FM is a music industry social networking night. Or if you want the less stuffy description, drinks in a pub.

FM Stands for First Monday – so everyone knows exactly when it is (although people do sometimes still ask when the next FM is).

It’s not stuffy in any way; no badges or bossy organisers – if it was like that, we wouldn’t come!!

FM is a very relaxed get together with people from the industry, in a bar, all there to meet other people in the industry and possibly do business. And it’s totally free.

We have been running in London for just over 2 years and in the autumn of 2009, FM will go online as well as see monthly events kicking off in Liverpool and New York. As of June 2009, we have 630 people on the mailing list and generally the events attract between 10-40 people.

So much business is now done by email and online, we wanted to do things on a more personal level. There area also a number of new businesses of 1 or 2 people setting up who enjoy the chance to meet other people from the industry.

We don’t bombard you with endless emails – apart from anything we don’t have the time! FM starts from 6.30pm and runs until people go home – not always early… You can arrive early then go off to a gig or come along after – you don’t need to RSVP – just turn up.

People who come are; MANAGEMENT – LABELS – ARTISTS – PROMOTORS – PUBLISHERS – PRODUCERS – LAWYERS – ACCOUNTANTS – PR’s – PHOTOGRAPHERS – VIDEO PRODUCERS – CHARITIES – TRADE BODIES SUCH AS MMF, BPI, AIM, MPA ETC, UKI TRADE AND INVESTMENT AS WELL AS STUDENTS LOOKING FOR INTERNSHIPS

We take a break in January and August.

Evening to you all.

Hope you’ve got some serious air conditioning or large open windows to help with the heatwave we’re going to enjoy/endure this week – well done to those of you who’ve got time off and are heading to the beach!!

Last week was a busy one kicking off last Tuesday with a UK Music reception at No.10 Downing Street hosted by Sarah Brown. Whilst the heat wave officially starts this week, the weather that evening was sunny and warm enough to allow us to enjoy the Downing Street Garden. Ben Bradshaw and Feargal Sharkey addressed the guests made up of around 100 managers, labels, publishers, the live sector, music charities, composers, a very small number of artists as well as technology companies and key politicians.

I tried to find people who would be happy to join me on the trampoline in the garden….no one was brave or game enough which in hindsight was probably a good thing….

Glasto’s been and gone – sadly I wasn’t there but first hand reports are unsurprisingly glowing and from what I saw and heard, it’s easy to see why.

If you haven’t already done so but would like to have lunch with Take That, please don’t forget you can still get the last few tickets to the Nordoff Robbins Sliver Clef lunch this Friday 3rd July at the Hilton Hotel on Park Lane.

Take That are the winners of the prestigious Silver Clef Award this year and if last years event is anything to go by, it will be a wicked afternoon. Amongst other award winners who will be there on the day to receive awards are Madness, Brian Wilson and La Roux.

All proceeds go to Nordoff-Robbins Music Therapy; a charity that does incredible work but doesn’t have the exposure that perhaps it deserves.

I know times are tight at the moment but if you pull anything more than a hairy toffee out from the back of the sofa that comes close to £295, you’ve got yourself a ticket.

If you would like to attend, please contact Nordoff-Robbins directly; Rachel on 020 7371 8404 or emailrachel@nrfr.co.uk

FM will be kicking off in Liverpool in September so if you would like to attend and haven’t already been in touch, please let me know.

We’re also going all international and launching an FM in New York this autumn too!!! If that’s something you’re interested in getting involved in, please reply and put New York in the subject line. I already have some people who will help organise the night out there but as with all get together’s, they work so much better with lots of people so please do pass this mail on to anyone you know who lives/works in the big apple. Now, I’ve just got to find a way to justify going to the big apple for that one….

The next London FM is on Monday 6^th July – that’s next week and the last one before our summer break.

We’re back here

UPSTAIRS

Duke of York, 47 Rathbone St, W1T 1NW

Map here

http://maps.google.co.uk/maps?f=q&source=s_q&hl=en&geocode=&q=W1T+1NW&ie=UTF8&z=16&iwloc=A

Nearest tubes – Goodge Street or Tottenham Court Road with Oxford Street not too far.

We had a great turnout last month so hope to see as many of you again next week.

Looking forward to seeing you all there.

Sybil

sybil@fmfirstmonday.com

If you’re in a band, or a producer, there is always one important question – how am I going to get a record deal?

