fans. Such viral efforts are already being used to launch the careers of female artists such as Missy Higgins, they could easily work for established stars. These moves are authetic, and fans will respond to any musician that reaches out to them in such a personal way.

While the current music climate has put a temporary crunch on some female artists, the ultimate loser here could be the record labels themselves. As the record companies make it harder and harder for emerging and existing female artists to make a name for themselves, these musicians are looking for other outlets to promote themselves. And the risk that labels run is, once these acts find a way to circumvent the current system, will they ever return?

“The major label system is broken, but I’m not crying. It couldn’t happen to a nicer bunch of people.” said Carla DiSantis, editor of the magazine ROCKRGRL.

True Blue Fan (TBF)

2011-07-19T16:07:00.001-05:00

Many artist & their bands can sing & play, but, they are amazed (sometimes mad) when the audiences fail to connect with them. Artist and bands work on perfecting their play list of songs to sound like the studio version or the 'cover' version they hear. On stage, it's entertainment time! If I go see a movie and it doesn't entertain, connect, excite me, then most of the time I actually take short naps. Most artist/band never think about changing up a song to allow it to 'CONNECT' with their audience. And, if you don't connect and create special moments of memory, then, in most cases you will not have won over new fans & you certainly will not have what every artist should strive to have and that is: TRUE BLUE FANS! Yes, that is a KSE exclusive. TRUE BLUE FAN OR TBF IS WHAT EVERY ARTIST MUST HAVE to create longevity as an INDIE touring band. TBF are those people that will become the most important part of your TEAM. In short, they are the ones that will show up for your shows with new fans & they are the ones that will buy tickets, merchandise, and leave tips in your tip jar. As we all know most young inexperienced bands can only tour if they can meet expenses.

Developing into an entertainer takes time, much practice, money, and developing TRUE BLUE FANS! It's like going from grade school, Jr. High, High School to getting your Bachelors, Masters and your PhD. After you have completed those degrees, you need continuing updates and training....All Roads that lead to the STAGE must be incrementally improved each year, but, only after an artist has mastered all the baseline stages. Once this is accomplished, an artist/band will forever be developing their passion for creative performances that make connecting memorial moments that last with their new fans that will change into TBF.

Fine line between self-promotion and the “me, me, me”

2011-07-19T16:00:00.000-05:00

It’s really important to not overdose your fans or the press with your promotions. It can be taken the wrong way. Firstly, if you saturate everyone, no one will read your emails or promotions. Secondly, find a way to promote yourself but also add cool opportunities or interesting stores along the way. Then people won’t turn off if it’s just all about you. I love to read gig news emails if it starts with some funny anecdote about what the artist has been up to or a story they want to tell. It grabs me in. Then, in a subliminal way, I’m also fed great gig and music news.

It’s hard to be your own promoter, that’s for sure. But if you don’t have someone to do it for you, or you don’t want to use a pseudonym and write in the third person, then go for intimacy. Speak from you, colloquial, and let us into your world. Fans love to know the “real” artist!

Don’t’ be afraid to self-promote. It’s a new era, and you can do it. Just watch any language you use that might suggests a focus too much on yourself and please veer away from fancy words like ‘outstanding’, ‘the hottest performer ever’, or ‘ the new Madonna of Studio City’. Try not to compare yourself too much and be your own unique being! Being humble is also important. It’s nice to be glorified, but let others glorify you, not you.

Street Promotion

2011-07-19T15:52:00.000-05:00

Street teams are it! – gather people in cities you will tour, who are fans of yours to help promote you before you come to town. You’ll find that your fans will work twice as hard for you if you give them and their friends some free passes or maybe even CDs.

Flyer handouts – hand out gig notices and CD release flyers to people on the street, outside other performances. If you play Brazilian music, find a hot Brazilian music concert and flyer away!

Posters at venues – put up posters at venues you’re going to play at.

Rallying fans – entice your fans to help you spread the word and offer cool merch, swag and CDs in return. They like to feel special.

What are the odds of succeeding WITH a record deal?

2011-07-19T15:44:00.000-05:00

July 19, 2011

Robin Davey in The Road to Success, Understanding Record Labels, record deal, recording contract, success

If your aim as an artist is to purely chase a record deal as a means to succeeding in this business, I will tell you right now that you are doomed for failure. You can throw all the trumped up statistics around that you want, but fundamentally your chances of actually landing a record deal are extremely slim. Furthermore, your chances of actually making money directly from that deal are pretty much zero.
In the good old days when the CD was king and big advances were de rigueur, the percentage of bands that succeeded in the system was around 5%. That was before the CD crashed. Now if you do not fit the predisposed top 40 vision of the major label machine, there is no space left for you. There may still be a few independent labels who still have a working business model to accomodate less mainstream acts, but they survive by cutting down their roster, and investing in those who have already amassed an ever growing following. Quite simply if you can’t already pull the people, you are not ready for a label.

THE BIRTH OF PAY-TO-PLAY

When a previously burgeoning scene dies, it either disappears, or it finds a way to get subsidized, not due to popularity, but due to status. This is why the pay-to-play system swallows up the shell of a once happening music scene. LA is a prime example of this, with venues like The Whiskey using its once legendary name to con bands into paying up to $500 for the privilege of playing there.
These venues survive, not because they offer a legitimate service, but because there are enough bands that blindly believe they are the ones destined for success. As a result they will happily make the monetary sacrifices in order to be “discovered”.
The music industry has long since been an extension of this pay-to-play mentality. You think that once you get a record deal your talent shines through and all the magazines, radio stations and established bands looking for opening acts are itching to include you in their insular worlds? Get real. These opportunities are all paid for. It is just another pay-to-play milieu that a record deal gains you access to.

EVERYONE IS AT IT

Just look at Rolling Stone magazine these days. How many bad reviews do they write in an issue? You would think that journalists are chomping at the bit to express their distaste for the latest debacle by a pop princess, but no, all the reviews are glowing. Surely this means every bit of space is bought in one-way or another.
You want to be a part of that world? You go ahead, but don’t think you will actually have a musical personality left by the end of it. Certainly don’t believe that it will affect your bank balance positively.
The major record companies think they are still king, but they are the corporate equivalent of a band who think they have stature because they bought themselves a 8pm slot at the Whiskey. Once you play the Whiskey you realize why they have to charge bands to play there – because no one else shows up.
Similarly no one is buying Magazines any more, so what happens? I would say it is pretty fair to assume they instigate a pay-to-play policy. Just like Johnny No Name believes that to have an appearance at the Whiskey on their bio holds some weight, the majors seemingly believe that to have a review in Rolling Stone also still means something. But if no one is reading the magazine, the truth is, it doesn’t mean shit.
This is the major labels conundrum, they are locked into an old system, putting up the front of a reigning potentate, but behind the scenes they are a crumbling monarchy quickly losing favor with their subjects, reflecting a distinct lack of understanding for what the people want.

