Recording Artist Advocate: Stay sharp...

Hope your Christmas gigs were good and that your new year’s gig will be fantastic! This is a great time of year for working musicians. You may want to party along with the audience, but don’t let it get out of hand or your performance will suffer. This doesn’t have to be a buzz-kill. Talk to band members ahead of time about how to help each other out before anyone slips.

I knew a bass player who would politely accept drinks from happy fans, 
but had his own drink ready. In the dim light no one ever caught on and 
he could stay sharp. He said he wasn’t going to let some drunken fan 
mess up his show or his reputation.

It’s sad to see once successful musicians or singer/songwriters who can’t 
get through a show or barely stumble through. They let down their 
bandmates, the audience, and themselves. Don’t let that be you.

This is a case where little things add up to big things and just not getting 
drunk sets you apart from so many other bands. You will be asked back. 
You will have a longer career. And you will make more money.

Recording Artist advocate: When theres nothing to do...

The winter storms kept clients from being able to come record today. I took the 4 wheel drive truck out and saw plenty of cars and even other trucks in the ditches. Even the big stores were pretty empty. I bought some new video monitors for the studio and got back as quick as I could. 

It’s a funny feeling when you are planning on working, but 
there’s nothing to do.

I set up the new monitors, moved some things around 
in the studio… even worked on equipment. Even though 
I was “working in the studio” nothing compares to actually 
working in the studio recording bands.

If you play music you know exactly what I mean. 
Getting a new instrument is exciting, but playing it is 
even better, and playing for people is even better than that. 
When you have down time there is nothing better than 
working out a part or lyric that’s been bouncing around in 
your head. It’s part of who and what you are.

You're a musician.

There are people that just play music, and there are people 
who have it in their blood.

If you are a musician, I’d like to introduce myself to you.

I’m Robert Snyder and I’m a recordist. That means I love 
recording and mixing music as much as you love 
writing, playing and performing music. 

We should get together.

Recording Artist Advocate: Think like it’s your bar…

When you want to get booked into a place you are a big question mark to the person your talking to. Do you know how to entertain their crowd? Will their crowd like you? And most important, will they make more money with you there?

That’s about it… and will you show up when you say you will.

The first time is about proving yourself. So talk to the people 
at the other places you play and ask important questions. 
Do they notice a different crowd when you play there? 
Get their take. If you bring in a crowd that spends money 
tell every manager you meet that so-and-so said that. 
Or that you don’t just appeal to kids. (who don’t have money 
and can get a bar in mucho trouble) Whatever they say that’s 
good, tell everyone. 

You have to create your own buzz.

Don’t be afraid to ask those questions. I see bands get their 
money and head for the door.  

Don’t do that. 

When the money is in your hand start asking questions.

Did you notice people staying longer or ordering more?

Did you see new faces?

I saw people singing along. Did your regulars seem to like us?

Who do you want to attract here?

If you’ll just ask questions, you’ll learn a lot about the 
bar business. A good bar manager knows what the average 
customer spends and how long it takes. When one customer 
spends their money and leaves, and is replaced by another 
customer, that’s a “turn”. The more turns the better. 
They know exactly how many turns they need to have a good 
night. It’s simple math. You only have so many tables or 
standing room. Move enough people through and you can 
make more money from the same space.

People like to tell you how smart they are. So let them! 
Pay attention and you’ll know exactly how to get booked 
again and at the next place.

Recording artist advocate: Don’t write off the deaf guy…

I was recording a band. A really good one. As we were putting a rough mix together, one of the principals told me he was almost deaf. Not just the kind of deaf you get if your not careful, he actually has large parts of the audio spectrum that are just gone. And yet he was able to tell me exactly how he wanted the mix and took an active role in the process. I wanted to tell him to leave it to the folks who could actually hear, but I didn’t, and was impressed when the things he asked for sounded great.

I had a singer in recently who impressed me in the same way, especially when I realized she was just as hearing impaired. Another artist had a terrible time with his headphones at ear-splitting levels but was able to match the lead singers backing vocals with amazingly tight harmonies.

All this is to say that people will surprise you. The guy who can’t seem to 
put a sentence together may write a song that could make your career. 
The person asking you to play a song or say happy birthday may hire you 
for a private party at twice your going rate. 

Or a nearly deaf person may know how to make your music sound great.

Keep an open mind. 

Oh, and get yourself some ear-plugs or sound reducing inner-ears so you can 
protect your hearing. 

