Brave New World

There's hardly an aspect of our modern existence that remains untouched by the evolution of the Internet. No longer merely a global porn network, the web is redefining the way we communicate with each other and share information, the way we consume and the way we do business. Whether the on-line onslaught is a blessing or a curse is open for debate. But regardless of where you stand on the proliferation of the 'net, one thing remains clear: it ain't goin' away.

One particular aspect modern Western life likely irrevocably changed is the music industry. The so-called "death" of the music biz has been discussed ad nauseum, so I won't belabor the point here. However, the way the business works now is markedly different from any point in history and continues to evolve and improve(?) with increasing rapidity. In my line of work, I'm reminded of it several times per day.

I still receive "outdated" modes of promotion like one sheets, glossy photos and — gasp! — actual CDs. But, more and more, the way bands, labels and promotions companies spread their gospel is through electronic methods. Downloadable albums, photos and press kits, links to "special" press websites and MySpace pages — I never realized my MS profile would have professional applications! — are almost par for the course these days. And it's not just the means of delivery that's changing. The promotional content is changing as well.

Rarely will you see a band boast about how many CD units they've moved, since very few bands have success with actual discs anymore. Instead, they'll point to the number of MySpace hits they've accrued, or how many Last FM plays they've had. Chart success is now essentially social networking success. And in many ways, building a fan base is easier now than it ever has been.

Or at least that's the commonly accepted/practiced wisdom.

The real truth is that while there are more avenues open to fledgling artists than ever before, the apparent ease of self-promotion has empowered an enormous glut of artists all vying for what is essentially the same slice of the same old pie. Major labels, thought to be a dying breed, have recognized this fact and are adjusting their strategies accordingly. For more on this — and a thorough debunking of the Arctic Monkeys/MySpace myth — check out this article by Adam Webb in UK's Guardian Unlimited.

So then, what's a struggling indie band to do? Answer: Research.

Though the methods of promotions are changing, most of the principles remain the same. Assuming your band doesn't suck, you just need to do your homework. Actually, not sucking isn't even a prerequisite. Just look at Arctic Monkeys. Zing!

Here's a good place to start. This e-book link was sent to me by NEK MC Thirtyseven of Wombaticus Rex and contains some very insightful — and up to date — information on dealing with the changing face of the music industry as an artist or promoter. And it's free! Written by Andrew Dubber  of UK-based independent music advocates/strategists New Music Strategies, the book weighs in at 96 pages and is, pound for electronic pound, one of the most helpful guides to modern promotion I've seen. Dubber runs the gamut, challenging popular misconceptions of independent music marketing strategy and offering sensible solutions to common biz roadblocks. Think of it as Indie Band 101. Check it out. You just might learn something.

Comments

[the Wound]

"Actually, not sucking isn't even a prerequisite."

Words to live by?

If you had some ideas about what "not sucking" means musically, you'd be a better music critic.

Playing the social networking game (or not) has nothing to do with musical success, but may have much to do with success in the music business.

Perhaps a title change to Music Biz Critic is in order.

Congrats to Grace Potter and her Nocturinals on peaking at 119. Go homey!

[dan]

And you'd be a better musician.

While some folks might be satisfied clearing the room at, say, the Radio Bean Birthday Bash — not naming names, of course — there are plenty of local musicians who yearn for just a bit more. Many of whom read this very blog — apparently more carefully than you, Chris, since at no point did I equate chart success to musical success. This post was aimed at them. And it was about the music biz, not artistic validity.

If you want to berate me for giving GPN press — Nocturinals, how clever! — go right ahead. I write about them — rather infrequently, actually — because 1. They ARE successful and 2. Judging by the fact that they sold out three straight shows in the HG Ballroom, a significant number of people do want to read about them. I don't write solely for the snarky pleasure of aging hipsters, believe it or not. And, if I'm not mistaken, the last bit I wrote about GPN had more to do with the local openers, Swale and Lowell Thompson, and the charity event accompanying the shows. Guess you missed that one.

[the Wound]

I'm not sure you're sure what the point of your blog posting was: it does seem to be about succeeding in the music industry.

