Exerted from his book “Indie Marketing Power: The Guide for Maximizing Your Music Marketing”. Check out the special 2-for-1 book deal for Sonicbids members by clicking the book cover below).

While some artists may be “naturals” at creating strong, positive images for themselves through the media, many others must be coached by publicists and put through a “media school” where they are taught the basic skills of effective interviews, including how to answer awkward or touchy questions, how to always present their best side to the media and make the necessary points regardless of what the interviewer asks.

Once you’ve got the media’s attention, you’re going to want to make sure your message comes across effectively. You need to make sure you get your main points across loud and clear, whether you’re being interviewed in a local newspaper or on the internet, TV or radio.

Here are some pointers for making sure that interview accomplishes your purpose:

• Prepare. Write out the key points or message you want to convey to the audience.

• Keep the audience in mind. Find out as much as you can about who will be reading, watching, or listening to your interview.

• Don’t try to sell yourself or your business. Guest appearances and other interviews are NOT commercials, and the media is very sensitive to this distinction. Your job in an interview is to be informative and to do so in an entertaining way.

• Arrange in advance for the audience to be able to contact you. If appropriate, ask before the interview whether the interviewer would be willing to let people know how they can contact you for more information. Such a plug will be far more valuable to you than self-promotion.

• Restate the question in beginning your answer. For example:

Q: “Which song is most requested when you play out?”

A: “The most requested song when I play out is…”

This helps the audience stay with you and gives you a chance to focus your thoughts.

• Keep your answers brief and to the point. Radio and television interviews are a conversation, not a monologue, so if your response to a question lasts longer than 30 to 60 seconds you are probably over-answering. Print allows a bit more room for stretching out on answers.

• Talk personally, concretely, and colorfully. Avoid academic, theoretical, abstract, and clinical language.

• Be positive and speak with enthusiasm and conviction. Don’t dwell on the negative aspects of your message. Provide info that inspires hope, encouragement, and confidence, and end each segment on an upbeat note.

One last tip: Breathe. Drink in that O2 liberally. Deep breathing clears your head and calms your nerves. Good luck!

Peter Spellman is Director of Career Development at Berklee College of Music, and author of numerous music career guides. Find him at mbsolutions.com

Peter Spellman is Director of Career Development at Berklee College of Music, Boston and author of several business-building books for musicians. Find him at mbsolutions.com

Appeared originally in MUSIC BIZ INSIGHT #13

For a good primer to this article see Get it In Writing

If you’re involved in the music business, sooner or later you’ll sit down with someone you have to negotiate an agreement with. It may be a management or record contract, or perhaps a “work for hire” agreement where you provide music for some particular use. Use the following general guidelines to keep the communication on the best level possible.

And always think “win/win”.

• Negotiate only with those in authority to agree to your requests.
• Have a prioritized agenda. Start with the most incontestable items and work downwards to the stickiest points.
• Put yourself in the other person’s place and structure your arguments to address his or her concerns.
• Never issue ultimatums.
• Never concede a point, however small, without winning a comparable concession in return.
• Take notes and verbally summarize each point agreed to before you move on to the next so that there’s no misunderstanding.
• Follow up negotiations with a memo or letter summarizing what was agreed, and ask for a written response within so many days or hours if any points are disputed.
• Make the other party feel good about the outcome.

In 1997 when 80’s prog-rock band Marillion scheduled a European tour to support its new album, keyboardist Mark Kelly posted an Internet message stating that the band would not tour the United States due to a lack of record company support. Fans of the band worldwide joined forces to raise over $60,000 to underwrite it, and the band undertook its largest North American tour since 1991. Since then, Marillion has been able to tour and record several more times all based on direct fan support. As a result, such passionate, wholesale support has allowed Marillion to step outside of the conventional music industry and find their own path.

The thing that made the difference in the Marillion story was the Internet. The saga represents one of the first modern examples of “crowdfunding” via the Net, and illustrates the bottom-up strategy where the fan/customer is the new driver of music markets.
(more…)

(excerpted from his book, Indie Marketing Power: The Guide for Maximizing Your Music Marketing).

How many times have you thought this: “I’m just not cut out to be a salesman”; “I don’t like promoting myself;” and “I’m too busy to spend my time marketing”?

Marketing your self, your songs, your CDs or your live shows is imperative in this dense media market we inhabit. But getting your signal through all the noise out there often seems like a hurculean task, leaving us feeling paralyzed or powerless.

At one time or another we’ve all shared these feelings. They are real.

Fortunately, to get the business you need, you don’t have to have a “sales personality,” or try to become someone you’re not, or grit your teeth to do things that you find offensive. (more…)

Getting ahead in the music business today means setting your sail in the right direction. Peter Spellman (mbsolutions.com) presents four guidelines to help musicians ride the winds of change towards success, and to thrive (not just survive) in their music careers.

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This is an episode of “Music Career Juice”. n. Music Career Juice:1. Tools & tactics to help ‘juice’ your indie music career; 2. Mind & soul supplements designed to move your music career forward; 3. Illuminating insights on the music business, music marketing and music career development.

Peter Spellman is Director of Career Development at Berklee College of Music, and author of numerous music career guides. Find him at mbsolutions.com.

(excerpted from his book, Indie Marketing Power: The Guide for Maximizing Your Music Marketing).

Remember Lisa Loeb? She was an unsigned artist who went to school with the actor Ethan Hawke. When he was doing the movie “Reality bites,” he brought her music in for soundtrack consideration. RCA liked it, put her on the film’s soundtrack, and that track of hers blew up and launched her music career.

Film and TV song placements aren’t just for the big stars. For the past ten years or so there has been a trend to look for something edgier and offbeat, like an underexposed pop tune or a song from an undiscovered band. In turn, the placement can catapult them into hits. Moby, Feist, Band of Horses, Wilco, Of Montreal and numerous others have experienced career accelerations through the visibility created by film and TV music placements.

What follow are some guidelines for approaching these markets with your music. The key is first understanding the context of each market, then forging an approach that makes sense. (more…)

(excerpted from his book, Indie Marketing Power: The Guide for Maximizing Your Music Marketing).

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It is not essential to register your copyrights with the government’s Copyright Office (copyright.gov) but it is advisable. Registration creates a clear paper trail in the event of an infringement on your copyright. Plus (and this is ultimately most important), formal registration allows you to collect statutory damages as well as attorney fees from the infringer when you win your case. ‘Nuff said.

There are five music-relevant copyright registration forms obtainable from the Library Of Congress. They are: (more…)