Vol 1, Issue 4: Branding Your Band

Every band participates in spamming random individuals regarding their album launches, creating mass mailing lists to keep their fans informed, adding their touring plans to website directories, and putting up wall-to-wall posters in their downtown districts for local gigs.

Depending upon a band’s experience, and allotted promotional budget, the level of sophistication and quality of their practices may vary, but essentially, all bands, even those with representation, employ these tactics in order to self-promote, build their reputation, and attain recognition.

Why? Because if executed properly, they can work. However, it must be taken into consideration that the primary target market for bands, the youth generation/concert goers, are being bombarded by thousands of these messages each day through every possible medium. Understandably, media avoidance and desensitization are common. Therefore, recognizing how to make an impression and stick out from the rest of the pack is essential for success and survival. Getting your name out there has become an art-form in itself.

Within the constant haze of advertisements that pervade every sector of our lives, there are sometimes moments in which you will stumble upon a poster, or an event listing that really catches your eye. Somehow, amongst the clutter, an ad was able to make a statement, grab your attention, and maintain interest in order to get its point across.

There are various schemes that advertisers undertake in order to ensure that their message will be received such as: preying on human emotion, appealing to archetypes, and implementing dramatic effect. Regardless of which avenue advertisers choose, all of these methods share a common bond: they make ads memorable. This is important because if a company’s promotional materials are memorable, it will more than likely spark the interest of consumers which in turn creates a rise in profits, resulting in success for the organization.

So how does this relate to marketing your band? Simply, the same approach needs to be implemented. The first thing a new band should ask itself is, “What makes us unique?” If you find yourself struggling to find an answer to this question because your music, image, and name all play on the current “flavours of the week”, then I hate to break it to you, but your act, if success is achieved, will probably end up becoming a one-hit wonder. There is only so much room for copycat bands in the industry, and eventually, even the best of trends lose their popularity. The surviving bands are those that are able to reinvent themselves, they are not the acts that just “jump on the bandwagon” as it were.

However, if your response to this question replicates the standard, “We are like nothing you’ve ever heard before” - again, you are deluding yourself. By default, every original act produces something “original” because individual influences, member collaboration, and the creative process is varied in nature, but everyone is influenced by someone or something of the past. For that matter, it is impossible to be aware of every artistic movement that currently exists or has taken place across the globe. Even if you can’t think of another act to which you are comparable, it does not mean that they don’t exist.

Still, several bands market themselves in this fashion, and unfortunately for them, they are sooner or later called on their shit.

So how do I come up with a creative marketing approach? Easily, you just need to put some thought into it.

1) Consider your band’s name, image, and sound carefully. Each of these components can make or break a band. Therefore, not only should their inspiration be creative, but as well it needs to be meaningful (more on this next week).

2) Avoid typecasting yourself into a certain genre as it may deter listeners from checking you out. Allow your audience to develop their own perceptions by providing enough information so that they are intrigued, but not so much that they will end up feeling as though there is nothing left to uncover.

3) At all times, act professional because word of mouth is one of the most powerful forces in this industry. Be aware that effective self-promotion is not only a viable means to expand your band’s fanbase, but as well, it can often grab the attention of the industry’s movers and shakers. This industry is all about connections, therefore maintaining business-like conduct in all situations is crucial. (You never know who you might meet.)

4) Most importantly, be respectful and appreciative of both your fans, and any media outlet that provides you with coverage. Your fans allow you the opportunity to go on tour through the purchasing of your merchandise, and the media allows you to reach worldwide audiences that you cannot on your own.

Remember you need them in order to exist, but they don’t need you.

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.
For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/

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Vol 1, Issue 3: The Business of Being in a Band

Before your guitarist strums their first chord, and your singer utters their first note, a few loose ends need to be tied up in order to make your band a viable business. Though this is a step in the process that is often overlooked, I cannot stress its importance enough.

As I stated before, when money gets involved, everything changes. Thus, creating a band contract is not only a good way to protect everyone’s rights and contributions, but as well, can serve as a means to avoid conflicts about profit-sharing in the future if they do rise (and they will). Although costly, I highly recommend involving a lawyer to ensure that your contract is legally sound.