Perhaps you or your typing monkey could clarify how you consider Grace and her NoctUrinals successful in point 1 of your response. You've been almost not dumb in the past in playing GPN: letting a freelancer review their major label debut so you don't have to go on record with an honest critique (sic), but happily accepting their press passes and hospitality for events. Those credentials swinging around your neck must add inches.

In August, you wrote me: "As for the GPN review, I'm in no way responsible for the content or opinions of freelance reviewers. Personally, I wouldn't have reviewed their new disc in such hyperbolic terms as Rob Williams, but it's actually not awful. Not great, but not awful."

SevenDays does advertise itself as the alternative newsweekly, but sadly it more closely resembles those rural weeklies (are they even still around?) that report visiting relatives and old ladies' card games. Too bad I'm not card-playing pals with anyone who matters, i.e., works at 7D, but Burlingtonians get what they deserve, eh?

You're still welcome to attend a show, which you've yet to do, and listen with an objective ear, which you probably can't do at this point. (How professional of you to change your previously posted opinion about the Bean's Birthday Bash performance: Which writer is the real Dan? Which is the chained typing monkey? Who knows? Who cares?) If you do deign to come, I can't guarantee that the sounds you hear won't be a ballpeen hammer, but opening your mind one way or another is a challenge I've heartily accepted.

Saturday, February 2-- the all-important Groundhog's Day-- the MisFit Matinee plays 'til MidNite with Thee Scragged, the Shuckin' Fits, two new as-yet-unnamed bands, plus the Cave Bees.

You can also tune in to the Radiator FM 105.9 on Thursday mornings, 10am-11am, for an hour of garage rawk'n'roll and, as necessary, weekly corrections to your columns and calendar listings.

I'm still yearning for a more better local music critic with at least metaphoric balls. You still haven't read Pop and the Rock Narcotic, have you?

[dan]

Wow, thanks! I'm flattered. On two counts, actually. One: I've never been physically threatened online before. Way to go, tough guy! We're all very impressed. And two: you devote time on your show to discussing what I write? You actually take airtime away from playing music to talk about li'l ol' me? Aw shucks. That's just super!

One question though: Is it as draining as it seems, to be so full of vitriol for someone you've never met or even attempted to be civil towards? At the Bean Birthday show, you wouldn't even look me in the eye. When I attempted to introduce myself, you awkwardly scuttled right past me. It seems I'm not the only one who could stand to grow a pair, metaphorically or otherwise.

Sub-question(s): If I'm so awful, why would you want me to come to your show? Since when does one need an invite to go to a Radio Bean show? Who placed upon you the mantle of "opening my mind?" And who's gonna open yours?

Really. Thanks again. Balpene hammer . . . awesome!

Now if you'll excuse me, Grace Potter's Hummer stretch-limo is waiting outside. We're flying to Barbados, which Gracie-poo (she loves it when I call her that) tells me is lovely this time of year. You're right, Chris, it's good to be the king.

[casey]

Fight!

[Tanner]

Man, i don't check out a blog for a week or two and i miss all the freshies.

*gets comfortable with bucket of popcorn and 3D-glasses...*

proceed.

[Thirtyseven]

Ouch! A textbook example of how to use the power of the internet to burn bridges and make a f'ing ass of yourself in the local scene. Powerful stuff here!

Remember, communication takes actual work -- it's way easier to just insult people and refuse to treat them as a thinking human.

I used to have dreams about writing a book on good, effective approaches to the music industry. I'm starting to realize I could get done much faster if I wrote the opposite book, because there's a lot more examples to model.

[the Wound]

bottom to top:
to 37, bridges have been burned here long ago: this blog seems read and used by current and former employees of 7D. are you in either category?

ditto to tanner.

casey still gets a buck now and then and didn't earn the $ he got as a full-timer. care to speak up on your behalf? enjoy the show.

dan, i sincerely hope that you don't feel physically threatened: my sense of humor, weened on the flat prairies of the midwest, escapes you yankees now and then.

tune in to the radio show. i spend very little time talking as a rule. if a garage-punk show gets missed in the listings, or mislisted, i'm happy to let listeners know: there's too little happening here of musical interest to be overlooked, but that hasn't been the case at 7D.

fer instance, your failure to even mention the Nov. 11 Red Square show with the Magnetix --a French punk band playing for free!--in your column that week, which included lengthy BS on the industry and DIY promotion, showed that you'd let your apparent personal animosity towards me trump any professional courtesy you could've proffered.

if you had attempted to introduce yourself at the bean birthday, you did a bad job of it. i hadn't seen your pic on this blog until recently. red hair. so we know who we are?

come to the groundhog's day show and see if you like what you hear.

