Branding (Part One)

6 MONTHS PRIOR TO TOUR:

1.     Define your brand.

2.     Define your audience.

3.     Define your goals.

4.     Create your business plan.

As opposed to later entries, in which I will lay out specific procedures you’ll walk through for every tour, this section details procedures that you’ll only need to do once (and revisit from time to time after). These things are all about laying a wider groundwork for your touring career, and, once you have them in place, it should be easier for you to take the more concrete steps. If you've already done this, it's always helpful to take a moment to re-evaluate your branding and make sure you're doing everything you can to make it effective.

DEFINE YOUR BRAND

If I name any A-list celebrity or public figure, you can probably tell me in one or two words what the public’s impression of that person is; not just what he/she is known for, but how people see him/her. 

Every artist knows that it’s important to be seen, but how people see you publicly is just as important. You and I could walk into a random party and immediately start making up stories about each person we see based on our first impressions. We could guess where each person likes to hang out, what they do, who their friends are, how much money they have, even what kind of music they like. If I pointed to someone and told you he/she was a musician, you could probably tell me what kind of music he/she plays on appearance alone. That’s branding! We could, of course, guess wrong about everything. But it doesn’t matter. We live in a culture of short attention spans and those first impressions stick with us. Before people even hear your music, they will likely be exposed to elements of your style, presentation, logo and graphics, fashion, nicknames, and the tone of your communication online. These things, in addition to your music, are all part of your brand, and they play a huge role in determining whether the right audiences will gravitate toward you. As a matter of fact, it may sound crazy, but audiences may form a solid impression of you - and may decide to like or dislike your work - long before they see you perform or even hear your recordings.

With a physical product like a sports drink, branding is easier to figure out. You research the audience you are after and mold the packaging, design scheme, and marketing to reach those particular people. For an individual - especially an artist - it becomes a lot harder. No artist is one-dimensional, but most good brands, at first glance, have a simple, one-dimensional appeal. The challenge is taking the most marketable, most memorable aspects of what you stand for as an artist and a personality, and distilling those into a brand that hooks people in, a brand that people can easily talk about.

Many artists are very resistant to the idea of one-dimensional branding, and worry that presenting themselves in such a limited way will negatively affect their creative options. The truth is actually the opposite – by branding yourself well, you will pull in the right people who will then have a chance to discover the depth of your work. On the other side of it, if your brand is too generic, scattered, or inconsistent, people won’t take the time to try and figure it out, and your work will likely remain obscure. The most iconic artists have been branded like this for decades; the only difference was that many of them had a team of people telling them what to do, and for the time being, you’ve got to do it for yourself. 

What do you stand for? What does your music stand for? What genre/musical tradition is your work a continuation of? If you sing folk songs about the struggle and plight of the workingman, but you show up in dressed in trendy clothing, carrying a flashy new guitar, you might send a mixed message to potential fans. At the same time, if you’re crooning ballads and targeting wholesome family audiences and you show up covered in tattoos, wearing a grungy t-shirt and ripped clothing, what are you saying to your audience? You want to make sure that your brand – your logo, mode of dress, and presentation – are in line with the audience you’re trying to reach and the impression you want them to have of you.

Your audience wants to see their best selves in you. This is why we listen to music – not to connect with the artist, but to connect with what the artist shows us about ourselves. Whether it’s our most poetic selves, our most eloquent selves, or our most rebellious selves – we look for that reflection in the music, movies, books, and other art we love. Become a conduit for that, in your own way. 

A Career In Music is a Career In Politics

There's a great HBO movie called The Special Relationship, which explores the complex relationship between an American president (Bill Clinton) and a British Prime Minister (Tony Blair). Toward the beginning of the film, there's a moment when one of Blair's advisors, after seeing Clinton's success, tells Blair, “It’s easier to change what you stand for than to change what people want.” For an artist, of course, this is terrible advice. Creatively, moulding yourself to what you think people want you to be is the kiss of death. But when it comes to your business, knowing who your audience is - and knowing how to tailor your approach to them - is the absolute key to your success. 