Recording Artist Advocate: But is it any good?

Artists are becoming more savvy with regards to marketing themselves. I see a lot of artists and shows, and I can see that they do more themselves with responsibilities split between band members.


And the work is good. Social media and merch stand out. Equipment is better than in the past. Some even have their own lights and in-ear monitoring.

But, is the playing good? Is the band practiced and tight? Are the songs memorable and entertaining?

These days you have to do it all, and you have to do it very well. The bar is higher and you have to reach a level of success before anyone will even think about signing you.

While you’re doing everything well, you also have to make music worth listening to. Music based on your own experiences, that your audience can connect with.

The bar is high, but the rewards are fantastic too. You can live the life you want when your audience says, “That song is about me.”

Recording Artist Advocate: Good to Great…

I went to see a group I recorded. The set list was tight and one song flowed into the next. There were several times where the front man talked to the audience while he and the band discretely tuned or switched out guitars. All in all a very professional show by a band that is going places.

Start-up bands can be forgiven for on-the-fly set lists and long pauses between songs, but a professional band comes prepared and never does those things.

We’ve all seen players turn their backs on the audience, check their phones, and generally tell you they don’t care. These people need to find something else to do.

The most successful bands play the same show weather they’re playing a sold out arena or an almost empty bar. In your career you will play both. Even when you hit a level of success, some venues just don’t bring in a crowd. Those people deserve the same show as a sold out venue. So give it to em’!

This is another thing that separates the weekend pickers from the people who make it. Commit to this level of professionalism at each show and watch the repeat bookings come in.

When you see another band floundering around on stage, know that’s another booking you can get next time. 

Recording Artist Advocate: Talking to your audience.

An artist I work with was feeling a little under the weather but he had a show that he had committed to. It was an acoustic show with just him and his guitar. There was no way to hide the hoarseness in his voice. I suggested he spend a little time before each song giving some background on the song or telling an interesting story. When we talked after the show, he told me that he was able to rest his voice between songs and it really helped. But the best part was how he was better able to connect with the crowd.

I’m sure you’ve seen artist just go on stage and do a great show. But I believe you’ll do even better when you talk to your audience too.

I was at a show where there was so much going on, I expected someone to burst into flames. Every song was a bigger event, but the audience started taking out their phones and generally loosing interest. Maybe it was sensory overload. The artist and everyone on stage were pouring their harts out and getting less back. Someone realized this and at the next song she had an acoustic guitar brought out. The quieter she got, the more the audience reconnected. At one point she just stopped. The audience began visibly bouncing. I thought she milked it too long, but to her credit she never lost the audience. When she knew she had them back, the show was back full-tilt to the end.

A tight, well-rehearsed set list is vitally important, but watch the pros and you’ll see they know when and how to connect to their audience in a way that sets them apart. Learn to do that and your shows will be received on a much deeper level.  

Recording Artist Advocate: Career Killer

In his song, "best I ever had", Gavin Degraw says, “I’m lookin’ at the crowd and they’re staring at their cell phones.” 

There is no better way to tell someone they don’t matter to you than to split your attention between them and your phone. If you do that while talking to a booker, you won’t get the gig. You can say, “I can multi-task. Really, I’m listening.” But the meeting will be over. Even while you’re still there, you’re done.

You have a real flesh and blood person in front of you who can give you money. The person on the phone might be important, or they could be wasting your time. Don’t let them interrupt. It’s like cold water in the face of the person you’re talking to. Even if they use their phone as a prop to seem important or busy, don’t do it back. 

There was a time when a “mobile phone” was a big deal, but today homeless people have them. Get over yourself and show some self-control. You can read a text later, and a caller will leave a message. In a meeting, phones go on silent. Grown Folks is talking.

If you really want to stand out from your competition, search for articles on active listening techniques.  The simple body posture of leaning toward the person you’re speaking to and tilting your head slightly makes them feel that you’re engaged and listening.  When a person perceives that you’re actively listening, they like you more, and we all know we’d rather work with people we like.  Likeability translates into cash in this industry.

Women especially hate it when you’re just waiting for your turn to talk. Show that you are listening and it sets you apart from the other bands, playing with their phones like a toddler on a road trip.

Recording Artist Advocate: The Nastiest Business.

I’m sure you have met people like this guy. He tells you how successful he is and how much he helped so-and-so make it… so why isn’t he still working with them? He may be a hot shot sales expert, producer or manager, and he’s making you a super-special deal. Listen to what he tells you. Follow up with calls or e-mails to the people he claims to have worked with.

