Here are 10 recommendations for strategies that can lead to success in music, and in life. Take them with a grain of salt. With this new decade comes the promise of digital music, the power of the entrepreneur and the tools to connect with an audience and deliver the goods. Here are 10 Strategies for Success in Music from Music Power Network.
1. Living a life in music is a privilege. Earn it.
There is very little more satisfying then spending time making music. If you make this your life's work, then you can be truly joyful. However, the chances of being successful are extremely low and the only people who are going to get there are going to have to work hard and earn the right to be a musician. Respect the privilege of being free enough to have this choice (if you do) and honor the opportunity.
2. No one is in charge of your muse but you. Be happy and positive.
People can be their own worst enemy. Countless times I have heard artists tell me the reasons why their career is not working out. Most of the time they are putting blocks in their way and pointing fingers at people and things that are holding them back. Stop whining and blaming other people and make the conscious decision that you are going to be successful and that things are going to work out in your favor. You are creating your own reality every day, so make it a good one and excel.
3. Practice, practice, practice - then go for it. Over prepare.
You can never be ready enough for opportunity. Your live shows can always be better, your songs can be more amazing, and your playing can only improve. As the CEO of your own musician business, you can learn how to run the company more effectively, reach out to more fans and be an more effective social media marketer. Don't hold yourself back by not being ready. Be a professional.
4. If you suck, you will never make it. Find a way to be great.
Lets face it, it is really hard to be amazing. Some people have the natural talent and you can see it in the first 5 seconds of meeting them. They are truly blessed. The rest of us have to find our niche, our passion, our calling and then reach for it. Ask people around you for feedback. Find what you are good at and focus on that. Get other people to help you. If you don't stand out and rise above the pack, you will struggle forever. Be amazing.
5. Learn how to breathe and keep your focus. Stay calm.
There is nothing more pleasant than working with someone who knows who they are and what their goal is. Remember the old adages of thinking before you speak, and taking a deep breath before you lay into someone. Most of us have a lot going on in our lives and we can all benefit from staying focused on our goals and remaining calm in most situations. Learn yoga, exercise, run, meditate, sit still, breathe, learn who you are.
6. Don't take yourself too seriously, no one else does. Have fun.
I am amazed at how many people spend so much time looking backwards and trying to understand what people think of them. This is worrying about the past and not embracing the future. Reviews are important, but don't run to them or let them ruin your day. Not everyone is going to like you, but more people will if you are having a good time.
7. No matter how difficult things get, move forward. Don’t give up.
The only thing that will help your career take off is forward momentum. That is how you are going to reach your goals. A lot of people are stuck in their own mud. Take action, make a move and then see what happens. Don't spend time procrastinating or worrying about how hard it is, just do something positive to advance your cause. You will feel much better by acting instead of waiting or worrying.
8. Find a way to make money. Start small and grow. Avoid being in debt.
This is probably the most important strategy of them all and why so many artists have gotten into trouble in the past by taking label advances. All that is, is a big loan. Get some kind of cash flow happening right away, no matter how small. Sell merch, play for the door, license your songs, play sessions, teach, write, start your musician business. The biggest mistake you can make is to borrow a lot of money and then spend it on things that don't matter.
9. Be unique and true to your vision. Say something.
The people that we remember are the ones that are unique, exciting, special, provocative, fascinating, original, inventive, interesting. Music is a basic form of communication. The really successful artists have something to say and work on delivering their message. Your chances of success go up exponentially if you have a unique position and message and create a following of fans who really listen to you because you have something important to say.
10. Work and play with people you like every day. Collaborate Often.
Music is a tribal experience. You cannot make great music alone. Surround yourself with talented people, write together, play together, try new things. Bounce inspiration off of each other and learn. Listen to each other and let the music weave it's way around you. Find a producer, songwriting partner, other musicians and dive in together. The whole is greater than the sum of its parts.
Wonderful things are waiting to happen to you.
