why your band won’t make it

(and what you can do about it)

Disclaimer: Most bands, musicians, artists, and performers reading this will not be able to handle what follows. It’s too real, too raw, and too true. This will hit some of you where it hurts the most… in the pride. It may make you mad, discourage you, or hurt your feelings. If it does any of those things, it has hit a nerve that is sending you a strong message. A message that needs to be heeded in order to for you to make changes in your attitude and your approach to your “career” that will produce real progress… finally. It is my sincere hope that this article pisses some of you off to the point of doing something about it – because those of you that take offense to this are likely the very ones who need to hear it the most.

Here are the top 5 reasons why your band and/or your music won’t make it. Read at your own risk…

• 1. You think you already know it all.
• 2. You’re not objective about the quality of your music.
• 3. You don’t treat your music like a business.
• 4. Your communication skills suck.
• 5. You don’t know how to sell. 

1) You think you already know it all.

The problem: You’re unteachable. You’re probably already defensive as you begin to read this post. You’re intrigued, but put off by the title and can’t believe someone has the audacity to actually say these things. You’re convinced that you’re the exception to all that follows, even before reading all that follows.

The solution: Listen to that little voice inside your head, swallow your pride and read the following with an open mind. Suspend judgment and consider, if only for a moment, that you might not know it all or you’d be farther along by now. It’s not everyone else’s fault that you haven’t “made it” yet. It’s yours. It’s your fault if you’re successful and it’s your fault if you’re not.

2) You’re not objective about the quality of your music.

The problem: You have delusions of grandeur. Because you already think you know it all, you actually believe that your music is really, really good… maybe even great. You believe this largely because your friends and family have told you so. But good isn’t good enough. You have little if any, real objectivity about your music’s actual quality and marketability because you are too close to it. You created it, worked hard on it, and are emotionally attached to it. You mistakenly assume that other people are going to care about your music as much as you do.  Unfortunately for you, the rest of the world doesn’t really care. We’re busy doing what we’re doing. We are all not collectively breathing a sigh of relief because you suddenly have a band and some music out there just like ten million other bands and groups do. Right now, only a relatively small number of people actually know about you and your music; and an even smaller percentage of those people really care. It’s your challenge to change that. You have to make people care. You have to reach people on an emotional level. You have to make people pay attention when their attention is anywhere but on you and your little band.

The solution: Your songwriting needs to improve. Your lead vocals need to improve. Your playing needs to improve. Your arrangements need to improve. Your live performances need to improve. Your work ethic needs to improve. Your entire outlook on your music’s real quality needs a reality check. You need to seek out objective opinions, not from haters, and not necessarily from supporters, but from both average listeners AND music business “pros” who have no stake in your success, in order to get authentic, well-rounded feedback. Use this feedback to make improvements, not to get defensive. If you’re defensive right now, it’s because this is hitting home and ringing true deep down inside. Your defensiveness puts you squarely in the majority and serves as a huge obstacle to your progress. You’re proving my points, and probably will do nothing different except what you’ve always done, and then continue to get the same results. Good luck to you, you’re going to need it. For the rest of you in the minority… read on. Your humility will move you much closer to real progress than you ever imagined.

3) You don’t treat your music like a business.

The problem: Knowing how to play music is less important to your success than knowing how to manage a music business. Did you get that? Read it again. This statement is probably shocking to many of you, but true none-the-less. A lot of musicians believe that their great musical talent will carry them and exempt them from really understanding the business aspects of the music business. It won’t. If you don’t understand how the music business really works, it will never really work for you. You’ve never taken the time to really research and study the many intricacies that is the music business today. Even though there are mountains of resources out there, you consistently choose not to get educated on the very industry that you arrogantly believe is going to catapult you to fame and fortune simply because you wrote a few average songs.

