If you’re a regular reader of the ReverbNation blog or are just an experienced musician, you already know how unpleasant touring can be for musicians at any level. But there’s something unique and story-worthy when a young band sets out to play a tour they booked themselves for the first time. DIY touring is brutal work but is also the type of stuff that transforms inexperienced musicians into confident performers. For the young and inexperienced, here’s five things to expect on your first DIY tour:
Music is a space where it’s tempting to approach things with an indulgent philosophy. If you think about it, everything from selling out shows to proving your music is being listened to over streaming platforms is dependent on numbers. The better numbers you can generate, whether it’s song streams, fans over social media, or downloads of your music, the better, right? I don’t think it’s that simple, and in an age where music is so intertwined with numbers, we run the risk of valuing musicians too much or too little because everything is attached to numbers now. Rather than adopting a “more is always better” mentality around your music, you could probably benefit in a big way from stepping back and embracing a more minimal approach––especially when it comes to songwriting.
As we have previously discussed, the owner of the copyright in a work has certain exclusive rights in that work. Anyone who violates the exclusive rights of the copyright owner is an infringer of that copyright.
To establish copyright infringement, you must establish that you own a valid copyright in the work and that:
Remember when you first started making music, how every show, every new fan, every kind word, or t-shirt bought made you feel like you were on top of the world? Somewhere along the way as you began to grasp the business side of the industry, you lost that sense of excitement and wonder at every opportunity or win that came your way—no matter how big or small. But learning to embrace and celebrate the small wins, leads to a slew of positive outcomes—including helping you accomplish your stretch goals even after.
So how do you begin to turn small wins into huge successes?
Professional college radio campaigns are one of the best ways to introduce your music to attentive new audiences, but they’re not cheap. Depending on the size, length, and nature of the campaign, hiring a radio promotion company to send your release to college radio stations could cost you anywhere from $2,000-$10,000. And if you’re financing the recording, production, and promotion of your record all by yourself, it might not be possible to devote that kind of cash to a college radio campaign.
If this sounds like you, don’t despair. You can create an impactful college radio campaign in-house. Here’s how to get started:
In cities like LA, New York and London, you can’t throw a stone without hitting a musician intent on finding fame and fortune through making music. Despite existing in an oversaturated industry built on its workforce making less and less money, the idea that you could pump out a couple of hits and start making as much money as Kanye West is one that seems to persist despite mounting evidence that proves otherwise. If money is the motivating force behind why you create music, you might want to reconsider.
We’ve done plenty of articles on how to craft the perfect pitch, DIY your PR campaign, and land a feature. But what about when you finally do land that interview—how do you give answers that are going to spark new interest in your band, and engage readers so that they actually want to check out your music?
If you’re preparing to send out your next pitch email to a slew of music journalists, there are a few boxes to check before you blast your carefully crafted message. Our hope, as writers, is that you’ve already thought through most of the things below, but, unfortunately, each one of these elements gets overlooked more than you might think.
Some pitch preparation is mental and some is material, but to make sure you have your bases covered, keep these six things in mind before pitching a music journalist.