But, if you get a bad feeling, pay attention to your gut.

Success doesn’t come knocking just once. If you are really doing the things to make it in this industry, it will present itself several times.

A young artist I know was offered a deal with a label and knew he was in over his head, so he talked to another signed artist. He asked so many questions I thought the seasoned artist would get tired of answering questions. But he didn’t. Just a few years prior, he had the same questions. He patiently worked through the younger artists’ concerns. It was a great thing to watch.

The con will always tell you, ”don’t miss this chance, don’t wait!” but that’s how you know he’s lying. The more pressure he applies, the more you need to distance yourself from him.

This is not to say you can drag your feet, and definitely don’t let a fear of success (and the work involved) keep you from making a decision. But you need to know their tactics.

I never promise what I can’t deliver. Even when someone tries to get me to, I tell them success is up to you more than anyone else. When you’ve reached a level where you are valuable to a booker, you’ll get bookings. To a concert promoter, you’ll get those gigs. To a label, and they’ll want you on their team. Until then, keep getting better and working up the food chain.

Maybe we’ll get to work together along the way and I can tell people I knew you. But I promise to never say, “They couldn’t do it without me.” That would be a lie.

Recording Artist Advocate: Fear of Success…

Most artists won’t admit it, but they are afraid of success. They want the trappings of success; the money and all. But success means a lot of work… and following up the initial success with more success. It can be stressful just thinking about it.

I’ve seen people sabotage their careers. I’ll bet you have too. If you could get them to be honest with themselves they’d tell you it was fear that made them do it.
So, what is the answer? For me it's breaking it down into easily manageable parts.
I can get overwhelmed starting a big recording project. I have to plan ahead and block the overall project into its parts. As I knock those parts down, it starts to gain momentum. I get busy doing the little things and before I know it, the project that was so big is almost done.
Think of your career the same way. And don’t be afraid to ask for help. If you don’t like booking, get someone who does. If you are not great with planning, find someone who is. If you have a few good people around you, then you can focus on the writing and preforming part. And isn’t that what you got into this for?
Every successful performer has a team, so that they can do what they do best. Find yours.
Another thing that comes up is that some people don’t think they deserve success. The truth is that you don’t. No one does. And no one owes you anything. But, if you have talent and do the right things, and if you’re lucky, success can happen.
Decide what you want to make per year. Divide that by 52. This is how much you will need to make each week to reach your goal. What is the one thing you can do right now to move yourself closer to that goal? When you've accomplished that, what's the next one? Each small, manageable step will bring you closer to the life you want, and ease your fear. 

See. Small, manageable steps.

Recording Artist Advocate: Everybody gets a trophy. Screw that…

The only people who think participation trophies are a good idea must own trophy shops. Instead of one trophy, they get to sell them to everyone on the team. 

The kids who get trophies for doing nothing are the same employees who think they should get praised for just showing up. Or, that they should get promoted for the same reason. Have you heard someone say, “How is she getting promoted? I’ve been here longer.” You can bet they've got a shelf full of these worthless awards at home.

So we're clear, I think “everybody gets a trophy” thinking sucks.

The music business may be the best example of a field where it’s all on you. Your Mom can be in the audience, but she can’t get you gigs or make sure you are asked back. In fact, the fewer people she talks to the better. Trust me on this.

So, even if you got praised for just showing up, put that behind you. It's not how this business works. It’s not how the real world works either. You’re going to have to work harder and be better than the other bands you are competing with. It's lots of work, and luck, but mostly work.

The upside is that if you’ll do the heavy lifting you’ll set yourself apart from all those whiney, self-absorbed, cry-babies. You’ll get booked more and asked back.

Success is the real reward and only a few achieve it.   

Recording Artist Advocate: Would you want to have a Beer with these guys?

A business writer said people don’t buy drill bits, they buy holes. It’s the end result they want.  The tool just helps them get there. Think about that when you market your band or music.

Who are you talking to and what do they want.

Band pictures and show posters are a good place to start. Who is watching and what are you telling them? If a picture tells a story, what’s yours?

Step back and try to see how you come across to a total stranger.

Is it even worth looking at? Does it stand out or blend in? Does it look like every other band’s?

What is the take-away? Cool guys to hang out with or self-important posers?

There is a great book called Accidental Magic. If you can find it, buy it and it will change your thinking about what you can do with a picture.

