Music, News, Thoughts

Walking The Dog Episode 2: Gear

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Walking The Dog Episide 2

Most every morning I walk my dog. That’s where I do a lot of my thinking about my own music and social media, about music marketing and about what’s happening with music and technology in general. I thought you all might want to come along and hear what was on my mind this Friday morning.

The subject of today’s podcast is gear. What is the role of gear in your music career? Have you recently purchased some new gear and has it made a big difference in your recording or live performance?

In this 5 minute episode I talk about my own experience and also my observations from watching Stevie produce local bands. I didn’t admit it in the podcast, but I’m not immune to the siren song of gear. I’m like a kid in a candy shop at Guitar Center. In fact, I purchased the JamMan Looper/Sampler pictured above in October of last year. I haven’t yet figured out how to use it.

It often seems that musicians are more willing to purchase expensive musical gear than to spend the same amount of money on music lessons, professional performance coaching, song critiques, marketing, or legal services. In my mind, expensive gear is a social signal – but what it signals to others is not necessarily what I think many musicians believe it signals.

[Tweet ““Give me a guitar, give me a piano, give me a broom and string, I wouldn’t get bored” ― Keith Richards”]

I’d love to hear your experience and your opinion on this issue in the comments section below. I’d also love your feedback on this format!

 

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Interviews, Marketing, Music, News

Carving Out Your Niche: Portland Musician Eric John Kaiser

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Eric John Kaiser (Copyright Kenton Waltz)

I recently made friends via Twitter with musician Eric John Kaiser, a native Parisian who now lives in Portland, Oregon. Like many who make a living full time from music, Eric is a busy person, juggling several different sources of income, as you will read below. 

Eric has managed to successfully carve out a niche for himself in the Portland musical ecosystem playing “French music” several days a week. I thought it would be helpful for other musicians to read some of the smart and practical things he does to find, classify and promote his local and regional gigs. I also feel it is worth highlighting how Eric does business as a musician: he treats bookers and the other musicians he works with respectfully, fairly and professionally.

Question 1: Tell our readers a little about yourself: your music, where you are from, and how you ended up in Portland.

EJK: I’m a professional singer-songwriter originally from Paris, France, now based in Portland, Oregon, USA. After doing over 350 gigs in France and several records, in the summer of 2006, I followed a girl from Portland whom I met in Paris. Now I tour mainly on the West Coast, Idaho and Montana, in Louisiana and in Quebec and some parts of Canada. I also go back to France to tour once a year. I have released, at this point, three full length albums and three EPs. It’s been a great musical adventure so far.

Over time, I’ve learned that I needed to be flexible and be able to play solo gigs, as a duo with my accordion player or play with my full band.

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Interviews, Marketing, Music

The Grammy® Awards and Indie Music Marketing

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Sometime in the summer of 2013, I decided to join The National Academy of Recording Arts and Sciences (NARAS), AKA The Academy®. I had heard it was a great way to network with other local musicians – including Seattle’s own Grammy®-winning writers, producers and artists like Sir Mix-A-Lot, Eric Tingstad and Sue Ennis.

Then, in the fall, on a lark, I decided to see what it was like to submit my music for the 56th (as they call it) Grammys. Just for fun, mind you, and to learn. I have no delusions of grandeur left about the music industry. Well, maybe a few.

The Grammys are the biggest honor in music you can get. I thought it would be interesting to participate in the process and see how it really works first hand, for an indie and from the inside. No PR machine, no label, no manager.

First, I did some research on indie artists who have gotten nominated. There’s been a lot of controversy in recent years, with EDM artist Al Walser and Americana artist Linda Chorney top of mind. This post is not about the controversy of the voting process, however. Believe it or not, this post isn’t even going to cite Macklemore and Ryan Lewis, although Seattle’s own hometown indie artists were nominated for seven (seven!) Grammys, in case you’ve been living under a rock this year.

What is most interesting to me are two things I discovered.

