Promote Your Music

Promoting Your Live Show

Flyers/Posters

By Jean Spinosa

Flyers and Posters are a great way to promote your live event. You not only get the word out but it also is a great opportunity for you to artfully show the aethestic and style of your band or event. You can create your own art, work with a friend who is a savvy artist, or hire a professional artist/designer.

Hiring and Working With a Professional Artist/Designer

By Joshua Ellingson

Appoint one person in the band to be the “Art Director”. You need one point person to work with the designer you hire. You need to have a clear vision and work well with your designer. Here are some great guidelines for your point person to follow, from professional artist and designer Joshua Ellingson:

Artists and designers can be a finicky bunch. On one hand, they want to work with you to create something that everyone is happy with and makes everyone look good. On the other hand, they often want to retain some kind of ownership in their brand of unique craftsmanship. The most successful artist/client relationships happen when there is clear communication on both sides where all concerns and requests are addressed though the entire process. That way, everyone has had a hand in something that they can be proud of.

• Making a Connection
  
  Generally, the process for making any kind of commercial art for a client begins with a conversation. What is the product/event that we need art for? What kind of form factor and print specifications are we dealing with? When do we need it finished for the printer? What kind of budget do we have? These conversations are best had with a phone meeting or in person. General introductions via email the computer is fine but, it’s a good idea to start off the overall concept verbally. It’s a good idea to start scheduling when the next meeting should take place. This helps set up a structure and lets the artist/designer know that you expect to see something at a set time/place.

• Contract
  
  Though many artists are used to working “outside of contract”, it’s a good idea for both parties to have at least a simple written agreement that outlines the parameters of the project. Things to be included are the main points of your initial conversation. Plainly state the nature of the project and it’s function. Also, set a due date, when deliverables are expected. Include the agreed payment amount, including any extra costs that may have come up in conversation with the artist. It may be important to include a list of the “rights transferable” in this agreement. Will you own the original artwork forever and ever, to be reproduced on all things until the end of time, or is this artwork limited to a certain campaign. This will definitely affect the fee. Talk to your artist first.
  
  
  There are several resources for artist contracts. One invaluable resource for any Art Director is the Graphic Artists Guild Handbook: Pricing & Ethical Guidelines

• Sketches/Thumbnails
  
  The next step is usually a sketch, or “thumbnail” phase, where the designer will often present loose drawings of design possibilities. Each might have a different direction and may even be wildly different in concept. Often these drawings are dashed out right away on a sheet of paper with whatever pencil or marker is available. It’s important to keep in mind that if the artist did everything in red-pencil, for example, they are not suggesting that the finished art is going to be in the color red, or in pencil. These drawings are quick representations of overall concepts and usually only contain the major elements of a design. There should be some kind of meeting, preferably verbal, where these concepts are discussed. It’s best not to mix-and-match elements from completely different concepts. If there’s something you like in one “thumbnail sketch” and something you like in another, it’s okay do discuss how those might work together, but give the artist a chance to come up with that solution, or a completely new sketch that is even better. Once a sketch is approved, it’s time to set up a schedule for the next meeting.

• Final Art and Revisions
  
  Often, the artist will follow up with reports of progress. Some will send screenshots via email of where they are at with a design, in case something is really wrong. If there are concerns with anything beyond the original concept, it’s important to bring them up at this time. Changes in color, typography, and format should be addressed immediately if necessary so that the art can be delivered in a professional manner. Once the artwork is submitted, it’s also a good idea to get back the artist as soon as possible, even if everything is fine. If things are not fine, it’s also very important to follow up right away and address those concerns. The artist may have worked “Revision Fees” into the agreement, or revisions may be something they are willing to work with inside the original budget.
  
  
  Hopefully, at this point, everyone is happy with the final product.
  
  
  Additionally, it is important to give your artist “the right of first refusal” when it comes to revisions. This means if there is a further revision outside of your initial agreement then you must give the artist/designer the first opportunity to accept or decline making that revision. If they decline, then you may have someone else change it, or make the change yourself. It can really be damaging to a professional relationship with an artist to change the artwork without asking them to make the change first, regardless of the contract.
  
  
  If you can stick to a structure like this, the process of creating the artwork for your project can be enjoyable. Again, the main ingredient is communication, so don’t be shy.