While your Googling around, check out “Rock and Roll Confidential” to see the “Hall of Douchebags” compilation of the worst band pictures you will ever see. 

Do this as a band and you will spend hours laughing together. It will bring you closer. Then make sure you never take those kinds of pictures.  Ever.

You may want to rethink the way you present yourself from now on.

Recording Artist Advocate: Rah Rah Rah, Blah Blah Blah

So, I’m not usually a fan of self-help books. Or, I haven’t been. But today I’m at Jon Acuff’s Start conference in Nashville and I think every singer-songwriter I know needs to be here. Almost everything talked about here applies to folks in the business of writing songs and presenting those songs. People like you! As much as you like to think of music as art, and it is… it’s also your business.

If you are not treating it like a business you will likely never be able to do it full time.

To mix things up, there was a songwriter round with Dave Barnes, Steve Moakler, and Derek Webb. Sandra McCracken was scheduled to be here but was unable to attend. They told stories about playing for packed houses and empty houses with the same intensity. The people who encourage you and discourage you, all in the context of the principles John Acuff and the other conference presenters talked about. They were at the conference to entertain, but also drove those points home.

As much as it’s an encouraging environment, they are realistic about how you still have bills to pay and other responsibilities. If someone came here expecting a pep talk ending with, “Just get out there and do it!” instead they got a reality check, a call to be realistic and to get busy doing the fundamental things it takes to make your dream a reality.

I read Jon Acuff’s book “Start” and will get his other book “Quitter”tomorrow. People I talked to say these books inspired them to get off their asses, quit complaining about their boring or soul destroying day jobs, and do something productive to move towards doing the work they love.

That’s the situation a lot of artist are in. Does that describe you? Music is a part of you. It may be the purest form of expression there is. You would do it even if you couldn’t get paid. But, do it right and you can make a lot of money.

You are the business. You are the brand. You are the product. Treat your music and career like the business it is and you’ll rocket past most other bands and live the life you want.

Recording Artist Advocate: Train Tracks and your Brain

Taking a dinner break with a singer, her shuffle played a new version of an old song. The artist changed up the song so that it was still interesting but there was more going on to make it apealing to us. Every time we heard the original version of that song, our brains actually connected cells to connect that song into our long-term memory. The new version was able to piggy-back on that. So the new version was actually taking advantage of established brain structures to get our attention. We automatically attributed the feelings associated with the original song to the new version.

You don’t have to re-do old songs to take advantage of these connections.

Any group has shared experiences. A first car means freedom and independence to a young person. A song about driving has added appeal. It won’t make the song, but it helps. When the song is about driving to a new place or experience and you get an extra boost.

Think about the experiences we all share and how you can tap into them.

The struggle between wanting freedom and needing to be a part of a group is another theme that resonates. Attraction, embarrassment, and voyeurism are more universal themes. Think we’re not voyeurs? Explain the popularity of reality shows.

These brain structure connections are train tracks your song can ride on to help connect with your listener’s experiences. They have more distractions than ever and you need all the help you can get. A clever lyric is not as good as anything that resonates or connects. Dig deep. That’s where the gold is.

Do it wrong and your just more background noise. But do it right and you’ll be a part of their lives. Your music will be loved for generations.

Recording Artist Advocate: Rock and Roll Work Ethic

I watched a bunch of “Guitars and Gear” shows online from Sweetwater. Several stood out in that the artists talked about the same things I talk about here.

Work ethic was first. It can’t be stated enough that you have to make life easy for the people who book you. Show up on time and put on a great show. Work the merch table. Do publicity even when it means getting up early and answering the same stupid questions. Remember that the audience likes the person interviewing you, so don’t be rude or get upset. Treat the interviewer as a friend and the audience feels the same way about you. The interviewer wants to be seen as an insider and you want to connect with their audience. Do it right and it’s win/win.

Second thing that stood out was how much work the most successful bands put into social networking. Every picture needs a caption. Video needs to be short and interesting. It all adds up to a feeling of intimacy. The viewer remembers the experience as if they were there with you. If they already feel a connection to you, it’s easier to get them out to shows. Look in the camera. Lower your voice like your letting them in on a secret. Connect. The deeper you connect with them, the more likely you can turn them into fans. Fans will influence more people than you could ever reach.

What can you do or say that people will share with their friends?

With every interview and every posting it gets easier. It's like working out. But instead of muscles, your fan base gets bigger.