IS IT WORTH THE COST

They pay for features, pay for songs, pay for radio, pay for style, pay for TV, they’ll probably even pay Bob Lefsetz for a mention if he’ll let them. But if no one is buying the products, how can they sustain this? And when everyone is jostling for the record company to use their money to bribe someone on their behalf, the reality is why should they use their ever-diminishing cash pile on you. Unless you are prepared to do whatever they want you to do in order to achieve their goals. But of course you will be signed because of your unrivaled talent. Right? Yeah right.
Maybe the future of the major labels will become a step-up from the Pay-to-Play model adopted by music clubs. Rich Mommy and Daddy putting up the cash to have the major label machine pimp their child’s product. This already happens with smaller labels that offer a kind of middleman role - if you have the cash they provide everything from radio promotion to distribution. You are basically buying yourself a record deal.

THE FAME GAME

Those artists who have broken during these last dark few years, achieved their success because they did what it takes to succeed, and with the major labels that currently means metaphorically sucking dick whenever the situation deems it necessary.
It may be a route to fame, for a very select few, but is it really a route to musical satisfaction, for both the artists and the fans? And what is a business without satisfied clients and customers?
—
Robin Davey is a Musician, Film Director and Producer born in the UK and now residing in Los Angeles. He was inducted into the British Blues Hall Of Fame at the age of 23 with his band The Hoax. His band The Bastard Fairies achieved over 1 Million downloads when they were the first band to release an album for free via the internet in 2006. As a director he won the best Music Video award at the American Indian Motion Picture Awards. His feature documentary The Canary Effect - an exploration into the hidden Genocide of Native Americans, won The Stanley Kubrick Award For Bold and Innovative Film Making at Michael Moores Traverse city Film Festival in 2006. He is also head of Film and Music Development at GROWvision - A full service media, management and production company

2011-06-27T13:28:00.000-05:00

"A body can pretend to care; but they can't pretend to be there."

Indie Female Artist Must Consider, Daily, these Questions:

Who Are You
What is your style
How Is It Special
How is it Different from Other Artists
Plans for the next 10 years; stepping stones to success. Need breaking down into 2 year specific increments. Will need adjusting, dependent on your success and failures.
Stage Presence
Fans and True Blue Fans
Music (Originals/Covers)
Song Development ( How many do your and your band know; how many sets can you perform at each gig...must know 3-5 sets to get booked at a majority of venues)

These are but a few of the many areas a Indie Artist must know.

Some Keys To Becoming A Successful Artist

2011-06-27T13:07:00.000-05:00

Invest in your act. Learn how to play your instrument. Connect with
your fans. Make True Blue Fans! Put tons of images and photos on your

Website. Don't give up to go to law school. There are NO OPTIONS if you want to make it in the music business.

But today a video won't buy you much. All the old nineties
tools...you can employ them, but you come up empty-handed. It's a new
music business now. It's about bands and fans. It's about
relationships. That's what the Web offers. All those assholes who
lost their jobs running labels who said that no act ever broke on the
Internet just don't understand that THEIR kind of act hasn't broken on
the Net, a ubiquitous superstar...but acts are breaking. Rather,
they're building. Growing. Into sustainable entities. And it takes
A LONG FRIGGING TIME!!

The whiners are gone. The easy money is history. Only the lifers
remain, the people who NEED to be in the music business. And they're
working with acts with the same passion they possess.

And that's what it's about, PASSION! Hearing that record and needing
not to buy it on iTunes, but STEAL IT, because you just don't have
enough money to feed your music addiction.

The old players have got it all wrong. It's not about a walled
garden, charging a fortune for admission. It's a matter of connecting
with people, making music that they want to hear forever. They'll
give you all the money they've got. The most passionate down loaders
are the most passionate concertgoers, they'll even buy the CD to hear
the music of their favorite bands in a PRISTINE FASHION! But they
want the privilege of being able to surf and find new acts. They're
always in search of greatness. They're fed up with the pabulum that's
been fed to them by the media manipulators.

A successful career is not about impressions any long....bands are
sold by word of mouth, one fan to the next. And you can no longer
manufacture buzz. Buzz has got to be real. Because there are people
out to bust you for your shenanigans, and most don't have time to pay
attention anyway. But if people find something good, they'll give it
ALL their attention.

That glow from the show? That high you had for twenty four hours?
That's what cemented your FANDOM. It had nothing to do with the
backdrops, the special effects, but the vibe, the music.

The music is king once again. You don't have to look good, you just
have to play/sing well and have something to say.

Will vapid pop stars continue to be flogged? OF COURSE! But there
will be fewer and fewer, because it's almost impossible to make any
dough doing that anymore. You need a 360 deal and advertisements and
movies... It's damn hard.

But if you make one great record, and you're in it for the long haul,
and you can wait for the virus to spread, you can play music for the
rest of your life. You may not own a Rolls. Your mother's friends
might not know who you are. But when you hit the stage, you're going
to hear a roar of appreciation that will put a grin on your face just
like when your first grade teacher gave you a compliment. You're
gonna feel like life's worth living. Because you know what you mean
to these people. You're part of their lives. You help them get
through. You have a RELATIONSHIP!

No relationship, no future.

Forget branding, forget sponsorship, forget placement. Focus on
music. Great music finds its own way.

===============================================

PS: I love that word: FANDOM .... OUR KEY TO SUCCESS!! FANDOM!!! equals True Blue Loyal Fans (TBLF)

Independent Music Promotion on the Web: 3 Steps to Success

2011-06-27T12:45:00.001-05:00

Let's face it, the wildfire spread of web-based portals designed to introduce independent music to the world has created a bewildering array of opportunities and costs. So where do they all balance out? When does the cost of signing up to yet another music promotion service yield results? What results are we looking for anyway?

The key is to make your web promotion targeted, systematic and rich.

What is the main drive for independent artists promote their music on the web? The fundamental incentive for web promotion is the opportunity to get your music heard by people who might otherwise never know that you exist! If people know you exist they can become fans and repeat-listeners. Which of those fans buy CD's and downloads? Targeted listeners.

The most important goal of web promotion is to attract targeted listeners.

