Be your band’s own publicist
An introduction to using music journalism to your advantage
By Josh Bashara

As a music journalist, I choose to not simply report on the world of music, but to live in it as well. That means listening to as many new albums as I can, going to a few shows each week, and of course, surrounding myself with bands and musicians.

Many of these musician friends often ask me questions like, “How can I get my band out there?” or “What are the best ways to advertise?” My answer, of course, is publicity. Usually this aspect of the music business is overlooked, especially by local and regional bands. This is a huge mistake, because press coverage is the ultimate advertisement, and it’s free. You didn’t think bands had to pay for all those CD reviews, profiles and interviews they get in magazines, did you?

You see, when a band finally gets that coveted contract with a major record label, an in-house publicist is assigned to hype it up (or a team of them, as is the case with giants like Warner Bros. or Universal). The publicist then uses his vast array of contacts to get the band’s CD reviewed, get interviews conducted and get shows covered.

But just because you’re not signed to a major label doesn’t mean you can’t have a publicist—you can do it all yourself! Generally, being your band’s own publicist is advantageous because nobody cares more about your band than you do. Sure, it’ll require you putting in a few extra hours’ worth of work every week, but in the end, it’s worth it.

It’s all about the contacts

First and foremost, you’ve got to start building up a detailed contact list. Your contact list should include various editors and writers who work for magazines, newspapers, music websites, and so on.

You can break your list into categories, such as “local,” “regional” and “national” publications. Under each publication should be the editor or writer’s name who handles music reviews and stories. At bigger publications, there will be a separate editor for each type of story. For example, one editor may handle all the album reviews and another editor is in charge of all artist profiles and interviews.

Make sure you obtain contact info for each section editor. Be sure to get phone and fax numbers, email and physical addresses. The better organized and detailed your contact list, the easier it will be to get the word out.

You might be wondering how you can find this information in the first place. There are several ways; the easiest being to simply check out the “masthead” of a magazine or newspaper. The masthead is usually found in the first few pages of a publication, and it lists the names and job titles of all the editors and writers, along with contact information. Since only one phone number or email may be listed, you can use it to find out more information, like the contact info of specific editors.

There are other places to get publication contact info, such as directories like the Music Phone Book you’re holding right now. You can also do Internet searches to find an otherwise-unlisted contact.

The priceless press kit

In the world of music journalism, a band’s press kit serves as an olive branch to the media. Most of the time, the press kit will be the first representation of your band and your music that an editor will see. That’s why it’s terribly important to have a professional, snazzy-looking press kit, free of typos. (Nothing irritates a writer more than a kit with sloppy grammar.)

Don’t get me wrong: you don’t have to spend thousands of dollars to create a massive press kit. You don’t need to use a carbon-fiber booklet filled with parchment-style paper and a deluxe set of band member trading cards. Some bands use gimmicks like that, and while it doesn’t usually hurt, it doesn’t put you ahead of the game enough to justify outrageous production costs. Keep it simple.

Instead, just make sure you have a nice, easy-to-open folder and crisp white pages with black printing. Always put your demo CD in a case, and make sure your contact info is printed on the actual CD. (If you can’t afford CD duplication, at least print your contact info on a mailing label and stick it on the CD.) Your press kit should contain a bio, press release, demo CD, contact info, a nice photo and a few press clippings if you’ve made the news before.

Next, keep in mind that writers and editors receive dozens of press kits every day. More than 90 percent of them will end up in the “slush pile,” where they might sit for weeks before going in the trash. Your job is to make sure the company janitor doesn’t so much as glance at your press kit.

To avoid going in the slush pile, you want to make the best impression you can in the first few seconds that an editor opens the mail. Boldly display your band’s name or logo on the front, preferably with a short blurb about your music style or genre. Although it’s not fair, many editors give press coverage to bands that fall within their favorite genres. So if you happen to belong to that genre, you want to make sure the editor instantly realizes it.

Getting your CD reviewed

As mentioned earlier, music editors get hundreds of press kits and CDs each month. They can’t possibly run a review of them all, so only a small fraction make the final cut. To improve your chances, make sure your press kit looks sharp, as detailed above.

Whether you send in a complete press kit or just a CD, the editor should immediately be able to tell what kind of music you play. This info should jump out at the editor, hopefully appealing to one of his tastes. And remember, there’s no use in submitting your album to a publication that doesn’t report on your genre. For example, sending an R&B album to Outburn magazine would be a total waste of time, as would be sending a metal album to a country music magazine. Know your audience.

Also be sure to put your best foot forward—or songs, in this case. If your best song isn’t the first track on the disc, change the track order, at least for the press kits. Editors and writers rarely listen to more than one or two songs before making a decision.

If you don’t hear anything from the editor, it’s okay to send him a quick follow-up note over email. For more information on following up with an editor, see the second-to-last section of this article.