A tour is a political campaign. They have candidates. We have artists. Politicians hit the road with a message. We hit the road with our music. Politicians give speeches, but the most important way they connect is by meeting voters. We perform at concerts, but the most important way we connect is by meeting and interacting with fans. In politics, supporters speak with their votes. In music, fans vote with their money. Politicians are running for office so they can be the voice that speaks for their constituents' minds. We are running a campaign to be the spokespeople of hearts. 


Many artists think that touring is about showing up, performing, getting in the car, and driving to the next place. For these people, vagabond mentality can easily take over on the road, and it's shortsighted. If they get in a disagreement with a venue owner or another artist, they figure it doesn't matter because they're leaving town and will never see them again. And for people who think that way, they're right. They'll never be invited back. The reality is, as much as that hour on stage may be your favorite hour of the day and the one that keeps you going, the other 23 will make all the difference between success and failure. 


If it's not apparent now, wait until you get on the road and start navigating your way through complex and 'special' relationships with industry people, venues, fans, press, and other artists, over weeks, months, and years. You may be a musician, but make no mistake - if you tour for a living, you have a career in politics.


If artists really understood this concept, the world of touring would be completely different. Artists would approach the idea of professionalism differently. They would build relationships differently. They would spend more time making their fans feel special and important. And you know what? Artists would all make more money. Accepting that you are building a long-term reputation, and realizing that you have professional commitments to your colleagues, vendors, and supporters is an essential first step before talking about anything technical. Before you reach out to venues, it's important to know what you stand for, how you plan on conducting your business, and who exactly you should be setting your sights on. 


Next week I'm going to talk about branding, and present a few ideas that may help in that process. A lot of artists have trouble with the concept of branding themselves (they somehow liken it to the process of being marked with a hot iron). Instead, think about the following question: If you were looking at this as a politician might, and you were running a campaign around your music, what would your platform be? Would you have a slogan? What types of signs would you want your fans to hold up for you? What types of people would you be targeting to 'vote' for you? And ultimately, what feeling would you want to leave people with when they met you and saw you perform?


More on this next week. 

Interview with Music Publicist Laura Goldfarb

As part of our continued series of industry interviews celebrating the launch of moderntouring.com, I'm happy to present this talk with Los Angeles-based music publicist Laura Goldfarb. Her company, Red Boot Publicity (www.redbootpr.com), currently represents a roster of more than a dozen up-and-coming artists, and her clients have been featured in high profile media such as Late Night with Jimmy Fallon and VH1's Celebrity Rehab, as well as in numerous print publications. Laura is also the longtime host of the show SoCal Sounds on BreakThru radio.

MT: How important do you think print media is for an independent artist these days? 

LG: The importance of print media depends on the independent artist’s goals. For an artist who is content to lay low, play fairly locally (or coastally) and gradually accumulate fans through word of mouth by other fans, print media isn’t too important. For an artist however, who is looking to make their mark nationally and/or regionally, print media could prove extremely valuable. It not only provides the independent artist with a “portfolio” to present to booking agents, venues, festivals, etc., but it also offers a certain level of credibility and professionalism, allowing the artist to stand out a bit from the billions of others. Not to mention, in its purest form, it is one of the ways that people are introduced to the artist’s music. 

MT: At what point do you recommend that an artist start working with a music publicist?

LG: Understanding print media as it is today, I would recommend that an artist start working with a publicist when they have or are about to have a finished album and are planning to tour regionally or nationally. Print media space is so limited these days; independent artists must show the press that they are worthy of coverage. Today, “worthy of coverage” unfortunately doesn’t just mean talented – it’s a question of how active you are, how much you have going on to keep us interested. Also, depending on the publicist/PR firm, an artist might need to have already put in their dues a bit, worked their fan base and shown that the only missing piece is a publicist. A publicist should be viewed as a puzzle piece, not glue; make sure you can stand and function on your own before bringing one on -- it will make it possible for them to really focus on their job at hand.