Any independent artist who says they use the web to sell their music has missed the primary target - attracting targeted listeners. Attracting targeted listeners should be every independent artist's first priority. Remember, you don't sell your music - listeners BUY your music. It's a buyers market. The more targeted listeners you have, the more sales you make - provided you are systematic in getting your targeted listeners.

The best way to get targeted listeners is to be systematic.

Many artists tend to approach their web promotion thinking that since they have a website and have signed up to a couple of artist showcase sites, that the listeners will just come pouring in. Yes you have managed to target some potential listeners, but you still have to shout, "Hey, over here...you'll like the sound of this!" A systematic approach to getting listeners to hear your music will attract and maintain their interest. But remember to make sure you have the content ready for the listener to enjoy.

Sites rich in content will retain your targeted listener.

In the independent artist's case, the rich content is the music. This may seem like old news, but look at the amount of independent artist websites that give the visitor loads of info about the band but very little (or hidden) ear candy. Music should be the first thing a visitor gets. At the very least they need an obvious link to where they can listen to your music. And not just one or two tracks but a variety of your music. Independent artists have to remember they have not had the radio exposure to model the presentation of their music after more well established acts. Listeners need to be convinced they like your independent music before they will buy it.

So the question is how to make your web promotion targeted, systematic and rich?

Tips for Targeting

The best targeted listeners on the web will be those that make it to your website. Find a way to know who they are. Setup a newsletter and make it easy to sign up to it. People interested enough to want to receive news about you are your hardcore web fans, keep them happy.

The next best group of targeted listeners are those that hear your music on other sites. Try to pick sites that allow listeners to link to your site. If they like your music they might click on that link to visit your site. You can then find out where these visitors are coming from. Find a good web statistics package that lets you know which sites your visitors are being referred from. Take note of those sites and focus your efforts with them accordingly.

When choosing sites on which to promote your music, check to see if they offer any individual stats relating to your music. Like how many track plays or page views you and your music receive on their site. This way you can check in periodically and monitor your performance with these sites.

Systematic Steps

The key to being systematic is organization. Keep a note of all the sites you use to promote your music, a brief description of what they do and how much it costs. Try to get into the practice of monitoring all of them regularly. Take note of which sites are getting better results than others and focus your efforts accordingly. You might pay for minimal promotion on one website, while another gets you loads of listeners for free. Naturally you'll want to put more effort into updating the sites that are getting better results.

Provide a link on your website and newsletters to all of the sites you use to promote your music. Remember your website visitors are your hardcore web fans and are the most likely to check out and spread the word about your spot on other websites. So encourage them to visit your profile on other websites. At the very least it raises your stats on those websites - making your music look more popular!

Try to create a ring of sites that link to each other though the content you supply. For example, you might have your music on your own website and two other showcase sites - Site A and Site B. Your site should without a doubt link with Site A and Site B. Site A should link with your site and Site B, Site B should link with your site and Site A and so on. What if these sites don't allow you to setup links to other sites? Put a web address in the areas where they do allow you to supply content. Like biogs or descriptions.

The ultimate aim of linking all your sites is to provide your listeners with a variety of access points to your music, as well as access to the different ways various sites may deliver your music. Remember to link to your specific page on the site and not just the site itself. Your site linked with a site that play your tracks on Internet radio, linked with a site that sells your downloads, linked with a site that sells your CD's provides for a powerful combination of exposure.

Be Rich

Without money! That is the challenge that most independent artists face. The conventional approach to selling music is that it should not be too readily available to listen to, should the incentive for listeners to actually buy albums be undermined. This has persuaded independent artists that they should limit web listeners to low-quality snippets of streaming audio.

Independent artists have to remember they don't have the resources and finances to support the "shotgun approach" of spraying their music across radio and music television. Big artists have big companies behind them that need to recoup the costs of mass media exposure, and therefore try to limit the extent to which listeners can sample their music on the web. Listeners have already heard the music and are trying to find a copy of their own.

Conversely, listeners haven't had a chance to listen to independent artist through conventional media. Therefore independent artists can't assume that people will buy their music off of a website if they don't get a chance to really listen to it. If people have already heard an artist's music, and like it, the value they pay for is in owning a copy they can play whenever they like. If people have not already heard an artist's music, the value is in being able to sample as much of the music as possible.

So being rich is providing your listeners with as much of your music as they want to listen to before they buy it. Now you don't have to make all your tracks available for free download, but you can provide good quality, full-length streams that impress the listener and enhance your sound. Not tight-fisted snippets that lose the listener because they are lo-fi and over before they attract the listener's interest.

Being rich is also making your music available in a variety of formats for different audiences. Telling fans that your music can be heard via Internet radio, on-demand streams, mp3 downloads and mail order CD means you can appeal to listeners who prefer more than one type of media. You can also use your web promotion to go beyond simply plays and sales - consider licensing.

Licensing your music for use with television, film, advertising, websites, video games and other multimedia will open up your listening audience, provide revenue and introduce a degree of professionalism to your career that attracts the notice of industry reps and A&R. Adding this depth to your web promotion helps to enrich the presentation of your music and retain targeted listeners.

So remember:

a) maximise your targeted listeners,

b) be systematic in obtaining them,

c) retain them by making sure your own site and other sites are rich in content.

Making True Blue Fans

2011-05-30T20:36:00.000-05:00

So how DO you make fans today? By making something so creative or good that people pay attention. That's the major label formula. They want to sign you AFTER you've gotten everybody to pay attention. But if you make that deal you're shortsighted, because all the label can do is get you on radio and TV, two dying media, meanwhile taking too much of the upside and paying very little in advance.

In other words, one Funny Or Die clip is better than hours spent working with Dr. Luke. That's the secret of OK Go. The videos were so creative, they were passed from hand to hand via e-mail, IM and the Facebook wall.

Yes, the words of the poets are written on the Facebook wall, the subway's passe.

So instead of handing out fliers, e-mailing everybody you know to listen to your music, the game is to stay home and create something so good, so interesting, that when it's posted online, people won't be able to stop sending it to their friends.

It's not even about genres. There are no limits online.

And catchy is catchy. I may have only heard Rebecca Black's "Friday" one time through, but the chorus is stuck in my head.

So stand back, take a deep breath and change direction. Don't play by the old rules. Today you've got to be really good or really creative or both. Your song must connect in one listen.

That doesn't mean you can't keep trying, you can't keep uploading songs and videos, but the sheer mass, just staying in the game, won't help. You're now an inventor, looking for that one breakthrough product. When you succeed, your history is unlocked and your fans can wallow in your past. This is the opposite of the major label paradigm. There's the hit and..?