Your band contract should outline the following: Everyone’s responsibilities and/or roles within the band: not only is it pertinent that each member’s musical role is expressed, but as well, any management functions taken on by members needs to be mentioned.

Second, it’s important to establish both songwriting shares as well as song ownership. Often these categories overlap as the greatest percentage in both respects is usually accorded to the member who contributed the most. Songwriting shares refer to the division of royalties for song publishing (i.e. when a track is selected to be used on a movie soundtrack, royalties are allotted to the composer each time the track is played).

Thirdly, continuing on the subject of compensation, a system of profit-sharing needs to be devised to establish the division of funds produced from the sale of merchandise, and cds, as well as the division of gig earnings. Within this section, it is important to note that no profit-sharing should take place UNTIL all debts incurred are paid off. Furthermore, a contingency plan should be put in place in the event that the band remains unprofitable. If investors are involved (a subject which I will address later), it is essential to mention that a ) they will be paid off first and foremost and b) if the band remains unprofitable, no member(s) will be held accountable for the investor’s financial losses. All remaining assets, if any, are to be divided accordingly to each member’s contribution.

Last, but not least, ensure that you include a clause which outlines the appropriate measures to be taken if for any reason a band member is terminated from the group, and/or if a band member chooses to resign from their position. Behaviours that would result in expulsion from the group must be explained. Regarding the latter, your agreement should also outline a member’s entitlement if they willingly chose to leave the group.

These and all of the aforementioned parameters are up to your discretion, but above all, ensure that all members understand, and agree to comply with the contract. Provide each member with a final copy that is signed by everyone, a witness, and your lawyer.

Along with establishing a band contract, it is necessary to create a band fund to which all members contribute equally and regularly. A band fund is used to cover travelling expenses, merchandise/cd manufacturing, recording and production expenses, promotional fees, and any unexpected costs that come up along the way.

Initially, a system should be in place that requires each member to contribute a nominal amount on a weekly basis: $15 is usually a good starting figure as it is quite manageable, and as well, it will add up quickly. Weekly contributions should continue until the band is able to self-generate funds either through merchandise sales, and/or gig compensation. It may however, be in your best interest to continue weekly contributions as often unanticipated costs come up, promoters fail to follow through with their promises, and there will be many times your band plays shows in which your expenses outweigh the profits. Thus, being prepared for the worst case scenario is always a great piece of advice.

As all members of your band have a stake in its future, it is only fair that everyone contributes in each aspect. I’ve witnessed many bands fall apart due to a member being disgruntled because they have taken the onus upon themselves to pay for all the merchandise, and gas expenses, yet their fellow members expect gig money to be divided evenly. This is a system that will undoubtedly merit problems in the future, and if I can offer you only one piece of advice that you chose to heed, let it be this: do not under any circumstance divvy up money after shows.

Let’s say you have a four piece act, and you get paid $50 for a show. If you chose to divide this money, that would mean each member would earn $12.50 for their time. Most likely, if the division of money takes place directly after your performance, these funds will go towards buying a few drinks. The problem with this scenario is that the big picture is not being realized. Twelve dollars may not be a large sum of money individually, but $50 collectively could determine whether or not you are able to accept your next out-of-town gig offer. So long as all members maintain jobs outside of the band that assist them with covering their own personal expenses, this system should work quite effectively.

To most musicians, I’m aware that the notion of creating both a band contract and a band fund sound as though I’m speaking in a foreign language, but trust me on this one, it is necessary, and you will thank me for the suggestion.

In my first group, neither of these ideas were implemented. Consequently, it not only lead to frequent problems, but as well, it resulted in one of the messiest breakups that I’ve ever encountered (note of course that I’m including all of the idiots that I’ve dated in that analogy).

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/

Vol 1, Issue 2: Music & Friends Don't Mix

Though I know it sounds like a fabulous idea to form a band with your closest group of friends, I strongly advise against it for a number of reasons. First and foremost, I’m sure all of you at some point have heard the old adage, “Don’t mix business with pleasure.” I said it last week and I’ll say it again, as much as musical purists, such as myself, would like to believe that the music industry is actually about music, at the end of the day, it is a business; therefore, professionalism is essential.