[casey]

Chris, I'd love for you to try to fill Dan's role in a tiny little city like Burlington.

I hope your music gets the attention it deserves. Certainly you've got a charming way about you.

[Raph Worrick]

Ummm....hopefully no one will find it too distracting or uncouth if I start talking about the actual original posting again.

I think its great to get this sort of information out there and bust up some of the current mythology about how fantastic the current “new music business model” is for artists. I really see very little change, other than perhaps a slight shift in who’s short-shrifting or even shafting musicians. Nearly all commercially successful performers have some sort of publicity machine behind them as the articles linked point out. Many of those artists who have made a name for going the DIY route online successfully already had that name built up by previous exposure in the supposedly old system (everyone from Radiohead thru Jane “Issa” Siberry thru David Lindley.) I have seen few if any true stories of bands getting to the point where they could make a living via DIY promotion. (I don’t really count living in a van as living, but maybe that's just me.)

Certainly it seems obvious to me that regardless of what you think of Grace Potter’s music or level of commercial success, their rise didn’t happen because they played a couple of good shows at Nectars and suddenly the world tuned in. There clearly has been far more money going in to promoting the band than it has been generating. This is not meant as a dig, I think it just reflects the reality of how the music business model continues to work. I hope for them that whoever’s investment it is starts to pay off and they get to keep going- it seems like they are working hard and deserve to have a run at it. Just don’t confuse the tag “indie” with “completely self-promoted.”

What worries me most about this myth about how the music business is changing is that it seems to be reducing revenue streams for musicians. Previously you could expect to play live gigs (for some level of pay), make recordings which might get local airplay (see previous rants by self), sell or gain royalties from same, sell merch, etc. Now clubs often don’t want to pay, or pay the same as they were paying in 1970, and while I don’t entirely buy their arguments on this subject there are some to be made (drinking age, reduction in audience for live music, etc.) Meanwhile, selling your recordings is now iffy. There's little or no chance of radio play thanks largely to the loss of local control of media. The current generation feels that paying for recorded music is an outdated idea, and nearly any music recorded is available for free online whether the artist puts it there themselves or not.

This leaves merchandise. Most musicians will tell you that they didn’t really expect to find themselves in the t-shirt business but now are. Meanwhile, when you do get a label deal, apparently they now want a cut of merch since, guess what, that and licensing are now the only ways left to make money until you really start selling a lot of high priced show tix.

Of course as the rather grouchy previous poster is (I think) trying to point out, artistic success and commercial success are not the same thing. However in order to be good at music, at least for most of us, you have to be able to do it, often. In order to be able to do it often, it has to return at least enough so it isn’t costing you too much every time you play. Setting up a model where musicians don’t get paid for playing live and don’t get paid for selling recordings leads us into a strange realm. Do we really want the only people who are able to make music to be a mix of those with independent family wealth, eccentric homeless outsiders, and expert t-shirt salesmen? I dunno, it sounds lame to me.

On top of this we have a new online realm for the usual leeches who feed off musician’s meager income streams to inhabit. My biggest gripe in this neighborhood is Sonicbids, a service which attempts to get festivals, clubs, magazines, and anyone else a musician might get a job out of to take submissions through Sonicbids and charge a fee for it. Now instead of sending a regular email to a club to enquire about bookings, you have to pay to send something to them thru Sonicbids (who take a cut, unsurprisingly.) We’ve moved from good ol’ pay-to-play into the realm of pay-to-be-considered-to-play, pay-to-be-considered-to-be-reviewed, etc. etc.