Getting A Booking Agent To Take Me and My Band Seriously?

2011-03-31T13:35:00.000-05:00

The answer to this question is simple, straightforward, but not necessarily the easiest to stomach. So here goes:

Drum roll.....The best way to get booking agents to take you seriously is to ignore them, not worry about them at all and wait for them to eventually approach you.

Ignore them?

Not worry about them?

Wait till they approach you?

Is This Guy For Real?

Think about it for a moment. In the most simplistic sense booking agents see you and your band as a commodity that has a certain price tag associated with it. For example, let’s say right now your band might only be worth $100 for a thirty minute slot on a Saturday night. When you’re able to demand $1,000 a show and can sell out a 250 capacity room without much effort, you’ll be sure to grab the attention of a booking agent – and they’ll take you very seriously.
Guaranteed!

By then, the issue of will they take you seriously will no longer apply because your value as a band to them is far greater and they will take you seriously automatically as they now see possible financial reward from investing their time into your commodity, which is your band.

Granted, this description sounds dry and un-arty, yet the reality is that this is what really happens and to really understand the answer to this question, it’s important to understand the mechanics of the situation. No agent will every speak like that or make you believe that’s the case, however at the back of their minds when they know they’ve got bills to pay and they’re under pressure by their superiors to bring in the commissions, what else would be at the core of their thought process?

A booking agent sits on the phone all day long, cutting deals, booking rooms, organizing tour schedules, gossiping and a whole lot more. To get one of them to take you seriously, you must be able to prove worth. In doing this, by default you are also getting them to spend less time booking their other bands and tasks which could potentially bring in the payola.

Not an easy task.

However when you can understand what motivates them and what will get them excited, you’ll certainly have a better chance at getting them to take you seriously.

Remember that it is their job to be finding the next great talents of the world and if they haven’t come knocking at your door yet, there is probably a good reason why.

This does not mean to say that you should throw in the towel and give up either. Rather it means that more work and effort needs to go into your career before you reach that next step of getting a professional to do all the bookings and talking for you.

As a result, the whole concept of dealing with booking agents at the beginning of a bands music career is generally very misunderstood. By realizing the above, you’ll slowly start to realize booking your own shows until you can prove your value and pulling power might be the best way to go and ultimately you’ll be able to get agents to take you seriously.

In my humble little opinion this is really the only way to get an agent to take you seriously.

The Upside To This Approach?

This might not be the answer you wish to hear and nine out of ten bands I’ve ever spoken to always say the same thing, “We just want to focus on our music,” but look at the flip side, imagine how much more knowledge and understanding you’ll gain by starting out yourself, not to mention the network you will also carve out as a result!

The more hands on experience you can endure at the beginning of your career, the better shape you’ll be in when agents come knocking at your door and ultimately take you very seriously.

Booking

2011-03-31T13:18:00.000-05:00

Successful booking is one of the life-bloods of all Indie Female Artist. Most Indie Artist have to initially book themselves because booking agents, for the most part, don't want to waste their time on any new Indie Artist, especially females Indie Artists. After all if you can't book gigs, how are you going to grown your fan base and how will you meet all your fiscal responsibilities?

Whether you contact a venue by email(lest recommended), by phone, or you drop by in person, you must be well prepared as most of these folks are on tight schedules, which means you must maximizes the time you have with them. Here are a few questions to ask:

What genre of music do your patrons prefer?
What nights of the week do you have live music?
Are there nights you prefer acoustic and bands?
Do you require artist/bands bring a certain amount of paying fans?
Currently I am booking for ......... and for .........?
How does your calendar look for those time periods?
Ask about sound system and sound engineer.
Get information rates they pay and the best time to reach them by phone.
Get all their numbers you can: work, home, cell, and personal email.
Give them your business card with all your information on it, including your website.
Make sure you reenforce that you will do exactly what they require to keep a crowd happy for the allotted time frame you will be performing.
Show the Booker a few of your song set list for their review and comments.
Inform the Booker how many songs are in your repertoire.
Make sure you know the expected off-load times and by when you must be ready to start.
Above all be polite, respectful, and courteous. If you do book one date, try for one or two more. Many venues like to have the same bands come in for 1-3 nights every 4-6 weeks.

Indie Music SUCCESS = ENDLESS HOURS OF WORK

2011-03-07T10:23:00.001-06:00

Indie Female Success is dependent on how much time you will consistently dedicate to being pro-active to promoting and developing your career.

You should be thinking: Today is the first day of the rest of your life/career. Achieving your goals means taking all the necessary steps in a prescribe order. This will prevent repetition and redundancy on this Indie Road you travel. Sometimes your 'steps' will be short; sometimes they will be long, but, remember every step takes your forward towards achieving your dreams.

As an Indie Artist it's difficult to know what your next step should be, let alone know when your next paycheck will come. Every new fan; every new gig is progress. Each day there are many things to do. Most days your preparation is doing the same things over, but, with the goal of improving or doing them better.

Independents wear many hats because for a long period of time, they must do everything themselves. If this isn't your calling, you may want to think extensively about seeking another career, either inside the music market or outside it. Just Remember: The harder you work the luckier you get!

Creativity

2011-03-07T10:21:00.000-06:00

To live the life of a creative person is a rare gift. This alone should be enough motivation to do whatever it takes to have it become a reality. Surround yourself with creative people with whom you can share dreams, goals, insights, strategies, resources, etc. You want people around you who encourage, think positive, inspire, and who will give you candid inputs, both good and bad. Be patient, for non-patience has been the downfall of many potentially great artists.

Artist Branding

2010-12-29T23:37:00.000-06:00

As 2010 draws to a close KSE(KleerStreemEntertainment) hopes everyone had success and everyone is looking forward to continued success in 2011. Success means different things to most all of us and is measured in 'degrees' as related to enjoying what you do while being able to pay the bills and buy a healthy salad or a Big Mac....dependent upon what you enjoy eating.

Branding is what an artist should be doing in order to 'stand out' to those who may come in contact with you, your music, and all your merchandise. Above all TRUE BLUE BRANDING taps into emotions. Why? Because emotions drive most, if not all of our decisions. A brand reaches out with a powerful connecting experience. It's an emotion connecting point that transcends the product.

A great brand is a story that's never completely told. It's that never-ending story we know of; a story that keeps us wanting more and more. A True Blue Brand is a metaphorical story that's evolving constantly. When your brand stagnates; you loose....your fans loose.