Recording Artist Advocate: Do you know Brocha?

There is a stereotype of a snarky movie critic that hates everything. You have such a critic in your brain. His job is to look for patterns he can reject. Broca is the gatekeeper and will only let interesting stuff get past. Everything else has to be rejected. There is not enough room in your brain for everything.

When you surprise him you don’t just get past, you get a reward. Surprise brocha and your audience leans in. Since so much gets rejected, what gets through is special. That means you are special.

It can be a unique word or sound or the way you pitch up when it seemed you’d pitch down.

Shocking isn’t your goal, surprise is.

In a room full of beautifully dressed women, the girl in the bikini stands out. On a beach full of bikinis an elegantly dressed woman stands out. A really fancy armchair in the middle of a field gets your attention. How often have you seen that?

See, I just did it. I told you several things and then asked you a question in the same paragraph. Your brain had to switch gears and recall those images.

If your song is un-predictable or surprising or if the imagery is unexpected, you can surprise Brocha.

Once that door opens, it doesn’t slam shut quickly. You have a chance to get other stuff past. Have you ever seen a comedian follow up after a big laugh with several more? The other jokes may not have worked on their own, but he kept you laughing.

That’s Brocha!
It works with anything. A director shows you the world in a way that gets past Brocha and you like Tim Burton movies. You’ll pay more attention when his next one comes out. It may not be as appealing, but you’ll carry over from the one that got you.
And that’s how you become a legacy band with fans that stay with you for life. Surprise that part of their brains and stay interesting. It’s so easy. Why doesn’t everyone do it?

Recording Artist Advocate: Creating Change?

Hundreds of years ago you could face serious consequences if you said anything considered heresy. Even though the Bible describes the earth as a sphere, the first scientists to do so were taking a great risk. Then as now artist tended to see the world as it should be and those themes are all over their art. Artists who said things that could get them into trouble learned to be very cryptic.

They also knew their audience. The people who could pay for art through commissions and the regular people they wanted to influence. You don’t have the same gatekeepers today, but you still need to think about the people who like things the way they are and will be against you. It’s not as necessary to hide your intentions, but it does make for more interesting art.

Here’s what I’m advocating; take a cue from the artist of the past and learn to say things in a more subtle or sophisticated way. You already know we have two brains. One is very literal and one is very intuitive. The literal side can take the things you say and reject them out of hand. But when you couch it in allegory or don’t fill in all the blanks it gets past the analytical gatekeeper. The payoff is that your listener can really like a song they would reject if they really knew what you were saying.

Isn’t that great; a racist who likes “brown eyed girl” not realizing that it’s about an interracial relationship. It’s smart on so many levels. You get to write on a wide variety of subjects without alienating anyone. You can be seen as an artist and not pigeon-holed as another finger wager.

That means you sell more CD’s and downloads and get more people to your shows.

Oh, and the people who do get what you’re saying will love you more and feel even more connection.

Recording Artist Advocate: 4 kinds of people

I can’t take credit for this. I heard it at a writer’s conference.

You will meet 4 kinds of people in your life. Drifters, Surfers, Drowners, and Navigators.

Drifters just go along with whatever everyone else does. They don’t tend to be very loyal, but if they think you are popular they will follow you. Watch them at your merch table. They buy the shirts they see others buying.

Surfers are always looking for the next big wave. They are really just glorified drifters. They will still buy merch and come to your shows. But don’t be surprised when they jump to the next up and coming band.

Drowners always need rescuing. Help them once and they will expect you to bail them out forever. They live for drama and will try to wrap you up in theirs. They are great for song material, but observe them from a distance. If you’ve lived long you know several.

Navigators are the ones you want to work with. They know where they are going and will keep working to get there. They lock onto their “star” or guiding principal and steer towards it. For them setbacks are temporary. They are relentless. Look for a manager or booking agent who is a navigator.

One warning : Be sure you want to go to the same place. I hear lots of stories from bands who struggled with a producer or engineer because they didn’t have the same vision. You need a navigator willing to follow your star. (...or one very close to yours.)
If they don't, get out of there quick and come see me.

Recording Artist Advocate: The Weak Link

Every band has one.

Sorry, that’s just how it is. In any group there is someone who doesn’t work as hard, isn’t as talented, or worse, is a boat anchor the rest of the group has to drag along.

My advice is to never be that person.

This could be the most important thing you do to make your band successful. Ask yourself who is the weak link, and why.