It used to be a simple formula but things have changed. The onus is now on the band to work it themselves – to come to the label with a finished product. In the past, a band would get signed on a demo and the record company would pay for the band to go into the studio. Not anymore – the music business landscape has evolved so quickly that the industry has struggled to keep up.

(But this is not just a music industry problem. Any industry who experienced such a dramatic shift in the way they do business in such a short period of time would be left playing catch up).

My name is David Silverman and I own one of the leading music PR companies in the UK, Outpost. This isn’t the time or place to go into how I actually came to work in PR, but lets just say it came from being an artist myself – being in a band, a producer, a DJ. I also own a record label and music publishing company, 3 Bar Fire.

I’ve been on the frontline of the industry for the last 10 years and I’ve seen the changes in the industry first hand. I want to share my 13 GOLDEN RULES to make it in the music biz if you’re an up and coming band (or established for that matter!), a manager, distributor, DJ, agent or anyone else that would be interested in knowing how to generate the kind of promotion you need to get noticed…

The number 1 rule. If you haven’t got a great product to sell, then people are unlikely to want to buy. I think the polite phrase is you can’t turn a sow’s ear into a silver purse – or words to that effect. Go away and come back when you have some decent, new, relevant music to play – not a copy of someone else’s and not something that’s dated. Don’t trust what your friends/girlfriends/brother/mother/sister says. You need proper honest feedback.

Just set one up. How? – because I just set up a record label and its called ‘This is My Record Label’. It’s that simple. You get a website saying www.thisismyrecordlabel.com, you get a myspace with the same name. You set a release date and you get 200 promo CDs made up (you can do this yourself, just make sure they look good!). Then you start sending them out (see sections below).

Now instead of being unsigned, you are signed to ‘This Is My Record Label’ or whatever name you choose, and you’ve immediately lost the stigma of ‘unsigned’ which is loaded with negativity.

What tracks do you put on the promo CD? Release a single – one main track plus one other, 2 tracks in total. If you can get any remixes done then do so, no more than 2.

This needs to be 2 MONTHS away (see later for why). Say today is March 1^st, then set your release date for the first Monday in May (records are always released on a Monday, don’t ask why, that’s the way it is).

If you’ve got some music to play, then get some kind of show/live date lined up to play it. Tell people about the dates. Hell you can even sell some of your CD’s from your new record label there. Set the gig up as close to the release date of your single as possible.

If you’re in a band you need to look cool. You’re aspirational, you’re a product and consumers need to believe that what they’re buying into is some way going to rub off on them.

And this isn’t you against a graffiti strewn derelict house/disused railway line. If you can get some great, creative shots done then this is a big advantage – magazines and websites need their pages to look great. If you’ve got great shots…..then you’re doing their job for them.

Pick up the mags that are relevant to you and your music. Pick out the reviews editors, news editors and features editors. Send them the promo CD with a PRESS RELEASE (a one page description of the music with the date it will be released, short background on the track, the band/DJ and anything else that is interesting or newsworthy).

Now, this is the reason you have set your release date 2 MONTHS away – monthly magazines have a minimum 6-8 week leadtime. That is, they need to get your CD, listen to it, send to their reviewers, get the written review back, send to designers, add pictures, get mag signed off, get to printers, get to distributors, get in shops, BEFORE the record is out! That takes about 6-8 weeks. Hence if you send a release to a monthly mag with a release date only 4 weeks away, they probably won’t do it. For a weekly mag, you’re looking at about 4 weeks leadtime, for a daily publication around 3 weeks.

NB – Send CD’s to magazines, not MP3’s. Make sure full details and contacts are on there. Make it stand out from the crowd – make it look like they should listen to it.

You need to listen to the radio and pick out the shows that play your type of music. Then, you need to find out who PRODUCES that show, and send them the CD, not the DJ – the producers decide what gets played. Include your press release as described in point 7 above for press. Lead time here is 4-5 weeks before release date! So send this AFTER you have sent your copies to press.

Goes without saying these days – get your videos/filmed performances up on YouTube and keep your Myspace up to date. Make a ‘Fan’ page on Facebook. Twitter to your friends. Which web magazines do you need to hit? The ones that cover your genre so hit them with your promo CD from your label (with press release). They will take it seriously because it’s not a ‘demo’.

Sell your downloads on your website, Myspace – have a look into digital distribution (sometimes called digital aggregators) to get your music distributed to download stores all over the web.