Stories create the emotional context people need to locate themselves in a larger experience. The larger experience is YOU constantly delivering performances, music, and lyrics that connect with TRUE BLUE FANS and all potentially NEW TBF. Always ask yourself: Is What I'm Doing each day consistent with building a better TRUE BLUE BRAND? If not, it's time to think about how you are spending your time versus how you should better spend your time.

Brands, especially True Blue Brands are not built in a day....they perpetuate like a snowball rolling down a mountain in 'slow' motion; a mountain with no bottom. Your brand allows you to continue; to be remembered; to preserve from oblivion. If done effectively it continues into infinity.

THIS IS THE "ESSENCE-OF-YOU" WE ARE TALKING ABOUT.

---end

Music and Social Media Networking Events

2010-11-18T12:45:00.000-06:00

Yes, they can help out a struggling INDIE artist as long as they realize most of these events are attending by establish social networking gurus. Most of these gurus are there to 'protect' their turf against outsiders. By this I mean, there are groups of well know music folks around America that do the 'scratch' my back and I'll 'scratch' your back routine. Any new person or group with as good or better ideas is shunned on and talked about in 'negative' ways. Many of these successful ones, forget at one time they needed help and were given help. Yet, instead of being mentors, they choose to be obstructiveness.

These so-called gurus, in the music industry, continue to try and impede anyone that encroaches on their so-call rights-of-passage turf. Which, they will soon learn, as the major labels do, their obstructiveness will be steam rolled by the new and ever-growing music independents around the world. INDIES that realize they and they alone are in charge of their success. INDIES that by doing a lot of research can learn and do anything anyone can teach them, albeit taking longer, but, it can be done.

The last point "thinking outside a music box." Music industry networking events are all the same people with the same information, which can become rather boring and may even make you think: I am making no progress and these events are hardly worth my time. Finding a lack of respect and a lot of clatters in those music events, you decided to start going to non-music-related events, such as general social media networking events. Of course, you talked about your music to people there and ended up getting a great deal of attention from them. Getting peoples attention is the first step into acquiring True Blue Fans. And, we all know, True Blue Fans, are the bottom line to have a successful and lasting music career.

SUMMARY: Looking back at those experiences, you point out a great advantage that you learned about how to effectively use social media "early." Also, you realized that all industries were related anyway. Your current goal is still to find things "early." Early will help reduce your road's length to success!

--end

Branding

2010-11-05T16:58:00.000-05:00

If you take the ‘e’ out of emotion, you’re left with a word that is synonymous with action. Small wonder then, that when it comes to human behavior, nearly all of the voluntary stuff is fueled by some sort of feeling that comes from within. Whether it’s a fist pump into the air or in someone’s face, our actions occur only in the presence of emotion.

When people fall in love with brands, they don’t fall in love with its face. They fall in love with what lives at the heart of the brand. And emotional appeals can’t be forced or contrived and be successful. When they come from the heart, people will respond in kind.

These days, successful brands have a set of attributes that include:

Human - Can people relate to your brand as though it were a person? What are the personality traits of your brand? If it were a movie character, what would it look like? Is it a man, woman or child? Is it young or old? And how do these traits reveal themselves in your marketing?

Engaging - How many ways are there for people to interact with your brand? Are you producing content that doesn’t look or sound like advertising? Are there ways you could be entertaining your customers? What kinds of experiences do you provide for your audience besides a buying experience?

Authenticity - Does your marketing accurately convey the spirit or soul of your company? What kind of promise do you make to your audience about the kind of experience you provide? Do you make good on that promise during all possible interactions with your audience?

Relevance - Who, specifically is your audience? How would you describe them in human terms? What is the purpose of your brand in the lives of these individuals? How does it fit into their every day existence. Does what you offer increase their likelihood to feel positive emotions toward your brand?

Tension - What kinds of ideas do you present to your audience that challenges their current thinking about the world? Is there enough drama in the content you put out into the world? Can you identify the audiences “enemy” and somehow insert your brand as a hero?

If you have covered all of these bases in the development of your marketing, you have established a strong foundation for building an emotionally charged brand with which people can identify on a deeper and more meaningful level.

Ideas for Booking More Gigs

2010-10-27T15:20:00.001-05:00

As you've read numerous times if you've spent any time on this blog, gigs are the live-blood of a band, especially in this day and age. Regardless of your skill or place in the music business, you've got to play in front of people to stay musically fresh, improve your show skills and make money.

I assume that you have strong songs plus a fantastic live show, here are a few simple things you can do to get more gigs:

1. Create a YouTube channel for your band.

Upload a live performance video on YouTube that represents your band at its best. Include a phone number and e-mail address too, so that anyone who wants to book you can contact you easily. Say something like “Contact ________ to book us for a live show.” To show professionalism and interest, try your best to respond to every inquiry within 48 hours.

2. Print up nice business cards

…with your band name, links to your music, live videos, and a phone number and e-mail address that can be reached for booking purposes. Also, include a link to your website so they can learn more about you. You’d be surprised how many bands STILL write down their phone numbers on dirty napkins and torn pieces of paper. Wherever you go, tell people who you are, how good you are, where you are playing next, and how easy it is for them to book you directly.

3. Go watch other bands that sound like you.

If there are any bands in your area with large followings, get out to a couple shows and become friends with other bands. Ask the bigger bands to let you open for them, maybe in exchange for some kind of help like designing a website, flyer, banner, etc. The harder you work for a band bigger than your band, and the more respectful you are to them and their efforts, the more likely they will consider you for an opening slot. Talk up how good your band is and why you are better than similar bands in the area.

4. Tell your fans how easy it is to book you.

Wherever you play - the street, house party, club or major venue, make sure your fans are aware that you’re willing to play anywhere. Use the Live Music Machine’s booking and calendar widget. Put it on your Facebook page, MySpace profile, personal web site, etc. and tell your fans to go there and book you for their private events, house parties, etc. After playing a gig, you should walk around the audience, engage people, ask them what they thought of the show, and let them know you are available to play live anywhere they want you too. Telling them that will definitely help you stand out from the pack.

5. Get guerilla.

Set up wherever there is a crowd of people who might like your music and play for them. Club, high school, venue, and stadium parking lots. How many tailgate parties do you think would love some free entertainment? Play outside clubs where bands are playing that fit in with your style of music. Those people waiting in line are going to be bored, so playing a spontaneous gig right on the spot will definitely make an unforgettable impression.