One is a shift, at least for the indie artists, away from the private Grammy365 website to social media sites like Facebook to promote their nominations. Social media is having an effect even on crusty and fairly closed organizations in the music industry like NARAS.

Second is the sheer explosion in both the number of Academy members and number of submissions for nomination, as more and more amateur recording artists and producers have begun creating and marketing their music. This has created not only technical issues for the Academy and its members’-only website, Grammy365.com, but it has also made the annual listening and promotional process within the voting members much more challenging.

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Interviews, Marketing, Music

Setlist Music Part II: What Bands Really Need

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For the second half of this two part series, I interviewed Robin Fairbanks, A&R at Seattle’s Setlist Music Solutions. Robin is an amazing music industry resource who has developed, managed and promoted many bands and solo artists across the country.

She has also done just about everything there else is to do professionally in the music industry, including being an on-air radio personality and doing radio sales, online radio programming, original music sales, full-service advertising and PR, booking, and event promotion. In this interview, Robin gives indie artists her perspective and advice on how to be successful in the music industry.

Robin is so engaging, we spent two full hours together talking together, so this is a long interview, but I think it’s chock full of important information.

You may also be interesting in reading Part I in this series, an interview with Robin’s colleague at Setlist Music, Elizabeth O’Keefe.

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Conferences, Music

The Future Of Music Is Standardized Metadata

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I’ve participated, either in person or online, in several music industry events in the past two years. The speakers and panelists have opined on the sorry state of the industry and the plight of independent muscians, and have pointed a forest of fingers:

  • It’s the labels’ fault
  • Technology (Napster) killed the music industry
  • Music piracy is the problem
  • Now that everyone can buy ProTools and become a musician, there’s just too much free [not always good] music
  • It’s just too hard to find good music, so making music discovery easier for consumers is the answer
  • Streaming is the future of music distribution, and Spotify and Pandora don’t pay artists enough
  • It’s the fault of radio for being corrupt and paying artists even less
  • Apple killed the music industry by unbundling the single from the album via iTunes
  • YouTube killed the music industry by elevating sensationalism over quality of music (and artists don’t make much money from it)
  • Archaic copyright laws are to blame
  • Fans don’t really want variety and quality of music, they are content with Psy and Justin Bieber
  • The only way musicians can make money now is by aligning with big brands
  • And let’s not forget: Google is evil

It’s all true, to varying degrees, and many people with a lot more experience and knowledge about the business than me are working on addressing these issues.

Yet progress seems slow.

Not a day goes by that I do not read somewhere that being a musician today is both a liberating yet increasingly confusing, disheartening, and economically untenable profession.

In a perfect world, the Direct-To-Fan model eliminates the gatekeepers and creates a music meritocracy, where good music rises to the top and those artists are financially rewarded. Yet that has not happened.

Some would say it always has been so for the 99%, change is good, and this is a brave new world of opportunity for those musicians who can navigate it. Yet we musicians seem an increasingly desperate bunch. It’s not a question of talent or hard work or who you know. Some feel that it is different now, that music is a more irrational business than it has ever been.

Music Metadata

Maybe it’s because I’m an outsider, or naive, but it seems obvious that the solution to a problem created by technology is, yes, a technical solution. Bear with me for a minute.

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Marketing, Music

Female Guitarist Alice Stuart Shows Us How It’s Done At 71

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She was featured in Guitar Player magazine in 1974. Rolling Stone did three stories about her in the 1970s.

 “There would be no Bonnie Raitt without Alice Stuart.” – Dick Waterman

If you want to know how to be successful long term in the music business – and how to continue to be successful in the 21st century new online, Do-It-Yourself model – you would do well to study the example of Seattle musician Alice Stuart.

She may not be a household name, but Stuart is a pioneer with a loyal fan base who has had remarkable lifetime success and longevity in a tough industry.

