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.   

RecordingArtist 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.