6. Don’t forget the old school.

Hand out flyers and post cards at events that have a link to free stuff and a way to book you for a gig.

7. Network with key industry people at events and conferences.

Radio PD’s and DJ’s, club owners, band managers, label executives, and others all attend music conferences quite regularly. Say hello to these people, maybe buy them a drink or dinner, but don’t make a nuisance of yourself. Respect their space and don’t try shoving a CD in their face two minutes after meeting them. Introduce yourself casually, let them know who you are and where they can see you play. If’s it’s a club owner, tell them you would love to come in during the day and do a free audition for a free gig. Just make sure you can get a place to sell your merchandise if you nab a gig. Offer to play at places that may not always host live music, like restaurants, coffee shops, stores, and malls.

8. Get creative.

Write up a proposal and present it to the appropriate person at your local school board, offering to do a series of free shows to raise money for the school athletic or band program. Ask to perform during a school assembly when they can provide you with a built-in audience.

9. Find places where bands similar to yours play.

Use ReverbNation’s “Gig Finder” to figure out where bands are getting booked in your area. However, e-mailing clubs with your RPK or EPK usually won’t get any results, because many of these venues have yet to claim their venue pages on ReverbNation. Instead, after finding some good places, print out your press kit and mail it to them, or better yet, personally drop it off it in a nice professional package along with a CD to any decision maker at the club. Follow up with a call within a couple of days so you stay fresh in their minds. If the decision maker has an assistant, get to know that person and you will find that it will be much easier to get in the door. If you email them anything at all, make it your MySpace link along with a concise paragraph stating why they should book you. For some reason, most clubs still feel most comfortable checking you out on MySpace, so play by their rules.

10. Do a gig swap!

If you have a respectable following or are an up and coming band, use sites like Indieonthemove.com and Splitgigs.com to trade and share gigs with other bands who might want to break into your market. Collaboration is key to success in today’s fragmented music industry.

11. Email Addresses

Everywhere you go, wherever you play, whomever you talk to about your band… collect as many e-mail addresses as you can. E-mail is still one of the best ways to communicate directly with your fan base, and develop long-lasting relationships.

Giving It Your All

2010-10-17T08:48:00.000-05:00

Working 24/7 is a given if your an Indie Artist/Musician. Success = time + total commitment to becoming Indie/Independent. Most doors will be closed. But, there is always one that will open if your pursuit is endless.

Be ready to work you tail off. Through your work and efforts you will 'learn'. You will learn about many new areas of the music business, because, for the Indie Artist, Music is a business...A REAL BUSINESS.

As an Indie Artist you have total control and can't blame anyone else but yourself if things don't go right or don't get done.

As a woman Indie artist, the effort required to become successful will require 3X the effort.

All problems should be view as OPPORTUNITIES OF ABUNDANCE!

Flexibility means you must be patient, for patience is the key to Indie success. Hone your craft until your music shines and your band is 'tight' on all songs.

If what you are doing is not working, most likely it will not work until you discover other means to monetize you and your music. To me that key is in building a base of True Blue Fans. These are fans that promote you and your music 24/7 and they spend a minimum of $100 / year on you.

The stage is but one place where you connect with existing fans and make 'new' fans. Failure to connect is opportunities lost to build your True Blue Fan base.

Remember the only limit in music success, is YOU!

--end

Traces of You by Brenda Ribeiro

2010-10-16T08:31:00.005-05:00

CD REVIEW

Traces of You

10.14.2010

******INFORMATION******

Name of Artist: Brenda Ribeiro
Booking: 214.773.2087
Album Title: Traces of You
Genre: Easy Listening, Gospel
Label: Indie (Brenda Ribeiro)
Produced By: Gary Long
Manager: Scott January
Recorded/Mixed/Mastered By: Gary Long
Studio: Nomad (Carrollton, Texas)
Arranger: Timothy Ayers
Co-writer: Timothy Ayers
Studio Musicians:
Eric Tolliver, Denis Campos, Mike Smith,Tim Ayers, Paul Wiggins, Scott January

Links:

http://www.cdbaby.com/cd/brendaribeiro
http://itunes.apple.com/us/artist/brenda-ribeiro/id393463452

Reviewer: Lee Alford
Company: KleerStreem Entertainment

CD REVIEW

First things first. Yes, this review is off it's original schedule. Why??? I noticed Brenda's Birthday is today....it's late because I wanted it to be my birthday present to her.

HAPPY BIRTHDAY, BRENDA!!!

This album, as I understand, remains a work in process. It currently has 3 songs on it with more to come.

Although it's name Traces of You is great, as I listened to it, the only thing I could think of was: "Songs From The Soul".

I first heard Brenda sing a few years ago and her passion combined with her wonderful voice caught my attention, even though it was at a Karaoke event.

After I received these 3 songs, I did what I always do with new recordings; I listened to them to get a feel if I wanted to listen to them again. After the first one started, I had to stop what I was doing, because of the 'connection' it made with me through a beautiful strong voice endowed with soulful passion.

Now, after listening to all 3 songs, 5 times, with and without headphones, I give Brenda's 3 song CD 4 ½ Stars. I am tempted to go 5 Stars, but, I don't want her to get a 'big' head. :) However , I did rate one song 5 stars...the highest rating I give anyone.

Song #1....TRACES Of YOU

Listen/Purchase Here:

http://www.cdbaby.com/cd/brendaribeiro

http://itunes.apple.com/us/artist/brenda-ribeiro/id393463452

This is the song that stopped me. It's that captivating. It reminds me of that EF Hutton commercial that says: When EF Hutton speaks, everyone listens. When Brenda sings everyone listens. Brenda's voice combined with her beautifully written lyrics comes from her soul.

My feelings during this song were real with that great connecting feeling we cherish with all songs. It's soulful and I felt, very truthful.

The best songs, as we all know, are based on one's life's experiences. Traces made me feel I was being told about Brenda's life experiences through her beautiful vocalized lyrics.

The choice of instruments are superb!

Not a complaint, but, this song at 6 minutes and 6 secs should be reduced to under 6 minutes for royalty reasons, if possible.

Song #2....TRENCHES

Listen/Purchase Here:

http://www.cdbaby.com/cd/brendaribeiro
http://itunes.apple.com/us/artist/brenda-ribeiro/id393463452

Easy listening on this song in a bluesy real to perfection way.

Conveyance of how deep one must go to connect; a sort of protection from all the hurt in this world. But, the one real connection is with God.

Instruments are awesome, with keys in step with lyrics.

Rating 4 ¾ Stars out of 5

Song is 4 minutes and 18 seconds.