Flyering. You’ve got to promote your gig and your releases – invest in some help from some friends. Pick gigs of similar artists and flyer outside after the gig. Put in shops and bars. If you don’t market yourselves and don’t have a marketing plan, then no one is going to know about you, simple as that.

Hit them up – not all the time so you annoy them, but maybe once a week or once a fortnight – make sure you have something interesting to say so people want to read it and not just delete it.

Take strategies from the business world and translate them into a musical context. You’re a product – you need to market yourself like the brands market their products. You may not have their budgets, but if you get into this way of thinking, you can find lots of cost effective ways to promote yourself.

What your trying to do is to get everything to happen at the same time. Radio, Press, Online, flyers, e-mails, gigs – you need to CO-ORDINATE your campaign – just as you would if you were running a business. You need everything running in snyc – create a diary, plan it out – and in this way, you will be able to build your profile, develop new and beneficial relationships and get the coverage you want.

Not famous yet? It takes time. You need to do this over a period of years – its rare people just become stars over night – it happens but is the exception rather than the rule. The ones that appear to have come from nowhere have actually been following the above rules for a long time…They’ve paid their dues, nothing comes easy.

David Silverman
www.outpostmedia.co.uk

There was a discussion posted over at the Berklee Online Music Marketing course the other week that really struck a chord with me (no pun intended). It resulted in a rather lengthy reply, but of some value (it earned me an ‘A’ Grade so I assume there’s some good content here). We were asked to read this article over at the NY Times and then asked to consider all of the Internet tactics used by the artists featured and discuss what we felt to be the most positive aspects of online music promotion covered, along with the drawbacks of Internet promotion and in what ways we could you use some of these techniques to market our own music. Much of it is relevant to the advice on Music Jobs, and in part 1 here I mainly discuss the positive aspects of a strong online strategy. Enjoy…

One of the big positives of online promotion is the interaction an artist has with their fans. In the past it was rarely possible to connect with them as often or as strongly; it was mainly a passing comment or autograph at a show. Nowadays, fans think it nothing to send their idols an email or blog comment, sometimes simple but sometimes quite deep and meaningful. As Coulton realised, “his fans do not want merely to buy his music. They want to be his friend”. The connection with fans can be inspiring and give an artist creative (and other) motivation. I think there is another very important positive here because, as Thompson writes, fans can be a “promotion department” for an artist. They record videos at shows and distribute them online, they re-blog and link to digital stores in order to assist record sales, they tell friends on social networking sites about upcoming concerts. Having a good relationship with fans also enables new strategies such as Coulton’s “flash mob approach to touring”. Playing at lesser known towns that not only have a strong local following, but are also a good mid-way point between other cities with additional fans, means that he can play one very good gig and earn well from it, rather than a possibly financially uncertain, and sometimes unrewarding long drawn-out tour schedule.

Online media may be a relatively new thing, but it has fast become the norm with the young ‘Generation-Y’ music consuming public. “Fans aren’t hearing about bands from MTV or magazines anymore; fame can come instead through viral word-of-mouth, when a friend forwards a Web-site address, swaps an MP3, e-mails a link to a fan blog or posts a cellphone concert video on YouTube”. I feel this statement shows just how important it is to be a part of the change in the industry; fans are in online chatrooms swapping links, no longer at a record fairs swapping notes in notebooks. It really should be a key part of any artist’s marketing strategy, and it has certainly created “a fresh route to creative success”. Thompson writes, regarding the rapid success of Scene Asthetic on Myspace, “This sort of career arc was never previously possible. If you were a singer with only one good song, there was no way to release it independently on a global scale — and thus no way of knowing if there was a market for your talent”. Myspace provided that platform, and the band embraced it. This success, although rare, is completely possible of all online artists, and a very good argument for the positives of online marketing.

Another plus of the online promotion route is the cost. Although the article doesn’t directly mention the fact that the online social networks are a great free tool for hardworking newcomers, it does point out that “This is not a trend that affects A-list stars. The most famous corporate acts — Justin Timberlake, Fergie, Beyoncé — are still creatures of mass marketing, carpet-bombed into popularity by expensive ad campaigns and radio airplay.” As we have all learnt by now, this type of marketing approach is not viable or effective for new artists and extremely expensive.

Check back soon for part 2 and the negative impacts that you should be aware of!

Lee Jarvis.