Lining up an interview or profile

Ideally, you want to land a profile or interview of your band in a music publication. Word-for-word, this is the absolute best advertisement you can give your band. Most profiles/interviews are 400 to 900 words long, and they really give readers the chance to get to know your band.

When it comes to lining up an interview, you should push…and push hard. Most publications run far less feature profiles than they do CD reviews, so you’re fighting with lots of other bands. Make sure you let the publication know why your band deserves a story written about it. What’s your angle? What about your band is relevant in today’s culture? Why would people care to learn about your music? These are the questions you should ask yourself before you even approach a publication.

Interviews are done one of three ways: in-person, via email or on the phone (called a “phoner” by reporters). Any of these three methods will lead to great publicity, but the best interview type is the in-person interview. When your band is actually face-to-face with a reporter, speaking to him in person, there is a much greater sense of urgency and personality that shines through.

When it comes to local and regional publications, always try to meet the writer in person, even if he initially suggests the interview will be over the phone. Simply (and politely) ask the writer if it would be possible to meet in person instead. Try to work around his schedule, not yours. The main reason writers prefer phone and email interviews is because they take substantially less time.

Getting a writer to come watch your show

Having a reporter come to your live show and covering it is a highly valuable form of publicity. Concert reviews are written to let readers know what they missed. As soon as readers find out what a killer show they’ve been missing, they’ll be sure to make it to the next one.

When approaching a publication regarding a concert review, don’t even bother asking if they’d like to come—put them on the list anyway. Later, when you contact them, tell them that they are already on the list plus one.

This way, a writer doesn’t have to waste time by getting back to you, asking to confirm admittance. Since they are already on the list, they can easily just pop in if they want. Always allow publications to photograph your live show, as the first thing a reader looks at is the picture that accompanies the article.

Try to make friends with the writer; let them know they are welcome anytime they want to come see your shows. If you see him at your show, make it a point to say hello before or after you take the stage. Make him feel invited and special, and send a follow-up “thank you” email or card a day later. This will remind the writer about your band, and at the very least, keep your band in his mind for next time.

Don’t feel defeated if you can’t secure a concert review right away. Concert reviews are the most intensive part of a music writer’s job, so keep trying until you get one.

When do follow-ups become annoying?

This is the age-old question that many bands face when dealing with the press. On one hand, you’ve got to keep up with the fast-paced world of entertainment journalism, perpetually pitching your band to writers and editors. But on the other hand, it’s never a good idea to annoy an editor.

Thus, there’s a fine line you must end up walking, between diligent and bothersome. For example, it’s generally okay to follow up with an editor once per week if he hasn’t given you a definite “no” yet. It’s usually not okay to call him every other day.

Remember that most editors and writers are overworked and underpaid. It might be frustrating for your band to repeatedly get rejected, but remember that it’s nothing personal. And more often than not, it doesn’t mean your band sucks. There are just so many acts out there—all competing for press coverage—that no publication can cover them all.

As a general rule, follow up once a week until you get a solid “no” from an editor. If you’ve established a relationship with the editor, you can make it twice per week. But always be friendly and succinct, and never demanding.

On the flipside of that coin, be diligent in your follow-ups. As long as you’re not hounding editors, make it a point to check in with them like clockwork. If an editor flat-out refuses coverage, thank him for the consideration, and tell him that you’ll check back in a few months for another possible story.

Even if your relationship with an editor only amounts to a handful of rejections, keep that relationship going. Continue to send him press releases, demos and other materials. Unless an editor specifically tells you to stop contacting him, keep him “on your list.” You never know when an editor might finally give your band a shot.

Final thoughts and tips

The art of self-promotion is a subject that could easily fill hundreds of pages of a book. In many cases, it has. This article is only intended to serve as a brief introduction to self-promotion and publicity.

There is a lot of information out there on do-it-yourself publicity and promotion. You can find a wealth of information just by running a Google search with terms like “DIY Publicity” or “Music Publicity.” You can also check out online or local bookstores for books on the topic. The Music Phone Book has all the articles written on the subject available for free on the MPB’s website.

Always remember that publicity is at least half of the reason why the bands you see on MTV made it that far. Your band’s talent dictates its potential, but more often than not, a good publicist is what launches artists into stardom. This is why it’s so important to know how to play the game; to sell your band as a product and get press coverage.

Finally, never give up. Every successful person has achieved that success through rigorous trial-and-error. Nearly every single band that’s “made it” has gone through its share of rejection and hardship. Don’t get discouraged when Rolling Stone won’t review your album; start small and work your way to the top.

If you have talent, and you’re willing to work as hard as you need to for as long as you need to, you will make it. It’s just a matter of time. Work your odds by publicizing your band more than the rest, and that time will come sooner than later.