MT: If an artist is going the DIY route, how do you recommend they approach press? What types of publications should they seek out?

LG: Call me! I would recommend they approach press the same way I do it – with honesty, patience, and persistence (but not annoyance). Don’t tell press how amazing you are – tell them specifically what makes you so amazing. If you don’t get a response the first time, that’s normal. If you don’t get a response the second time, don’t give up. Keep at it, trying new ways to present yourself, offering new information about what you’re up to. But please, don’t annoy and pester them, or they’ll likely never cover you unless you get signed to a major label or start touring with Lady Gaga. If you don’t hear anything from them after a few months, you can assume they aren’t interested, or aren’t interested right now. As far as publications go, reach out to the ones that are appropriate for your music, your interests within music, as well as your interests outside of music. If you’re a singer/songwriter, don’t pitch to a heavy metal magazine. 

MT: People make a big deal about getting radio play still. Is this still as relevant for the modern artist? If so, how does that work? 

LG: Note: radio is not my area of expertise. You’ll want to reach out to a radio promoter and/or someone who works at terrestrial radio to answer these questions. Otherwise, I would answer this the same way I answered how important print media is – it’s all about the artist’s goals. 

MT: Realistically, can an independent artist get the type of radio play necessary to really change the game for him/her? 

LG: See above. 

MT: Do you think major labels are going to continue to be important? Is it still a good idea for an artist to focus on getting signed, or should artists be seeking out opportunities to make a living independently?

LG: Major labels are, in most cases, well-oiled machines. They have a system, a team, and money in place that has the potential to skyrocket an artist’s career. When it works, it works well, and by that I mean, the artist has longevity. In order for the artist to make money through that label, they usually need to do consistently well for a long period of time. Otherwise, they’re a big hit with no money. The importance of the major labels again depends on the artist’s goals. Will they continue to be important in the grand scheme of things? Well, I’m personally fascinated by their existence, but I think artists can be and are successful without them. Nothing in life is forever, and nothing is certain. An independent artist would be smart to create their own well-oiled machine such that they’re able to make a living on their own. If they get signed, that’s the cherry on top. 

MT: In the years that you’ve been doing this, have you felt a big shift in the way the media works, and the importance of media for an artist’s career?

LG: In the last three years alone, I’ve seen hundreds of daily and weekly newspapers, and even glossy magazines fold. Three years ago, new media - otherwise known as blogs and online media - were the cutting-edge target. If an artist wanted to be viewed as modern and “keeping up with the times,” a new media campaign was a necessity. Three years ago, writers found job security in online media. Recently, the New York Times published an article explaining how blogging is now a thing of the past, and it’s all about online social media like Facebook and Twitter. As far as importance of media goes, I haven’t seen much of a shift in that time. It’s still important, depending on the artist’s goals.

MT: What are the qualities you’ve found in the most successful artists you’ve worked with? What has stopped artists you’ve worked with from being successful? 

LG: The most successful artists I’ve worked with are genuinely talented, incredibly active (consistent touring, new music, videos, etc), honest, patient, persistent, open-minded and have a great sense of humor. They also really make it a point to learn as many aspects of the music industry as possible, and always ask me questions about print media and publicity. Simply put, they are involved. Those who have unfortunately not been successful usually did nothing after releasing their albums, refused to play shows even locally, resisted setting up and maintaining ways in which to stay in touch with fans (i.e. Facebook, Twitter, artist websites), and had unrealistic expectations. By that I mean, they genuinely expected to have features in every major glossy magazine reviewing their debut album or EP. Not that that shouldn’t be a goal nor could it not happen, but to them, any press they considered to be “below” a national magazine was worthless and ignored. They ultimately set themselves up for disappointment and failure. 

MT: Have you personally witnessed a lot of the effects of the changes in the industry through the artists you’ve worked with? Where do you think we’re headed as far as music and the singer/songwriter genre, and what types of people do you think will be successful?