Song #3....LOVE YOU BACK

Listen/Purchase Here:

http://www.cdbaby.com/cd/brendaribeiro
http://itunes.apple.com/us/artist/brenda-ribeiro/id393463452

All of us search for everlasting love, at first, through mortals here on earth. To me, this song, is Brenda connecting with an unwavering love that will never forsake her, through good times or not so good times.

This song states clearly, God's love is the 'perfect' love that never fades or fails us, even if we do fail HIM.

Brenda nails all the lyrics which gives this song passion extraordinaire!

I love this song arrangements and the instruments are awesome.

Song is 4 minutes and 19 seconds.

My rating is 5 BIG STARS

FINAL THOUGHTS

Pick this CD up....it's great....and one you will treasure forever!!!

Additional Information about Brenda

Bio
Brenda Ribeiro was born in Turlock California and exposed to music at a very early age. Both of her parents were Christian Music Recording Artists who taught her and her sister to sing and harmonize as a family group. Her first public performance was at the age of two and she began writing songs at the age of 14. Spending part of her childhood and young adult years in Northern Nevada, she was involved in musical theater and also performed as entertainment for venues such as MGM Grand Reno, The Nugget and The Miss Nevada Pageant. She was well received for some of her original Gospel and pop material by secular audiences but her heart belonged to the purposes of God and His calling upon her life. She attended Capital Bible Institute in Sacramento California to prepare for ministry at the age of 20 then soon made her first move to Southeast Texas. After returning to California she served in music and worship ministry for fifteen years, which remains her most, beloved musical expression. As a professional jingle singer, and TV spokesperson, she has a heart for taking the Love and Light of Jesus into the market place where it needs to effectively be seen. Having also had a career in the modeling industry while secretly hiding the physical and emotional effects of domestic violence, Brenda has a passion for helping those who suffer from a broken identity and the devastating effects of abuse in the lives of men, women and children. Her journey has led her to discover who she is and the faithfulness of an ever-present God. The heartbeat of her message is one of hope to encourage those who hurt or hide behind a mask of perfection allowing the perfect love of Christ to minister grace, healing and restoration.

Behind the Tunes and lyrics:

These are three of many songs I wrote during a cocoon season of healing from trauma due to life altering tragedy brought on by the mental illness of a loved one and the tragic death of a very close friend which followed. It was during my darkest and loneliest days that I discovered the presence of God to be what the scriptures describe as "the lover of my soul"...I developed a sort of "Love Affair" with my creator and wrote these songs to reflect my passionate desire and heartfelt thanks for His healing presence that has changed me from once being a victim of abuse to a strong, well equipped woman on a mission to help others to believe in themselves and the God who loves them so much!

Her unique style is derived from diverse musical influences that range from Linda Ronstadt, Dan Fogelberg, Johnny Cash, Faith Hill and Gospel roots.

Finally, Brenda runs a very successful Decorative, Art, and Design Business.

http://web.me.com/pjvideo3/Decorative_Art_and_Design/by_Brenda_Ribeiro.html

Ted Cohen: 2011, The Year of the Music Service | MIDEMBlog

2010-10-16T06:18:00.000-05:00

Ted Cohen: 2011, The Year of the Music Service | MIDEMBlog

The Role of a Booking Agent

2010-10-09T05:46:00.001-05:00

This blog details when to expect that you are ready to garner the interest of a booking agent. Until that time, it is up to you to build your base, buzz, and brand. Online gigs can help you keep track of and manage that process with automated tools (press releases, contracts, tour itineraries), a national directory of venues, colleges, festivals, fan management notification tools, and widgets to automatically post your show dates to all your social media sites.

Every performer wants a booking agent. Who wouldn't? Someone to set shows up, negotiate the fee, keep an eye on legal issues, deal with any problems that might be on the horizon, coordinate a logical succession of dates that create a nice tour, all for a fee that usually hovers around the 15% mark.

Wow, you don't even have to pay them upfront? They just take a cut? Unfortunately, however, like anything good in life, connecting with a viable booking agent takes time, effort, and dedication. The first thing a musical act must do when considering a booking agent is to take a long hard look at the demand for their music. This is different than analyzing the quality of the music, the themes of the music, the cool stage show, or the vibe of the performance.

Venues are created and built to make money. When an act can demonstrate the ability to bring people in, it becomes able to arrange the use of a venue's facilities to stage the performance (compared to singing on the street). Because both the performing act and the venue desire money, it is the booking agent who will draw up a set of agreements to manage the expectations of both. The title "booking agent" is used for someone who matches performing acts with the venues and completes contractual requirements. A booking agent is typically one of the following three types:

In-house: The in-house booker only books for his or her venue, and is mainly in charge of finding bands that fit together with the venue (in theory) and keep it full of paying customers. They may branch out and do a festival or two, but primarily they are responsible for one venue. This is the person who most unsigned bands are dealing with when they first start looking for gigs.

Independent:There is a second class of booking agent. They are independent and looking for bands with some sort of growing demand or large potential. While "potential" is a possible criteria, independent booking agents are not likely to work for free. These types of bookers will book shorter tours in smaller venues. They also may book local festivals, one-off shows, and usually have a few local venues they have a good connection with.

Agency:The booking agent who works for an agency is going to work with bands that have a demand for their music. These agents rarely have to sell the band because any band they work with will already have a solid history. They simply show the venue the results of the last tour and commence negotiation on new tour dates. Agency bookers usually have well-developed networks and contacts with venues across the country or the world. Larger agencies, such as William Morris, will have all sorts of resources to assist the artist – corporate tie-ins, connections to other artists, legal backing, etc. Even the smaller agencies, however, are usually very well run and well-supported. Most performers want to reach this level of booking agent.

THE TRUTH

This brings us to the hard truth. Most performers do not need a booking agent…yet. There are relatively few performing acts that have such a high demand for their work they actually need to pay someone to keep everything straight.

Countless bands and solo musicians are highly frustrated by the lack of demand for their music, and they constantly point to the quality of the performance, claiming that it is so high that people would love it if only someone else could get them in the door. Many unknown bands are looking for a booking agent who will sweep them from obscurity, slap them on as the opener for a well-known band, and the rest will be history. They see the booking of shows as the only thing standing between them and success.

Others might not imagine reaching the top quite so quickly. They just want a booking agent who will cobble together a nice little National or Regional tour to smaller venues and 200 people per show.