When I formed my very first band, back when I was 15, I was psyched to be pursuing my dream of becoming a rockstar with my three best friends alongside. To make a long story short, I will never a) be in an all girl band again or b) work with people with whom I’ve established long-term friendships. My reasoning behind both decisions; too much drama.

As with any successful business venture, one person within the group must have a take-charge attitude that naturally places them within the leadership role. Most often in bands, I’ve found that the leaders (those in charge of management, bookings, promotion, scheduling) are usually the front person of the group as they have a naturally inclination to direct others. As well, when taking on the leadership role, one must realize that along with the good comes the bad. You will be the center of attention, but you will also be the one at which all of the criticism is directed. It is not an easy role, and I do not recommend it for those who are thin-skinned.

The reason as to why this kind of setup is in conflict with having friends in your band is fairly self-explanatory. Although there is respect among friends, it is difficult to think of someone within your clique as being “the boss” as people form friendships with those whom they feel are at the same level as them. As well, friendships are usually quite casual, and easygoing in terms of interaction, whereas business settings demand an authoritative leader/compliant worker-type relationship in order to function most productively. I’m sure you can understand then why conflicts easily arise in this scenario, and why I don’t recommend it.

So now you’re probably thinking, forming a band with complete strangers, that’s going to be odd and uncomfortable as musical expression is a very intimate personal thing? I agree. Initially, things will be a little sketchy until everyone gets a feel for each other. Ground rules will need to be established, a leader must be elected, and you will need to figure out everyone’s capabilities and how each member works the best. However, once you get past the initial stage of awkwardness, working together will be a breeze.

I’m sure your next question is, “How do I find the right people?” With the advent of the Internet, there are tons of valuable resources for musicians such as http://www.overhear.com/, http://www.kijiji.ca/, and http://www.bandmix.com/ which allow free classified ad posting for that very purpose. For those of you who do not have regular access to the Internet, posting ads in local music stores remains a popular means of networking, along with mingling at concerts. On the same note, with the popularity of programs such as Music Industry Arts offered by several universities and colleges across the globe including London’s very own Fanshawe College, finding musicians is easier than you can imagine. This does not necessarily mean you will find the right man or woman for the job right away, however, London, (and even more so in larger metropolises), is buzzing with local talent, you just need to look in the right places.

So what do you look for in a potential band member? Most importantly, your goals need to be in check. Everyone in your band needs to be on the same page, at similar talent levels and willing to make a huge commitment. Another quality, which is often overlooked, is image. You need to have a look, a style, something that will work for you as a trademark in terms of marketing your act, (but I will get into that more at another time).

Lastly, I recommend that finding people at the same age and maturity level would be in your best interest. Younger musicians tend to have more extracurricular activities in their lives, and often their parents are not thrilled about the idea of them forming a band. Also, in the future, when you are ready to book shows, having an underager in your act could pose some problems. Working with musicians that have ten years on you, has its downsides as well.

Older “seasoned” musicians usually expect monetary compensation for their time, have little tolerance for bands that are still trying to get their act together, and from my experience, seem to have a preference for playing in cover/tribute bands.

I believe the key to success in this industry is finding the right people that you can work well with. There are tons of musicians out there, but not a lot of good ones (and by good I am not referring to musical abilities).

It cannot be debated that every band definitely requires a strong leader. However, even with a strong leader, if the other members are not just as focused, and determined to make it, it’s not going to happen. Respect, professionalism, and teamwork are essential, and if you can achieve this kind of relationship among your best friends, all the power to you, but remember this, money changes everything. The moment your band obtains even the slightest degree of success, your friendships will be put to their greatest test.

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.
For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/

Vol 1, Issue 1: What You Really Need to Know About the Biz

I thought I had it all figured out. An idealistic, and talented, musician with over a decade of training, I am someone who thought that talent, passion, and the desire to write inspirational lyrics and social commentary actually mattered.

My name is Rose Perry, and let me tell you that there is no such thing as an educational program that can ever prepare you for the harsh reality of how the music industry actually functions. Furthermore, no longer does a prerequisite for talent exist in order for you to be a successful top-selling musician. Just as any other business functions, at the end of the day; money talks.

You may be the greatest innovator and songwriter since John Lennon, but if you can't sell 10,000 CDs without label support, good luck and God-speed. However, if you do manage to reach this unreasonable (and impossible for most) expectation, don't fool yourself into thinking that your hard work is over.