Monday, December 6, 2010
The DIY Guide to Submitting Your Songs to Anyone in the Music Industry by Cliff Goldmacher
So you’ve written a great song, made a fabulous demo and now you’ll live happily ever after, right? Well, kind of. There’s no doubt that being a great songwriter and having beautifully recorded versions of your songs is an admirable goal in and of itself. However, if you’re interested in having your songs see the light of day, your work is really just beginning. While organizations like Tunecore do a beautiful job of helping you get your music out in the world, it’s still entirely up to you to make sure your songs get in the right music industry hands. Until the people who can actually do something with your song (i.e., record labels, producers, managers and publishers) have heard it, it might as well not exist. I know this sounds obvious but I think you’d be amazed at the number of songwriters out there who have great song demos that very few, if any, music business people have ever heard. Creating the music is one thing but getting your music out in the world requires an entirely different set of skills. The skills I’m going to focus on are networking, professionalism, persistence, persistence (yes, I know I wrote it twice), courtesy and patience.
Networking
Like any business, it’s not only what you know but also who you know that gets you ahead. What this means in the music world is getting yourself out there to open mics, writer’s nights and any industry events you can find. For those of you in music cities like New York, Nashville and Los Angeles, there is an almost endless stream of opportunities. For everyone else, you might have to look a little harder or travel from time to time to one of the cities I just mentioned. I think it’s a universal truth that this kind of stuff isn’t always that much fun but, especially when you’re starting out, it’s essential. Let’s put it this way: All things being equal, if you’ve met someone from a record label or publishing company in a social setting and assuming you’ve had a nice exchange, there’s a much greater likelihood that they’ll not only remember you when you call but will make more of an effort to help you out if they can. The point is that the more you’re out there, the more people you’ll meet and the greater the chance it will pay dividends down the road. I’d also recommend remembering a few basic social skills while you’re at it, like not immediately launching into your 10-minute, spoken-word bio. It’s a much better idea to find out a little something about the person you’re talking to by remembering to ask a few questions as well.
Professionalism
Did I mention we’re talking about the music business? This means it’s in your best interest to be professional about how you approach people in the industry. When reaching out to someone in the music industry, call or email first. Make this first contact short and to the point. In other words, let them know why you’re calling/emailing (e.g., to schedule a meeting, to see if they’re accepting CDs, to ask whether you can submit an mp3, etc.). This is not the time to have a long discussion. If you’ve been referred by someone they know (see “networking” above), mention this as well. Also, while it’s great to be excited and even confident about your material, it rarely pays to tell someone that you’ve got a “great” song or you’re an “amazing” songwriter. Let your music speak for itself. Once you’ve gotten approval to do so, then submit your song or bring it to the meeting. It really doesn’t make sense to send out CDs or mp3s without first getting approval, as they usually end up at the bottom of a pile or, even worse, the person who hasn’t asked for it considers it an intrusion. Don’t kill the messenger here; I’m simply saying that the odds are that if someone isn’t expecting your material, there’s a good chance it won’t get heard.
By the way, if you’ve never seen the office of an a&r rep or music publisher, I’m here to tell you that it’s wall-to-wall CDs. We’re talking hundreds and hundreds if not thousands of them. Make sure that your CD is clearly labeled with a few simple elements: your name and contact information (phone and email), the name of the song or songs and possibly — if it’s a song for an artist — the name of the person you’re pitching it to. Also, make certain that every part of the package is labeled. This means putting your information on the CD and on the CD sleeve or jewel case. Make sure that if the CD itself gets separated from the case, the information is the CD, too. Also, if you’re using a jewel case, make sure there’s information on the spine. Remember the part where I said there are thousands of CDs in these folks’ offices? When your CD ends up on a shelf with all the others, the spine of the CD will be the only way for them to identify it.