Yes, there is a new business model developing in the music world based on the use of the net. But is it really going to be a net benefit (nyuk nyuk) for the artist? I have yet to see the evidence that it is. So thanks Dan for putting the links up. And thanks for listening to my rant. I better go do some work so I can afford to book a couple of shows.

[dan]

Sweet baby Jesus! Did someone actually just comment on the actual topic? As I live and breathe . . .

[dan]

And by the way, Ralph, you're welcome. But the thanks actually go to thirtyseven, who sent the info my way.

[Thirtyseven]

I agree 100% on Sonicbids -- the amount of festivals who go exclusively through them for booking is insulting and infuriating. Everyone is looking for angles to charge a fee right now, and that "parasite" model of the music business hasn't changed at all. They're just looking for a more streamlined digital tapeworm.

However, I do see COMPLETELY INSANELY HUGE potential amidst all this chaos right now. For artists who are willing to take on personal responsibility for their business, I think there's a lot of "revenue streams" available still. In fact, there's more now than there were 10 years ago.

Anyone can make music. You have to put in work to get heard, is all.

[casey]

At my job, we work on policy stuff that impacts how musicians will "get heard" all the time. It's crazy complicated, but I agree with Thirtyseven. You might not become a "rock star," but there's more opportunity than ever to become a niche product and make a comfortable living, provided you're smart/tenacious enough.

Oh, and be sure to support net neutrality if you want to keep up the guerilla marketing. . .

[casey]

That said, Raph is 100 percent spot-fucking on.

[Ari]

I'm glad these comments have gotten more on topic, because I've been thinking about this stuff a lot lately. I recently became the "manager" for the singer/songwriter I play with (Rachel Ries) (also, I say "manager" because I don't even really know what that means yet...), and we've been struggling with a lot of these issues. I can say that Sonicbids, while I agree with the above comments on it, comes in handy because the cost of most of the submission fees are less than a demo CD, glossy photo, and postage would be in a traditional press packet. They are capitalizing on convenience, though. Jerks.

Here's a short and sweet link from a marketing guy who thinks he's got the music biz figured out... and I really can't say if I agree with him or not.

[Thirtyseven]

Godin is basically just applying his same old "permission marketing" schematics to the music biz. Just the same, those are good schematics and his insights are pretty damn useful.

Of course, we're also talking about an industry that needs to have the obvious repeated 10,000 times a day because they still...don't...get it.

[dan]

Screw you Ari! . . . oh wait, we're back to being civil, aren't we? ;-)

I've never used Sonic Bids for my own music marketing purposes, but I do use it on occasion in my role as . . . what was it again? Oh, right. Typing monkey. I've yet to encounter a Sonic Bids profile that's more helpful than your average MySpace profile or traditional band website. Whether that's more to do with bands not using the site to its fullest or just that Sonic Bids blows, I know not.

The overriding point is, when marketing your band, you want to make it as easy for the person whose attention you're trying get to access your stuff. In that respect, the Internet can be an invaluable and cost-effective tool. But just as you wouldn't use, say, a circular saw without at least learning the basics, you can't blindly jump in to online promo and expect not to lop off a fingertip or two (or was the the saw?).

BTW, Ari, that's a pretty interesting link. Thanks!

[bigbadbrad]

I CAN'T WAIT TO EAT THAT MONKEY!

LOL....You guys need to break out the pool cues and have at it. Now, I'll come back home and pay me hard earned scratch to see that. Either that or get a room. I don't need to know who the "top" was.

Seriously, give my "pool cues" idea some thought. We could make a mint.

[Raph Worrick]

I used Sonicbids for over a year, and have no objection to the part of thier service that sets up the electronic press kit (I think they have trademarked the phrase for whatever reason...) Its a handy little thing to have, and thier monthly subscription price is perfectly reasonable. The issue is when they start charging per submission, and doing thier damndest to sign every music outlet up to take submissions through them exclusively (a phrase they deny they use, but which simple googling reveals they use constantly.) While its possible to argue that paying $5 to submit your EPK costs less than sending a physical package (not for me, but never mind that) in most of these cases all I would have been sending the venue was an initial query email. So the real issue is it cheaper paying $5 to send a (formerly free) email? Um, no.