Alice Stuart 1973A Trailblazer For Women in Rock

Alice Stuart blazed the trail for women in rock and roll as one of the only females in the country to write her own music, front a male band, and play lead guitar on national and international circuits.

Stuart has played with many greats, including Jerry Garcia, John Prine, Albert King, Richard Greene, Elvin Bishop, Joan Baez, Doc Watson, Phil Ochs, Mississpi John Hurt, Frank Zappa, The Chambers Brothers, Tower of Power & Commander Cody.

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News

DIY Musician Wisdom From Seth Jackson Of HowToRunABand

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I like to profile indie DIY musicians in an effort to distill practical music marketing lessons that the rest of us can learn from. My fellow Seattleite, Seth Jackson, has been doing this on his website, HowToRunABand, for much longer than I have. Like me, he’s a musician, blogger, and music marketer (as well as a techie – website designer and software developer), and he’s been a role model for me for almost two years now.

SethAndBrianTSeth and I met in early 2012, when I was just beginning my journey as a music marketer. I was present at the first In Real Life (vs. social media) meeting between Seth and Brian Thompson at a Hard Rock Seattle music marketing panel discussion. Two peas in a pod, eh?

Seth has a new podcast series on his website called Work Hard, Rock Harder (WHRH), where he interviews other musicians who make a living fulltime via their musical talents.

Seth is now up to interview #37. I thought it was time to check in with him and see what this WHRH thing was all about.

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Marketing, Social Media

Agile Marketing For DIY Musicians

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Agile-processAgile Marketing is a term that takes its inspiration from Agile Development, a methodology “defined” in 2001 by a group of programmers in order to apply a set of alternative (and hopefully more productive) values to traditional software development. Many software development projects large and small had, by this time, become unwieldy and nightmarish processes (see the concept of Edward Yourdon’s “Death March” software project management) when Agile Development became the new trend, and eventually, the new norm in software development.

Of course, it didn’t take long before product managers and other marketing types realized that the same concepts which were helping their brethren across the cubicle pods over in developer-land could also be applied to the world of marketing.  As a former software marketer, the idea of Agile Marketing fascinates me, as does the idea of applying it to the world of indie music marketing. This article outlines how Agile Marketing values can be used by indie musicians to guide and prioritize their online and social media marketing activities.

For many indie musicians, business people and marketers, the idea of the Death March resonates today. We struggle with finding time for both artistic creativity and promotion, we sift through unending and various advice on how to promote our music best on our websites and via social media, and we suffer insomnia as we attempt to master our social media content creation process – should we blog? YouTube? Vine? Pay for ads on Facebook or promoted posts?

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Marketing, Music

Macklemore: Indie Sellout or Savvy DIY Marketer?

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Macklemore's Career Timeline 2000-2012
Macklemore’s Career TImeline by Amber Horsburgh, Hypebot

At the risk of adding to the over-exposure of Seattle’s hometown music hero of the decade, Macklemore, I felt it important to explore this question. Paul Porter of Rap Rehab wrote an interesting blog post challenging the claim by most music publications that Macklemore is an indie DIY success story. (We had a little discussion about it on Twitter, here’s the Storify of My Dialog About Macklemore With Paul Porter.) As I interpret his post, Porter proposes that Macklemore is not DIY or indie because he worked with a distributor, Alternative Distribution Alliance (ADA), who

  • agreed to work with Macklemore because he is a talented white rapper, an unusual characteristic that makes him stand out
  • identified big financial potential for Warner Music Group in Macklemore’s wider appeal to a pop audience, which is, by definition, larger than rap or hip hop
  • underwrote Macklemore’s airplay on pop (and not hip hop) radio stations through payola
  • thus fueled his meteoric rise on the charts,  subsequent record sales and  media exposure

And all this did not, and would not have happened, without the savvy of a major label’s distribution arm, Warner Music Group/ADA. In Mr. Porter’s eyes, this makes Macklemore less than indie, because “Indie is one that is independent; especially: an unaffiliated record or motion-picture production company.”

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