Getting Press

Topic(s): Publicity

OVERVIEW
There is no scientific way to generate press interest in an artist. Generally, because the press maintains certain standards of objectivity, ultimately, coverage discretion lies in the hands of reporters and their editors. However, many strategies have developed over the last century of popular music.

There are essentially two ways to approach press: independently, or with a publicist. Neither is particularly easy.

WORKING WITH A PUBLICIST

• The most difficult thing about working with a publicist comes before you've even met the individual. Finding the right person or company to manage your press responsibilities is a serious effort. Without deep pockets or solid connections, the task can seem impossible, but it isn't.
  • If you happen to be in New York City, Los Angeles or Chicago, there's a decent chance that a publicist might be in your audience on any given night. Playing festivals, like CMJ and South by Southwest, is one of the best ways to meet publicists.
  • Do research on press agencies. Consider the other artists on their respective rosters and send your music, a list of upcoming shows and any press you've already gotten, along with a personal note, to their offices. While getting picked up by any music-related agency has become increasingly difficult, it still happens and the younger the agency, the better your chances.
  • Keep your funds in mind. If you have thousands of dollars, any agency will likely take on your project. However, if your budget resembles that of most musicians, you've got a few hundred bucks. This is not an inherent problem. Many agencies and publicists will take on a project they believe can succeed and accept payment later. Indie publicists will often accept a job without anything up front, so long as they like the music.
  • Talk to your friends. You'd be surprised how many artists find their managers, publicists and booking agents through a simple, friendly connection.
• Once you have a good publicist, things get a bit easier. A publicist will have connections at major and indie publications across the country and throughout the world. They can be an invaluable resource when preparing for an album release or a tour.
  • Trust your publicist, but remember, you're the artist and they're working for you. Make sure that your publicist is serious about your work and represents you accurately (unless you'd prefer to leave it all in their hands, which may make things easy at first, but be warned, you may not like that reputation as a maniac, party monger in ten years).
  • Make sure you and your publicist can work together civilly. If he or she has a completely different understanding of your art and your image than you do, the relationship may not work in the long-term. However, there is good news: once you've had a publicist, getting new one is far less difficult.
  • While your publicist can get your work in front of the eyes of journalists, he or she cannot force them to write about it. Don't hold out for a review from one particular publication. Keep the big picture in mind. If your publicist gets three indie publications excited about you, but doesn't get that Rolling Stone article, don't immediately fire him or her.

WORKING INDEPENDENTLY

• For those who want complete control of their project, working without a publicist is an option. However, it's not easy.
  • The first thing you should do if you're managing your own press is to create a press kit. A press kit is a portfolio of your work as a band, not unlike an artist's portfolio or a professional resume. There are a few things that are essential in a good kit. First, you should have any and all (listenable) music you've recorded. Second, include every press clip you've already gotten. Third, insert an easy-to-read biography and one sheet explaining your band's history and sound. Fourth, any high-quality press photos you have should be included. If you don't have high-quality press photos, get some.
  • As the music industry shifts to the digital world, your press kit should be flexible enough to do the same. While some artists e-mail the materials as an attachment, a better approach is to create a secret Web site specifically for members of the press. This site should show off your music, press clips and photos. Remember, you're trying to get someone's attention. What would make you look? A strong visual presentation will supplement a strong musical one.
  • Put together a database of every media contact you can get. All forms of press should be included (radio, television, Internet and print). Keep it updated regularly. Believe it or not, a publicist's greatest resource is a Rolodex.
  • Play out often. The more shows you play, the more your audience will grow. Once you have some street-level buzz, press will begin to come organically.
  • Keep the size of your band in mind when courting press. The biggest publications will usually only pay attention to an unknown artist if a high-level publicist bring it to their attention. Start with local press and then move up to independent nationals. From there, the big papers will have to pay attention. Again, if you're located in a major metropolitan area, sometimes, you'll get lucky and a major reporter will happen to catch your show. If you're in a more rural area, don't be dissuaded. In time, the press will notice you.
  • As is the case with college radio, independent papers and magazines reach a segment of the population that may not turn to big publications for the latest music news. Aiming small does not mean aiming low. In fact, most bands build their careers with little to no help from the mainstream media.
  • Send your music to local radio stations, especially in college towns. You'd be surprised whose listening.

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