You’ve recorded your songs and cut and mastered your CD. You’ve spent a small fortune on pressing and creating CDs. You’ve got your band’s single / EP or video blog ready to promote. You’ve registered with iTunes, YouTube and all other relevant promotional sites. You’ve set up your Facebook account, you’re on Myspace and ReverbNation, you’re playing live, you have merchandise ready to sell and you are slowly building a fan base. That’s great. It should feel like the culmination of all your efforts are finally being realized.
There’s just one problem, one element missing from that equation to your success. You are not getting the right people to take notice of your band.
You’re not getting any recognition or label interest, and while you may be “building a fan base†that 
tally is creeping along at a slug’s crawl.
If this sounds familiar, you probably haven’t focused on one of the most important—if not the most important—aspects of your bourgeoning music career; public relations.
Talented, hardworking bands approach me all the time wondering why they can’t get signed when other bands that are less gifted seem to skyrocket to fame. I tell them what I’m about to tell you, and what I wish someone would have told me back when I was in a band trying to make it, and that is this: If talent is the wheel upon which those are moved to stardom, PR is the driving force behind it.
In my years as a journalist, and subsequent time spent as the managing editor of two print magazines, I have seen good PR shape and mold talent, place otherwise unknown f
igures in the media spotlight and create and brand superstars.
It is costly, but it is an expense that bands must consider when calculating their overall production budget for the marketing and development of their music, i.e., their product—whether that product is the CD, the band itself or a solo artist. PR at a large house can run anywhere between $1,500 and $3,500 per month and the campaign should include an Electronic Press Kit (EPK), submissions to press both local and national, submissions to radio stations, terrestrial and internet, follow up, and the ability to garner the client airplay. But most of the time, smaller unknown bands get lost in the shuffle at these larger firms.
In order to provide quality PR for your client, you have to know your client’s needs and focus on developing a campaign that is most effective while also being cost efficient. Every client is different. Some need comprehensive campaigns that include everything from social media (Twitter posting, Facebook maintenance, ReverbNation management, etc.) to creating fan-based contests—great for bands on tour—while others need more streamlined campaigns. At Tailfish PR, we do all this, and go a step beyond, working with our clients on licensing music for film and television as well. We want our clients to be successful.
I remember what it was like and I know it’s hard for band members to wrap their heads around shelling out virtually the same amount of money for PR as for mastering their product, so I continue to keep our monthly rates affordable—if four or five guys chip in $200 a month—that’s a doable figure.
But rates aside, first and foremost, I have to like a band’s music otherwise I won’t be able to promote it effectively. I have to believe in every client I take on. It’s about the overall package. I ask myself, “Do I think I can help this client?†If I can’t I may refer them to someone who can.
You should be comfortable with your PR rep. If you don’t get a good vibe from that person, don’t even go there. Trust your instincts. You are going to be communicating with that person on a regular basis so you want to make sure your needs are understood. And, when you’re ready for PR, look into different companies. Call around. I always give potential clients references of my current clients. If a company’s current clients are happy, that usually means new clients will be happy too.
If you are interested in learning more about PR and what it can do for your band feel free to contact me. In the meantime here are three simple tips to help you on your quest for fame and fortune.
1. Get to know what stations play your type of music. I can’t tell you how many times artists come to me wanting to be on a top 40 station when their music is techno or electronic and the fit is just not right.
2. Have a plan. It’s a fact that people who plan reach their goals quicker and more efficiently than those who meander through life.
3. Help others and be gracious. It doesn’t take but a moment to click “LIKE†on a band’s FB profile. What you do for others will come back around. Be karma conscious.
Good Luck!
Tailfish PR deals with music industry talent, bands, and music gear and products. They liaise between labels and/or musicians and the media to get album reviews, profiles of bands in online and print magazines, reviews of live shows and so on. Their focus is split between generating press and airplay to acquiring film and television licensing rights for their client’s songs. They are interested in great music-regardless of the genre.
Top Clients include: Dymaxion Vehicle, GLO, JamHub, JonRa, Marcy Playground and Spaceship Days.
www.tailfish.com
Photos of Dymaxion Vehicle courtesy of Taylor Van Arsdale
Article assisted by Kiersten Brown, Editorial Intern, Music & Mayhem Magazine
All content courtesy of Music & Mayhem Magazine
