If you’re a BandPage user that is wondering how to replace some of the recently discontinued features, you’re in luck. Here are five ReverbNation tools and services that will help you grow your music career twice as fast, at a fraction of the cost. Test them out for free today.
Free artist page where you can showcase your songs, videos, photos, show schedule, social media updates, and more (here is an example). When a visitor chooses to “become a fan” on your profile, we collect their email on your behalf.
Here is something we can all agree on: historic forms of income like record sales for songwriters and artists are not what they used to be. There’s a new money maker in town: sync licensing. Songwriters can make some serious BANK from the placement of music in films, television programs, advertising campaigns, and video games. We sat down with Chase Misenheimer of Hitcher Music to learn about the latest developments and trends in sync licensing, the biggest misconception artists have when dealing with a licensing company, tips for approaching sync licensing, and more.
Hi Chase, thanks for joining our series. Can you tell us a little about yourself? How long have you been in music publishing?
Thanks for having me! I went to Belmont University in Nashville to study the music business. From there I moved to New York and worked at the ad agency mcgarrybowen as a music producer/supervisor. After about five years there, I switched sides to licensing over here at Hitcher. I also like to play drums in my spare time and pretend I’m good at it.
It’s a common misconception in the music industry that hiring a publicist will make all your dreams come true, and that to make this happen you won’t have to lift a finger. The idea that hiring a music publicist will automatically land an emerging act on Pitchfork or Stereogum, and that all you have to do is make good music couldn’t be further from the truth. There are a few things that every artist should know before bringing on a publicist.
A music publicist can get you in front of the right people, but we can’t make them like your music.
One of the more disheartening things about my job is telling a publication how incredible an artist is, only to find out they don’t feel the same way. Unfortunately, it happens. We can get your music to the right outlets, make sure we’ve researched what they’re into, and if it seems like you’re a fit, send them a perfectly fine-tuned pitch email with all the proper info and why we think you’re the greatest band ever, but at the end of the day taste really is subjective and we can’t force them to like or feature your music. Try not to take this one too personally. Just because the current staff of writers isn’t into your music doesn’t mean that someone else won’t be, or even that in a few months when you release your next single, a new team member at the same publication won’t be into it. A lot of this industry is about timing, so if your first single doesn’t stick with certain publications, there’s still a chance that your second one will. I know it can be easy to shoot the messenger, but try not to blame your publicist if you’re finding that your music isn’t getting into the outlets you’d hoped for. After all, we can only work with what we have, and we can’t force people to be into your music.