Finally, I can think of no good reason why any submission should be more than three songs. If you’re pitching a song to an artist, they’re not hoping for a “bonus track.” If you’re pitching to a publisher, three songs is a good way to show them you’ve got more than one good song without overdoing it. If they want more, believe me, they’ll ask. It all comes down to putting yourself in the position of the industry person. If they’ve got a desk full of CDs to listen to and have to choose between a CD with two songs on it or one with 19 songs, which one do you think they’ll pick?
Persistence
Let’s say you’re fortunate enough to reach someone by either phone or email and they’ve agreed to let you mail in a CD or email them an mp3. Here’s what you should expect: Nothing. In other words, it’s extremely rare that you’ll hear anything back quickly after you submit it. As a matter of fact, you should put in your calendar to follow up two or three weeks after you’ve submitted something. This follow-up should be even shorter than your initial contact. Email is probably best for this. A simple email saying you wanted to make sure they’d received your submission is enough. Also, don’t be surprised if the response you get back (if you’re lucky enough to get one) says they haven’t gotten it and would you mind resending it. Resending material is something that you should expect to do. Following up every two to three weeks (unless you’re asked not to) is perfectly acceptable if you’re polite and to the point. I’m not a cynic and I don’t believe that anyone has an agenda to ignore submitted material. I’m a realist and the sheer number of submissions makes it almost impossible for anyone to stay on top of things. Anything you can do to help remind someone is in your best interest and generally appreciated.
Courtesy
I think it’s important to realize that no one in the industry owes you anything. This may sound harsh but it’s an important point. You may very well have great songs and it would be in the best interest of the industry professional you’re pursuing to listen to them, but there are a lot of great songs out there and only a limited number of opportunities for them. If your song isn’t listened to right away or even if it’s lost or ignored, don’t take it personally. I’m a songwriter myself so I know exactly how important your songs are to you. It’s not easy to submit them for judgment and tougher still to wait around hoping someone will actually listen. However, you’ll only do yourself a disservice by being rude or impatient with someone and heaven help you if you get a reputation in the industry for being difficult or unpleasant.
Patience
Given that there are so many artists, songwriters and songs out there vying for a limited number of spots, it all comes down to patience — patience with yourself as you improve your musical skills and patience with the industry people you’re soliciting as they make their way through all of the material in line ahead of you. My recommendation is to have as many irons in the fire as you possibly can at all times so that you’re not waiting for any one thing to happen or not to happen, as is so often the case. The more people you get to know, the more opportunities you explore and the more submissions you make, the less likely you are to get discouraged and the more likely you are to start having success.
Networking
Like any business, it’s not only what you know but also who you know that gets you ahead. What this means in the music world is getting yourself out there to open mics, writer’s nights and any industry events you can find. For those of you in music cities like New York, Nashville and Los Angeles, there is an almost endless stream of opportunities. For everyone else, you might have to look a little harder or travel from time to time to one of the cities I just mentioned. I think it’s a universal truth that this kind of stuff isn’t always that much fun but, especially when you’re starting out, it’s essential. Let’s put it this way: All things being equal, if you’ve met someone from a record label or publishing company in a social setting and assuming you’ve had a nice exchange, there’s a much greater likelihood that they’ll not only remember you when you call but will make more of an effort to help you out if they can. The point is that the more you’re out there, the more people you’ll meet and the greater the chance it will pay dividends down the road. I’d also recommend remembering a few basic social skills while you’re at it, like not immediately launching into your 10-minute, spoken-word bio. It’s a much better idea to find out a little something about the person you’re talking to by remembering to ask a few questions as well.