Have there been situations where music from an obscure band with no demand found its way into the hands of someone with power, who then dropped them into a nice tour line-up? Yes. Can you expect the odds of this happening to favor you? No.

MOVING UP THE BOOKING LADDER

Booking agents do NOT determine your success in the music industry....You and more importantly your fans do!

Booking agents exist in part to support artists, but certainly not to create artists. Creating demand can be done in an artificial way using marketing dollars, but music is one of the few things in life that creates demand in a very natural way.

If you can snag an independent booking agent, or even a friend who wants to be involved with your work, more power to you. Some of these types of artist-business teams last for decades and are incredibly successful. We are always more comfortable and more loyal to those who were slugging it out in the trenches with us.

At the bottom level, however, there is much that can be done with in-house bookers. Don't begrudge that you have to deal with the "lowest form of booking agent." Treat them with respect, and play good shows. Play good shows to the point that you can point to ONE venue and say, "I bring a lot of people there every time I play."

Until an artist can say that about ONE venue, spend 6 months, a year, even 2 years building up your show, your vibe, and your audience. A performing act can expect to find a booking agent willing to spend time making the calls, following up, selling the band, doing all the paperwork, and troubleshooting any issues when 15% of your gross amounts to a respectable paycheck for them! Are you a good bet for them? Only you know for sure.

As you perform successfully on a small scale, then access will start opening up at the independent booker level. You may move from one place you can sell-out to a roster of 4 or 5. Now you are getting closer to the point that you need a booking agent. And guess what? When you start needing a booker, you will be shocked at how easy it is to get them to take your calls.

File Sharing, Why It's Here & Not Going Away

2010-10-09T05:20:00.001-05:00

The digital music consumption systems and technologies promote different ranges of social behavior in fans; it’s part of the ongoing evolution of social music. Traditional systems and tech encouraged certain conduct, such as the gradual development of musical tastes and the act of collecting music in the physical form—both of which the record industry profited handsomely from. A new age brings new systems, technologies, and behaviors, to think fans and business models are frozen in time—untouched by these changes—is a fool’s errand. So too, there’s more choices in music now than ever and discerning which adds the most value to one’s life isn’t easy. Such an overload leads fans to pursue coping mechanisms like file-sharing. And, when fans fail to make good decisions, they feel burned and look for ways to even the scorecard with the industry and artists that brought those choices.

That fans are getting more cautious about their purchases is a result of having more risk pushed onto them. To protect themselves from buying something that they didn’t want—they file-share music to mitigate the added risk and are so willing to do so that they put themselves at great legal risk in the process.

Support Indie Female Musicians

2010-08-26T10:06:00.000-05:00

I don’t condemn anyone who does not or cannot buy local. I’m an ardent supporter of small businesses, and I hope that you will be too, but I’m not going to say you’re wrong if you have good reasons for shopping elsewhere.

All things being equal, I suspect most people would choose to buy local. But each of us has a different price at which local is no longer an option. For some, this point is immediate: they’ll always buy the cheapest option, regardless of other factors. Others — and I know a few like this — will buy local no matter the cost.

Female Indie Artist are Small Business. I am a HUGE supporter of All INDIE artist and ALL LIVE music, especially female. Why only female? Because they have great talent; great songs; and in my opinion, heavily discriminated against in both the music 'label', The 'Venue', and 'Indie' world.

Don't believe me....take a look at any venue and compare the percentage of booked females versus booked males. Radio is getting better, but, in no way does their scheduling show a 50/50 split in male/female songs played. It's more like 80/20 or 70/20. Yes I know this is what the free market supports and calls for, but, the only way to make it right is for someone, some club owner, some radio station, to change the way they do things. But, as with most businesses I find it's still all about the bottom line....making money...therein lies the 'catch 22" for most all female artist, especially those in the Indie Live Music Market.

The answer: All female artist have to work 3 times as hard to build a large following everywhere they go. Once venues know you will fill their place at a 80-90% level, they will be calling you or your booking agency to schedule you and your band on a regular basis, which normally is every 4-10 weeks.

In today's Music World 2.0 the biggest asset for success is a large loyal and what we call True Blue Fans.

So make great music, learn to connect on stage with your audience, and above all make extra daily efforts to know your fans, which in turn they will bring more of their friends to your shows.say you’re wrong if you have good reasons for shopping elsewhere.I don’t condemn anyone who does not or cannot buy local. I’m an ardent supporter of small businesses, and I hope that you will be too, but I’m not going to say you’re wrong if you have good reasons for shopping elsewhere.

In today's Music World 2.0 the biggest asset for success is a large loyal and what we call True Blue Fans.

So make great music, learn to connect on stage with your audience, and above all make extra daily efforts to know your fans, which in turn they will bring more of their friends to your shows.

In today's Music World 2.0 the biggest asset for success is a large loyal and what we call True Blue Fans.

So make great music, learn to connect on stage with your audience, and above all make extra daily efforts to know your fans, which in turn they will bring more of their friends to your shows.

INDIE INDEPENDENT

2010-08-18T03:35:00.000-05:00

Not every female artist is cut out to be independent or as I refer to them: Indie Independent. Which means you are beholding to no one except yourself and your music. I believe in today's Music World 2.0, Indie Independent is THE route for 90+% of all artist. But, before you decide Indie Independent is for you, ask and answer these questions extremely honestly:

Have you done everything you can to be as good as possible?
Can you trade dreams of being a star for the reality of making a living from your music?
Are you willing to bend with suggestions from others?
How much time are you willing to devote to your music, including touring?
Can you commit you life to your career and to no one else, except God?
Can you be a Team Builder?
Will you commit to doing everything yourself (in the beginning), and not assuming someone else will do things for you?
Will you accept and commit to your True Blue Fans, knowing without them, you are nothing in terms of becoming a successful live music/recording/touring artist?

The most important thing you can do for your music career is to hone your craft. Be the absolute best you can be each day....tomorrow be better than you were today and today be better than you were yesterday. Don't waste your valuable time on anything that doesn't improve your craft and where you want to go.

Play LIVE at every opportunity, even if it means playing for tips and merchandise sales only. If you can't cut it live, success may not be in your future.

One of the most important things for an artist to become, in addition to having a great voice and great songs, is to become a great communicator. Can you, with comfort, look at your audience and make them feel 'special'. It takes practice and spontaneity to make your fans feel they are connected not only to your music, but, to you as well. Never be in such a hurry as to leave your fans wanting to be part of your career.

If your songs cause fans to sing along, dance, or for the very personal songs, that causes them to 'stop' in their tracks and listen, then, you are most likely on your way.