Etiquette – Do’s and Do Not’s of Promotion

By Jean Spinosa

• Text Messaging is not a way to promote. Do not send out mass text messages about your show. Text messaging your show information is generally looked upon as rude an unprofessional. It will likely make less people come to your gig. Additionally, take into account that not absolutely everyone has a text plan. Therefore, you are potentially charging people every time you send out a blast about your show. If you have done your job, by properly promoting your show, you should not need to text message the event information. Save text messaging for emergencies.

• Do not flyer people repeatedly. It is good to be enthusiastic about your project but, if you over do it you are more likely to make people not want to support your event.

• Do not flyer inside a venue that is not the venue you are to be playing at without permission. Flyer outside, on the sidewalk as people leave the venue. Be respectful, if the venue asks you to not even flyer outside their club on the sidewalk then honor their request.

• Do say hello and ask permission always first before setting flyers in a store even if you see stacks of flyers. It makes your band and venue look more professional if you don’t assume, be polite, and courteous. If you see that the store’s flyer table is a mess, clean it up and straighten the other flyers. Tidying up the area will not only make your flyer look better but usually allows you space that wouldn’t have been there otherwise. Do not remove a flyer stack unless it is out of date. If an event’s flyer stack is outdated take that stack up to the counter of the store and let them know. Then and only then can you put your stack in its place.

• Do ask permission to stick up a poster in a local store or restaurant. Each place has its own protocol. Be polite and follow it.
• Do bring your own tape, scissors, and thumb tacks. Have a good over the shoulder flyer bag to make the process easier for you.

Posting Laws-Do not get you or your venue fined

By Jean Spinosa

You must comply with the sign posting restrictions contained in the San Francisco Public Works Code. You will have a significant fine if you post signs on certain specified light poles and other structures. The city of San Francisco regularly fines bands and venues that violate the sign posting guidelines. Persons found in violation of this regulation are subject to penalty of between $50 and $500. To view a copy of the San Franicisco Department of Public Works general guidelines for sign posting, click here.

Purchasing Advertisements

By Jean Spinosa

You can purchase advertisement space from your local publications. Check with each publication for their graphic specifications, art deadlines, street dates, requirements, and rates. In choosing the publication that is right for your event consider its estimated readership, the audience, and distribution.

Promo Packages

By Paul Zollo

The purpose of your promo package is to present your CD and you as an artist or a band in the most interesting, appealing and effective way possible. You basically want four items:

1. A single sheet, which is essentially a press-release introducing the band/artist and the new CD. You want the name of the CD, and any pertinent information about it that might be interesting — such as any guest artists, where it was recorded, subject matter, etc. As with any press release, this should be written in a clear, journalistic form, so that it could be printed in a magazine, newspaper or website exactly in the words you use. It should be formal but conversational.
2. Photo or photos of the band/artist.
3. Reviews of the album and/or the band. People respond to a “buzz.” They like it when others have written about you. So you should get reviews of the album, copy them, and include them here. You can also include any news stories about the band/artist or concert reviews.
4. A Bio. This is a one or two-page biography of the band or artist.

Getting Reviews

By Paul Zollo

To get reviews, you need to send your CD to writers at newspapers, magazines and websites around the country. A review doesn’t have to be local to include in your promo pack. But you must understand that all music journalists get countless review copies of CDs, and unless you — or a representative for you or the band — calls and emails the writer and reminds and politely pesters them to review, chances are it will be overlooked. So you not only have to send it, you have to do the all-important follow-up. And then the follow-up on the follow-up. It is the only way you will be reviewed. The quality of your music alone will not ensure you will be reviewed, as unless it’s heard in the first place, its quality will be missed. Musicians must separate themselves from any personal reaction to a non-response from a journalist. This very rarely indicates that the writer doesn’t like your music. It’s much more likely that they simply never got to it. A writer who listens to every disc that comes across is desk is very rare, and some bands and artists have such a big buzz that they get listened to first, and unknowns get put in the pile for future listening, a future that often never arrives. So be aggressive. Don’t take any reaction in a personal way. Call, email, make sure you are heard.

Bios

By Paul Zollo

Unless you are an excellent writer, it’s best to get someone who is to write your bio for you. You want a bio to be simple — no more than two pages — with history, quotes and some details about the artist or the band. But you want it to be entertaining and engrossing also, and reader-friendly. It should be as lively and appealing as your music, and your art.

