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The following is a rundown of what NXNE is and what they are looking for, as well as some great tips that artists should be aware of when submitting to promoters, particularly with the BIO.
Now in its 15th year, The North by Northeast Music & Film Festival and Conference (NXNE) is Canada’s #1 showcase for the best new music and music-related films. For five days and nights every June, NXNE takes over Toronto with the hottest bands, the coolest films, and the freshest music-related ideas.
Tell us about the event you select artists for:
I work as the Music Programming Manager at North By Northeast in Toronto – all aspects from core showcases to special event programming at the fest.
Which genres do the best there?
We’re such an eclectic festival so it’s hard to definitively say one genre over another…
We do Indie rock and shoegaze, lo-fi down tempo rap hip hop folk revisionist mountain music to klezmer metal hard rock emo-jazz. I s%&t you not.
How many submissions do you typically get?
Between 2500 – 3000.
What do you look for when selecting a band?
I think the cliché of “as long as it’s good” still applies, I am always looking to connect with something on an emotional level. Seriously – I am interested in something fresh – a different take on the familiar. So much better when I feel it in my gut. There are other measured aspects as well – level of press response, live gigging activity, other festival plays etc. But it’s all in support of the music.
Which presentation elements of a band are the most important?
Personally I can do without the flowery bio prose and the typically staged “band shots”. I wanna connect with someone – the music hits me first and then I want more to be revealed – but in an honest and cool way. I always recoil from the hard-sell.
Give an example of a recent artist you selected, and why you selected them?
Experimental Dental School. Because they are awesome, innovative and doing something I find exciting.
When you’re reviewing an EPK, what’s the first thing you click on, the second, etc?
First thing is the music player – always. As the rest of the page loads I’ll check press, recent live gigs, and MySpace. I will refer to the Bio section but usually with caution as this can be an area where artists can come off poorly without knowing it. It’s surprising how much can be revealed by one’s writing style. I always prefer the straight goods, can do without the hype.
What are some common mistakes you see artists making when they’re submitting to you?
As mentioned, over-hyping oneself – I prefer things kept honest & simple. Good music always speaks for itself. Also – forgetting that a team of real-live people will be reviewing their submission, not some automated system. We see through production values and hear the song. It’s personal process and our team takes it seriously.
What’s the one thing you wished bands didn’t cut corners on?
Being musically inventive. I would rather be blown away by something really cool sounding than wade through paragraphs of reasons why I should like something. Many times bands will follow a sound or trend to its bitter end, explaining how fresh it is – and in reality it’s a formula. I always like hearing something genuine and real. Even if I don’t program it – it’s awesome to see their artistic process in action.
What does your typical day look like?
Long.
When someone mails a physical kit to your office, how likely are you to look at it/how long does it sit?
Generally it is last on my list – unless it was requested material or something that was on my radar.
Times have changed – I get more mail on my phone than in the post.
What do you wish bands understood about the time and effort that goes into the selection process?
We have a review process that works for us and it starts with listening to every single submission we receive as we look for great new music to program. Although there are thousands of submissions, it’s important for artists to understand that each submission is treated on an independent basis with respect. But it IS a process – there is a method to the madness and it takes time and energy to put together a really strong and coherent program year after year. I am lucky to work with great people – NXNE has a really good, experienced and diverse programming team.
What method of follow-up do you prefer bands use to reach you, and when’s the best time to catch you live?
We deal with a really high volume of questions – particularly leading up to our dates and email is by far the most practical, if less congenial, method of contact. I will never be caught (a)live.
What do you like most about Sonicbids?
On the whole – seems there’s a renewed air of holding themselves and their partners accountable, streamlining operations on gig listings and overhauling the SB site. Working with the staff – Heidi, our label manager, is awesome. It’s a difficult position to be in – being the middle man – and they have made some cool moves proving their credibility.
What could Sonicbids be doing better?
I think they are on the right track – just understanding the community they serve is key – and I think they are doing that better this year than in previous years.
What was the process when you opened up your first dropbox?
Was like a dream – all billowy clouds and harps were heard in the distance.
Has Sonicbids ever followed up with you if you stopped reviewing submissions?
We have never stopped reviewing submissions. Each and every band is listened to at least twice by at least two different programmers at the fest.
What’s your musical/professional background?
I come from playing in punk bands in Victoria BC back in like the 1920’s . . . then morphed into a recording engineer, FOH engineer, venue booker, tour manager etc.
Do you have any other advice you’d like to share with bands listening?
Keep making music! It’s what makes the world go round… no but serious.
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