One of the biggest misconceptions about the music industry is that once you are signed, your work ends. Wrong....it gets harder, because now you are competing in the big leagues with bands who are not only signed, but have full time publicists and booking agents working around the clock to get their name out there.

Oh wait... I'm sure you thought that a label would provide you with a booking agent and publicist once you signed a contract with them right? Wrong again.

If you want to be successful on any level in the music biz, the first thing you need to realize is that NO ONE, and I mean no one, will work harder than you on promoting your music and/or band. So, if you don't have much of a work ethic, I suggest you pursue other interests.

Secondly, if you think that being a musician will lead to immediate gratification and financial remuneration, you couldn't be more off, especially if you are an original act. Believe it or not, in general, cover and tribute acts (without representation) are compensated about 10 times that of an original act for a single show. While you are out there trying to sell yourself, and your music to a often less than interested crowd for a measly $50 a show (often your compensation fails to cover expenses of getting to the gig, there are times in which you receive nothing at all), tribute acts are successfully selling someone else's music and image.

I also suggest all the band members have jobs on the side, because I can guarantee there will be no way to substantiate everyone's lifestyles off the petty amount of compensation you receive from shows.

Again on the subject of making money, I know that everyone has seen at least one biography program on a rockstar that made it to the top effortlessly and in a remarkably short period of time. However, what you are viewing on these programs is what the record labels want you to believe, NOT the actual truth. In order to attain a position of financial and career stability (of course, it can never be entirely stable), musicians often work for 10 - 15 years and then finally, just when they think they've had enough, they break.

But in saying that, there is always the risk of becoming a one- hit-wonder. As I said, labels, plain and simply, just want to make money, and musicians are a dime-a -dozen. Don't think for a second that they care about your integrity, dignity, or the longevity of your career. If a label can make the most profit off of one single, than that is the route they will take.

Music is one of, if not the most, cutthroat industries in existence, and you will have to fight tooth and nail the whole way to get to the top. It is not for the weak of heart, and many will fail along the way, because it truly tests your limits in every sense of the word.

The word "fair" does not exist in this industry, nor does "honesty." Promises are broken everyday, and as I said before, I cannot stress enough how important it is to realize that the music industry functions as any big business.

If you are not marketable (i.e. labels cannot make money off either your music or your image), you will not be successful, especially in the age where labels have less and less money to invest in new projects, due to their substantial losses from internet downloading. Music industry execs don't want to take risks with something that may or may not sell. Hence, the reason why you see trends constantly regurgitated (they've worked in the past, they will work again mentality), and why next to every band on the radio sounds the same.

Put it this way, it's easier to sell the public a carbon copy of something they already like, than to change their minds, and introduce something new.

So, if you can handle all of this, and swallow your pride, I suggest that you do, because there is nothing more fulfilling than pursuing a dream that is close to your heart. I will also contest that anything that is really worth fighting for, will never be easy. But, please heed my advice, take it from someone who has been there, it's an ongoing uphill battle and everything you can imagine and more will occur.

My goal in writing this column is to share with other aspiring musicians what I have learned from my experiences, and hopefully help others avoid making the same mistakes that I have made.

In saying that, I would like to invite YOU (the readers) to contact me if you have a question or subject that you would like me to address in an upcoming issue.

About the Author:

Rose Cora Perry is the frontwoman for Canadian hard rock band ANTI-HERO known as “The 21st Century Answer to Nirvana”, as well as the sole owner and operator of HER Records, a management company in which she offers marketing, promotion, publicity, tour booking, and artist development services.

Her band ANTI-HERO has toured extensively across North America playing notable festivals such as Warped Tour, Canadian Music Week, NorthbyNorthEast, Wakefest, and MEANYFest.

Voted “Best Rock Act of the Year” by numerous industry publications, their critically acclaimed debut album, "Unpretty" is available worldwide for purchase.

Rose Cora Perry is a dedicated promoter of D.I.Y. ethics, and an avid supporter of independent musicians.
For more information on Rose Cora Perry and her band's accomplishments, please visit http://www.anti-hero.ca/ or http://www.rosecoraperry.com/