Professionalism
Did I mention we’re talking about the music business? This means it’s in your best interest to be professional about how you approach people in the industry. When reaching out to someone in the music industry, call or email first. Make this first contact short and to the point. In other words, let them know why you’re calling/emailing (e.g., to schedule a meeting, to see if they’re accepting CDs, to ask whether you can submit an mp3, etc.). This is not the time to have a long discussion. If you’ve been referred by someone they know (see “networking” above), mention this as well. Also, while it’s great to be excited and even confident about your material, it rarely pays to tell someone that you’ve got a “great” song or you’re an “amazing” songwriter. Let your music speak for itself. Once you’ve gotten approval to do so, then submit your song or bring it to the meeting. It really doesn’t make sense to send out CDs or mp3s without first getting approval, as they usually end up at the bottom of a pile or, even worse, the person who hasn’t asked for it considers it an intrusion. Don’t kill the messenger here; I’m simply saying that the odds are that if someone isn’t expecting your material, there’s a good chance it won’t get heard.
By the way, if you’ve never seen the office of an a&r rep or music publisher, I’m here to tell you that it’s wall-to-wall CDs. We’re talking hundreds and hundreds if not thousands of them. Make sure that your CD is clearly labeled with a few simple elements: your name and contact information (phone and email), the name of the song or songs and possibly — if it’s a song for an artist — the name of the person you’re pitching it to. Also, make certain that every part of the package is labeled. This means putting your information on the CD and on the CD sleeve or jewel case. Make sure that if the CD itself gets separated from the case, the information is the CD, too. Also, if you’re using a jewel case, make sure there’s information on the spine. Remember the part where I said there are thousands of CDs in these folks’ offices? When your CD ends up on a shelf with all the others, the spine of the CD will be the only way for them to identify it.
Finally, I can think of no good reason why any submission should be more than three songs. If you’re pitching a song to an artist, they’re not hoping for a “bonus track.” If you’re pitching to a publisher, three songs is a good way to show them you’ve got more than one good song without overdoing it. If they want more, believe me, they’ll ask. It all comes down to putting yourself in the position of the industry person. If they’ve got a desk full of CDs to listen to and have to choose between a CD with two songs on it or one with 19 songs, which one do you think they’ll pick?
Persistence
Let’s say you’re fortunate enough to reach someone by either phone or email and they’ve agreed to let you mail in a CD or email them an mp3. Here’s what you should expect: Nothing. In other words, it’s extremely rare that you’ll hear anything back quickly after you submit it. As a matter of fact, you should put in your calendar to follow up two or three weeks after you’ve submitted something. This follow-up should be even shorter than your initial contact. Email is probably best for this. A simple email saying you wanted to make sure they’d received your submission is enough. Also, don’t be surprised if the response you get back (if you’re lucky enough to get one) says they haven’t gotten it and would you mind resending it. Resending material is something that you should expect to do. Following up every two to three weeks (unless you’re asked not to) is perfectly acceptable if you’re polite and to the point. I’m not a cynic and I don’t believe that anyone has an agenda to ignore submitted material. I’m a realist and the sheer number of submissions makes it almost impossible for anyone to stay on top of things. Anything you can do to help remind someone is in your best interest and generally appreciated.
Courtesy
I think it’s important to realize that no one in the industry owes you anything. This may sound harsh but it’s an important point. You may very well have great songs and it would be in the best interest of the industry professional you’re pursuing to listen to them, but there are a lot of great songs out there and only a limited number of opportunities for them. If your song isn’t listened to right away or even if it’s lost or ignored, don’t take it personally. I’m a songwriter myself so I know exactly how important your songs are to you. It’s not easy to submit them for judgment and tougher still to wait around hoping someone will actually listen. However, you’ll only do yourself a disservice by being rude or impatient with someone and heaven help you if you get a reputation in the industry for being difficult or unpleasant.
Patience
Given that there are so many artists, songwriters and songs out there vying for a limited number of spots, it all comes down to patience — patience with yourself as you improve your musical skills and patience with the industry people you’re soliciting as they make their way through all of the material in line ahead of you. My recommendation is to have as many irons in the fire as you possibly can at all times so that you’re not waiting for any one thing to happen or not to happen, as is so often the case. The more people you get to know, the more opportunities you explore and the more submissions you make, the less likely you are to get discouraged and the more likely you are to start having success.
Subscribe to:
Posts (Atom)