Press Releases

By Paul Zollo

A press release is a written statement directed at members of the press (print, broadcast and web) for the purpose of announcing something in a newslike fashion. It is a tool of public relations, which is the art and science of generating free publicity in the press, which is distinct from advertising, for which one pays. A press release is directed at editors of publications for the purpose of encouraging them to run the press release as is, or create a story based on the press release. It is different from a news article written by a journalist — it is a statement written — often by a publicist — to be sent to journalists to encourage them to write about the artist/band or subject. Anytime you put out a new album, you should send a press release — with a photo — to encourage writers or broadcasters to do a story about your work.

• Press Deadlines
  
  Every magazine or newspaper has a deadline — a final date by which they will acquire all news and stories for their next publication. As you will want news of your album to coincide with its release, you must find out deadlines so that your press release is received in ample time prior to deadline.

• Sample Band Press Release
  
  Every press release should have some logo at the top, center. On the right should be written, in all caps, FOR IMMEDIATE RELEASE. This means that it is for publication immediately, that it is newsworthy. On the left should be contact information; name, address, phone number and email address. Beneath that, centered, should be a headline, such as PLIMSOULS RELEASE FIRST NEW ALBUM IN TWO YEARS. Whatever is most newsworthy about this press release should serve as the title. Underneath that is the date, and the body of the press release — the text that details this story. At the end should be three #s; this signifies the end of the story, and beneath those should be an additional credit line that reads, “For more information, or to arrange an interview with Fred Smythe, contact _.” For examples of press releases, see http://www.publicityinsider.com/release.asp.

Alternative/New Forms of Promotion

By Lawrence Lewis

There are many companies that offer a variety of services that are often ignored by independent artists because they believe it is too expensive or reserved only for artists who have major label backing behind them. Time was when these resources were only available to the deep pockets of major labels. As we watch the collapse of the major record label system these resources are now becoming more affordable, varied, and open to working directly with artists.

Some of these companies are still expensive and are quite exclusive, however, if you work hard enough and do your research you will find a number of companies that are willing to negotiate. These services include publicity, radio promotion, street promotion and new media promotion.

College radio is the saving grace for emerging artists and unsigned acts. Why deny it? If you have an official release, you need to attach to college radio full force otherwise nobody will hear your “tree falling in your forest”. It is important that you have a product though. A real product that sounds good is recorded well, mixed well, mastered properly, and ready for mass consumption. A real product is not a demo and not a mix that you are going to “fix later”. That being said, this does not mean it can’t be a home recording.

There are many great college radio promoters out there. Do the research and find one that works with artists in your genre. Call them, talk to them, visit them and see how you feel. Usually they are young music lovers that are on the phones calling the stations and plugging your music, so getting to know them is key. If they like your CD and agree to take you on, they will create a campaign for you. They should create a custom campaign that lasts anywhere from 4 to 8 weeks (starting from the add date) and it will cost you a weekly fee anywhere from $200 to $1,000 per week.

You can have the radio promoter customize a campaign based on your budget. They can either hit your hometown area, your touring area, or the whole nation. It is only worthwhile for them to focus on stations that report to CMJ as that is what counts when it comes to radio play. Plan on sending out anywhere from 50 to 350 CD’s. Sometimes they will let you send them out yourself and you can avoid paying labor costs or a markup on packaging and postage.

It is possible to get a list of CMJ reporting stations and send out CD’s to them yourself. However, you should note that what you are paying for by using a radio promoter is the clout, connection, and history the promoters have with the station managers. Getting radio airplay for your album helps spread your product around to a lot of people for a relatively small amount of money.

Another new service being added by these promoters is Commercial Radio Specialty Programming. This is where they promote your CD to the music directors of commercial stations that have a show that focuses on unsigned, local, or special genre acts. This works the same way as the college campaign, but smaller with approximately 150 targets. There are a lot of commercial stations that now feature one to two hours each week of new music from emerging or unsigned artists. Commercial radio promotion is massively expensive yet it is one way to get your songs on the big stations.

Street promotion is another route that is often affordable for new acts. There are a few companies that offer the services of their street teams in various cities. They stand out front of a club or concert and hand out your stickers, CD’s, t-shirts, fliers, etc. Customized campaigns for all budgets can be negotiated and most of these companies are open to any ideas you may have.

New media campaigns, (internet and new digital life), are emerging at these promotion companies and as the title says; they are “new” and don’t really have much of a structure yet. Obviously it involves the internet and can combine just about any type of promotional idea you can come up with. They will hit up every blog writer about your CD and create your social networking sites for you. These campaigns are often affordable and effective; therefore you should strike now while it is hot and make the most of it. Be creative and involved and you can get your brand name and music out all over the world.