Furthermore the manic defensiveness of the Sonicbids employees leaves one convinced that its either a disingenuous cash cow or a cult, or perhaps both. They scan the blogs and appear out of the ether to defend thier slimy setup, so we may yet hear from them here.

I did find the article Ari posted very interesting, and probably largely true. I still find it disheartening that most of these models indicate that musicians should not expect to make money from playing music any more, but from other sources (souveniers, subscriptions (to what I'm not sure) etc.) I was struck last year by a story I read about someone who had come across an album his father had recorded in the 60's. It was a band his dad had put together TO PAY HIS WAY THROUGH MEDICAL SCHOOL. Read that again. Can you imagine even the idea? They got paid enough playing music live to pay medical school tuition. We gotta work other jobs in order to afford to play.

[Ari]

We gotta work other jobs in order to afford to play.

Or start a wedding band!

[Ban Dolts]

The editors of Seven Days were sent a letter damning Casey Rea's poor performance a few weeks before the paper solicited for a new music editor. Oh short-lived joy! (Was Casey fired or did the lure of the non-profit ethos draw him away? Guess the futureofmusic.org is cool with his posting to this blog on their time?)

I'd advised the editors that two part-time pinheads might be better than one full-time zippy, and other suggestions, but they apparently didn't get the message. I do think Dan's jettisoning of that Top Ten half-page in favor of more content (about Dan too much of the time, unfortunately) was a good baby step. A geunine compliment.

Cronyism in Vermont is chronic. Cronyism in any music scene is chronic. So cronyism in our circumstances is further compounded. I've heard plenty of stories about the hungry egos of the local critics and how pathetically easy those egos are stroked.

The job of music critic in such a small town demands a toughness that is lacking in the current and previous two seat- and page-fillers. Reporting as objectively as possible on the local talent is sure to offend more often than not, but readers would be better informed on what is going on and the lowly critic might eventually earn respect for his or her opinions and candor.

Regrettably, the antecedent of the music critic is not the journalist but the payola-seeking DJ. Money might not be changing hands in our little burg, but the social rewards are not negligible, though they might be counterfeit.

A better model for a music critic here (or anywhere) would be the big-city food/restaurant critic who strives for anonymity in an effort to report objectively on an experience that is uncolored by special treatment.

I do like Ralph Worrick's postings, but...

"Setting up a model where musicians don't get paid for playing live and don't get paid for selling recordings leads us into a strange realm."

That strange realm is the way of the folk (in its broadest sense) musician who plays for his or her own pleasure. And those musicians are the source of the best music. Most professional musicians consider themselves fortunate (and cursed) to have a signature song or two. Even pros with long careers are lucky to have enough great material to fill a greatest hits LP. Too, I think the commercial success of local bands in the '60s was an anomaly, like cheap oil, that ran its course.

Until the internet fosters random encounters over the linking-of-likes, its power is problematic.

Finally, after so much to chew on, or react to, which seems to be the rule, one tiny bite-sized blunt request to Dan: Please provide your review of the Grace Potter and the Nocturnals' major label debut. Letting the "actually not awful" blurb stand might not make it into their press kit.

Just the music, please.

Ban Dolts
the bizarro musick critic

[bigbadbrad]

Damn Dan, you've got all kinds of wackys hatin' on ya this week. What a cleaver turn of phrase with Dan's name. Aren't you the witty one!

[dan]

Well, Brad, everyone's a critic.

Ban, perhaps you should alert Casey's employers to the fact that he's viewing music blogs on company time. Since that's part of his job, I'm sure they'd love to know about it. Plus, you seem to have really good luck getting Casey fired. He was simply crushed after your first letter.

Now if you'll excuse me, I have to go out carousing with all of the VIP friends I've made since I've been writing for Seven Days. I know it probably compromises my objectivity, but drinking Krystal with the "beautiful people" I now spend my time with and then throwing the empty bottles at "little people" as we drive by in our limousines is an experience I wish you all could have. But what can I say? They just stroke my hungry ego so good.

Plus, if I behave, Gracie-kins says she'll get me a new job at Rolling Stone.

[bigbadbrad]

Dan, don't forget the groupies!
"we don't love them hos"