Be brutally honest especially if it’s you.

Don’t waste time feeling sorry for yourself. Just quit doing whatever it is that makes you the weak link. It may be spending more time practicing, getting to shows on time, or not getting drunk at shows.

I’m not saying to ditch the weak link though it may come to that. But you have to identify the things that are holding you back and change them.

If you are in a group of misfits it may be time to remove yourself and find a better band.

The main thing is to be realistic and honest about your band’s future and do what it takes to get more shows, attract more fans, and be a success in this business

Recording Artist Advocate: Inspiration and how to find it...

An artist I work with is in the control room editing vocals while I write this. He just finished his latest CD and songs are still pouring out as fast as he can write them down. Has that ever happened to you?

I was at a writing class in Austin last week and the presenter was very insistent that you write… even when you don’t feel inspired.

Write, “I can’t think of anything to write.”

The act of writing and accessing that part of your brain will eventually pay off. After that it’s editing and re-writing. He even said that he doesn’t believe in “writer’s block”. If you have something to say, start writing and it will come together.

Your writing feeds on itself, and if you do it enough you will get inspired. That part of your brain will click on and you may find yourself more productive than ever.

When you get in that mode, good stuff keeps coming out. So write, and keep doing it.

I also read that poetry and music bypass the analytical part of your brain. You can excite your creativity by reading poetry exactly like working out exercises your muscles.

So, write, and write some more.
Sorry for such a short post.

The best part of what we do here at Rough Wood Recording Studio is when we catch lightning in a bottle. That has been happening tonight and I can't wait to get back in the studio.

Recording Artist Advocate: Steady Improvement

In any creative pursuit you will have people giving you advice. My first thought is to ask if that person has had any success doing the same thing. If I’m a painter I’m going to take advice or criticism from other painters, but especially one who has been successful. Some people will think you're just being defensive, but you need to work out the filter you run all the advice you get through. Some you take to heart and some you have to politely discard or ignore.

People know what they like or don’t and they want to tell you all about it. When you get criticism you don’t have to take all of it or none of it. You can pick the parts you think have merit. For your own sake apply your filter.

I read that Craig Ferguson has a meeting after every show with someone who critiques his performance and helps him stay on his best game. Personally, I don’t know how he does it, or why that person doesn’t have his own show if he’s so smart. But the point is that Craig doesn’t mind the criticism. I imagine he takes the parts he can use and discards the rest.

We tend to take criticism to heart and often from the wrong people. A booker or bar manager sees more bands than anyone else, and they know how the audients reacts immediately. Their livelihood depends on it. I’ll take their advice. The person who just wants to hear his favorite song, not so much.

If you’re not quite ready to ask someone you respect for advice, try this: Have someone video your performance and critique yourself. Listen and watch. Would you pay to see that show? See yourself the way your audience sees you and if there is something that needs changing do it.

Ze Frank has a YouTube channel and gives some real good advice. Look for the video titled “Thoughts on the Creative Career” where he goes over some advice he wishes he’d been given sooner. Check it out. I think it applies very well to musicians.

If you are willing to do the work to keep improving you’re already ahead of most other bands. Sorry other bands.

Keep writing. Keep getting better. Never think you’re as good as you can get.

Recording Artist Advocate: Help Them Help You

EPK, Electronic Press Kits, are great for bands. No longer do you have to stuff all that info in a manila folder and send it off hoping someone will actually take the time to go through it. But now that every band sends out an EPK, how do you make yours stand apart?

Put yourself in the mindset of the person you’re talking to. If it’s a bar manager, they want to fill their venue with customers. A booker wants to find bands that make the venue folks happy. And music directors at radio stations want listeners. They also want to be able to say, “I discovered that band. We were playing their music before anyone else.”

For the bar manager tell them about the venues (not in their area) that consistently have you back. It speaks to the value you bring that they want you there again and again.

For bookers, highlight the events you’ve been booked into and how well they went. I’ve seen a booker sweat bullets because he needed to please his client and the band was late to set up.

And for radio, you should send high quality .mp3 files of your front man (or woman) doing intros they can use over the bed of your songs. This requires some detective work to make certain you get their slogan right. The radio station’s website will usually have everything you’ll need.

A little studio time is worth it if it gives you an edge and gets you radio play. This works for internet radio stations and anyone with an interview show. Think about what they need and see if you can make it easier for them to promote you. Those relationships will make all the difference in your success in this business.