LG: I’ve worked with artists whose music (and/or whose press campaigns) were richly funded by both independent and major labels. I’ve seen them not sell the amount of records their labels wanted them to and suddenly that motherly love they once received from the labels disappeared, as did the funding. It was devastating. Most of the artists I work with now are independently funded. Every day I see how the print media aspect of the industry is changing; it’s getting smaller and more competitive. Music publicity today is a real workout; it’s a tough, exhausting, demanding job. A sign of a good, successful publicist is that they’re checking their iPhone or BlackBerry every 20 minutes. When you see an album review of an independent artist, it probably was made possible by weeks of work, if not months, on a publicist’s end. 

A bad review, while not ideal for artist nor publicist, is today considered somewhat of a success just because space for any coverage is so limited and coveted. As far as where we’re headed musically – who the hell knows! Record sales show that it changes regularly. I think music fans love singer/songwriters though, but as far as who will be successful, again it’s not only a matter of how talented they are but how active they are. A proactive, persistent yet patient, honest, open-minded, hungry type of person tends to find the most long-lasting success.

You can reach Laura at laura@redbootpr.com

-Martin Storrow for Modern Touring

The Magic List

By the fall of 2007, I was hitting my stride. I was performing dozens of college concerts per year, traveling across the country, and finally fulfilling a lifelong goal of playing my own music for a living. At the same time, I had been away so often that I had very few ties to my hometown music community in San Diego. Every time I came home I was reminded of how disjointed and competitive our local music scene was, which was especially disappointing given the number of talented artists who lived there. I decided, along with Jeff, my manager at the time, that we should do something to change that, and one fall evening, we invited more than 50 of the best singer/songwriters in San Diego to my house for dinner and a meeting. It was an interesting mix; old friends and rivals, lively personas, interesting hats. Beneath all of the big personalities, however, were very simple emotions. We talked openly and found that people had all been afraid of how competitive and cold the music scene was; they had become too guarded to collaborate and share, and they didn't feel supported by their peers. Behind all the posturing was a lot of fear, doubt, and anxiety.

What followed over the coming months was an incredible experiment. We would get together once a month. Jeff and I would teach the artists what we knew about how to make a living on the road, and we would all share with each other the new music we were working on. In return for sharing my knowledge, I got to know everyone in the community, and a lot of us became closer and formed friendships and alliances that we still have today. (As a side note, several of those artists went on to achieve touring success in the coming months and years)

At every one of our meetings, there would always be one artist (usually a different person every time) who would hear about all my connections within the college music world and come up to me after our meeting, humbly asking if he or she could have a copy of the 'list'. I'm assuming these artists wanted a list of my contacts at various universities (which wouldn't necessarily have helped them, as many of my contacts were personal friends). I always tried to be patient and explain that it wasn't about having a list as much as about building relationships and getting out there. It really isn't as much about who you know than how you know them. Behind closed doors, Jeff and I would always have a good laugh because it seemed like a lot of people thought we had some kind of a magic list out there that could make an artist successful. I think a lot of artists truly believe, If I only had the right list, the right contact, everything would change. That's like saying If I only had the right list of potential clients, I could be a successful lawyer. Your success doesn't come from the opportunities; the opportunities come from your success.  


As I sit down to compile the things I've learned through my experience, I keep thinking back on those meetings, and how, if I had to really condense everything, perhaps I could make a magic list - but not the kind those artists had imagined. It wouldn't be a list of contacts; the contacts come and go. Mine would be a list of a few simple guidelines. The short version would be as follows:

1. Develop your brand.
2. Know your audience.
3. Know who you are, and know who you are not.
4. Be consistent.
5. Be professional.
6. Be good at what you do.
7. Persist.

Of course, the devil is in the details, and 'magic' is a slightly misleading term. I should clarify:

Magic = (intelligence + hard work + talent + consistency) x time

More on this to follow.