With the music industry in constant flux, someone needs to be a guide through the murky waters of getting original music out to the masses. Independent promoter James Moore has done just that with his book “Your Band Is A Virus,” which is now called “Your Band Is A Virus – Expanded Edition.”
This comprehensive work not only serves as a guide to the current music industry, it takes apart the myths and divides the pieces into easily digestible parts, with the ultimate goal of bringing audience and artist together.
In addition to the insider’s view of the industry that Moore provides, you’ll find intriguing interviews with legendary producer Stuart Epps (Led Zeppelin, Elton John), HIP Video Promo CEO Andy Gesner (HIP has worked with Johnny Cash, Bon Iver, Pearl Jam, Of Montreal), Justin Wayne of the Justin Wayne show, Katie O’Halloran of Ithinkiloveit.com and Crystal Lee of Vandala Concepts Magazine.
Moore took time out of his busy schedule to discuss the book, and how the right balance of good work, creativity, and business sense, can give anyone a shot at the music industry.
Cornelius Fortune: Why expand “Your Band Is A Virus” now? What was missing from the original that required updating?
James Moore: I’ve learned so much in the past two years of running Independent Music Promotions that it started bubbling up and I had to share it. I can only work with so many artists personally, and I know that a lot of good artists are lost in a bit of a stew of confusing information out there. Exposing some of the lies being thrown around seemed very necessary, as well as sharing a ton of new ideas that I’ve personally tried and have found to be extremely effective. I wanted this book to be double the length, but far superior in every way, so I also did a complete re-edit. Some of my opinions from the original don’t hold true any more for me.
I’ve found that there are two types of music marketing books; the general online promotion guides which usually are quite vague as they’re over-packed with case studies and basic information, and then there are the technical, contract-based books on licensing, selling songs, finding a manager, etc. I wanted to create neither of those, but instead something radically different; a deconstruction of ideas, hundreds of actionable steps, and a brainstorm to encourage real creative thinking when it comes to promotion.
CF: How has the business changed, and what exactly does an “independent promoter” do?
JM: I like to use the term independent promoter because it’s free of many of the additional terms people like to give themselves these days (social media coach, artist consultant, life coach, etc). An independent promoter, if I were to define it, is someone who chooses very carefully the product they are going to promote, because that becomes content in the outside world. It’s a very serious matter when you think about it. The same goes for
bands, if they are their own promoters. They must absolutely make sure that their work comes from the heart.
The role of an independent promoter is to promote high quality work to media (magazines, websites, blogs, podcasts, and in some cases radio and television). They have to put in months or years of research and also take the time to build hundreds of quality relationships. They look for opportunities for the work wherever they can find it, and it’s also their responsibility to research any niches that may be of value (for example, a political music group will have additional coverage opportunities). I also think there is a responsibility to deliver what you say you will.
The business has changed from physical to online, for the most part. While many artists lament the loss of the CD, most of those artists weren’t selling a ton of CDs anyway. They may be in it for the wrong reasons and unwilling to learn new things. The online world provides thousands upon thousands of opportunities for bands, but one thing musicians forget is that each website is a person or a group of people. It’s important to treat them like that. If you do, they are far more likely to take an interest in your work and help you on your path.
CF: Who’s the target audience for “Your Band Is A Virus”?
JM: The target audience for “Your Band Is A Virus” is any musician, band, entrepreneur, or business who wants to learn how to effectively promote their work. If you’re a hobbyist, you won’t need it.
CF: Is social media really meaningful, or do bands/solo artists still need an on-the-ground local campaign to get started?
JM: Musicians are extremely confused on this matter. Most musicians are stuck on social media. Their consciousness is locked in, and they’ll probably be stuck there perpetually. Social media should be a SMALL part of your overall promotion. Don’t spend more than 30 minutes on social media in a given day. You should use it to advertise and bring exposure to your profile/significant posts, as well as engage with your fans and post relevant content. Beyond that, you should be working, promoting your music extensively to the press, reaching out to industry folks who you think could help you along, submitting your music for festivals, signing up for licensing libraries, etc. I’d say social networks should take up about 10 percent of your overall promotion plan. It can definitely feed the whole picture, but don’t believe all the “social media coaches.” They rely on it being relevant, so their perspective is naturally skewed.
CF: Does the old model of seeking a recording contract even exist for aspiring recording artists today? Have we moved firmly into a DIY culture? Describe the pros and cons.
JM: Well, the old model was largely an illusion, and it’s only gotten more difficult. While labels are still looking for new artists, they are doing so less often, and it’s more likely that artists with good business sense will take inspiration from acts like Fugazi and either go it alone or work with a trusted indie label, of which there are still many good ones.
An artist with no business sense or willingness to learn, I’d say doesn’t have a whole lot of light at the end of the tunnel, but it’s important for everyone to know their character and their limits. If you know you’ll need help, seek it out and learn in the process. Be honest. Don’t try to be Henry Rollins when you’re not that driven in that particular way. Everyone is slightly different. If you really want that record contract and you’re talented enough and hard working enough, put yourself in that direction. That being said, having a strong DIY spirit and a mix of creativity and the right attitude can do wonders.
CF: How important is the single these days, or the EP? Should artists still push a “concept album” or embrace minimalism?
JM: I’m not an expert in promoting singles. I typically like to promote albums or EPs. They show more dedication on the part of the artist, and to be honest, a lot of publications don’t like to review singles. A single doesn’t give too much of an idea about the artist. I’ve had artists ask to work with me for their single, and they only had a single to their name. That doesn’t look good. If you’re an editor and you’re choosing between 200 albums to cover, and someone comes along with a single and a Myspace page, you can bet it’s getting deleted.
EPs are an excellent format for a few reasons. Since there is less content, they’re less expensive to produce. You can even release digital EPs if you want to save a lot of money. In fact, instead of releasing one full length in a given year, you could divide it into two or three EPs, and promote each one to the same media outlets. This gives you a ton of consistency and more exposure. I think concept albums are great, and by no means should artists shy away from them if the music is strong. Look at one of my favourite artists, the lovely and talented Janelle Monae and her “The ArchAndroid” CD series. It’s brilliant work, and the fact that it was about something made it a more fascinating release and showed the depth of the artist. Just make sure the work is great and don’t release a half-baked idea.
CF: No one really has an accurate crystal ball to stare into, but what’s your music industry prediction for 2013 and beyond?
JM: I think it will continue as it has in many, ever-expanding, seemingly endless forms, just as the world does. There will be many useful new tools for artists and many distractions, and in many cases the distractions will look like useful tools. New services will continue to pop up and target independent artists.
Also, as is happening now, the artists who have the right balance of good work, creativity, and business sense will go much further than the artists who expect people to find them. Many artists who are nothing short of amazing will continue to go unrecognized simply because they don’t promote their work and expect a helping hand. It may sound pessimistic, but I think things will continue in the same fashion, just with different tools and forms of distribution/etc. The plus side is that people will continue to make very human, powerful music that spreads love between human beings. All technology is second rate compared to that.
Thanks very much for having me! Artists with depth can visit me and find out about my promotion services at www.independentmusicpromotions.com. The new “Your Band Is A Virus – Expanded Edition” is available at https://www.amazon.com/Your-Band-Is-Virus-ebook/dp/B00ADPGIXK/.
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