The solution: Get educated. Read. Learn. Buy music business books and audio books. Go to the library. Search the internet for “how-to” music business-related articles and stories – there are tons of great resources out there. Talk to those who have been there/done that. Take the business as seriously as you claim to take the music. Keep doing this type of self-education consistently until you can afford to hire someone to do it for you… and even then, keep on learning yourself. Stay on top of things to stay on top of things.

4) Your communication skills suck.

The problem: You think you’re a good communicator, but you’re not. You think because you’re an artist, that you know how to get through to people. You don’t. You don’t know how to say, what you need to say, when you have to say it, in the way that you should say it, to produce the best results. And if you don’t get what I just said, it proves my point. You need to learn how to effectively communicate with all types of people in all types of situations. Creative communication (music/art) and effective interpersonal communication (personal/professional) are two different things. You have to have more than great lyrics; you have to be a master communicator who can read and respond to human behavior while interacting accordingly… on-the-fly. This is an art and a science that can take years to master. You allow your emotions to govern your behavior and often act like a jerk when things don’t go your way. You’re either writing bridges or burning bridges when you need to be learning how to build bridges. You need to learn to do these things better than your competitors.

The solution: Book store shelves are sagging with great authors teaching the art and science of good communication. Go get some. Study written, verbal, and non-verbal communication styles, techniques and strategies. Heighten your awareness when interacting with others and start to “notice” what is really happening while it’s happening. Tune in and pay attention to body language, facial expressions, tone of voice, gestures, word choices, what’s being said and what’s not being said. Uncover what’s really being communicated just below the surface; underneath the obvious. Are there always layers of hidden messages being conveyed underneath the words and behind the postures? Not always; but more often than you think.

5) You don’t know how to sell.

The problem: You don’t fully grasp the concept that we are all in sales regardless of our occupation. You’ve never really learned and understood the subtleties of sales, marketing, and promotion properly. You’re inconsistent, incomplete, and often inept about applying effective sales, marketing, and promotion strategies to your music business that will ring the cash register and keep you in the black.

The solution: Learn the science of persuasion. Study the secrets of seduction. Understand the art of influence. You’ve got to know how to get people to do, what you want them to do, when you want them to do it. You’ve got to get people emotionally involved with your product/music by convincing them that there’s something in it for them. You’ve got to foster a “feeling” in them that they want to experience again and again. You’ve got to answer everyone’s “WIIFM” question… What’s In It For Me? Answer this question effectively for people, and you’ll be able to sell anyone, anything.

So… now what? You’ve had the courage to read this far. What’s next? First, ask yourself this question: “How many of these honestly apply to me?” If you said none of them, you’re lying. They may not all apply to you, but some certainly do… to some extent. If they didn’t, you’d already be much farther along in your music career by now and would not be reading this article at this time. This is a critical juncture; a crossroad for you. You’ve arrived at a moment of truth…

You have three choices staring at you right now:

1) Keep on doing what you’re doing and keep getting the same results.

2) Get honest and take action to change and improve your situation.

3) Quit.

That’s it, those are your choices. Whether being a good cop – bad cop, sometimes the truth hurts, but the courage to look at the truth is what truly separates the winners from the losers; the fledgling from the phenomenons. Which one are you? What are you gonna do? Below is a highly recommended list of resources to begin to seek out and study to accomplish all of the suggested solutions listed above. Good luck and let me know how it goes!

The Art of Writing Great Lyrics by Pamela Oland Phillips

The Craft and Business of Songwriting by John Braheny

The Psychology of Persuasion by Kevin Hogan

Writing Music for Hit Songs by Jai Josefs

Confessions of a Record Producer by Moses Avalon

Guerilla Music Marketing by Bob Baker

Low Profile Selling by Tom Hopkins

The Art of Power by Robert Greene

The Slight Edge by Jeff Olson

The Dip by Seth Godin 

For 77 minutes of tips, techniques, and strategies to learn how to market and sell your music more effectively, more often… pick up my Musician’s Corner® New Band Tips audio book HERE.

©2008 Tom Leu

get loaded

WARNING: The following article contains truths that may make some uncomfortable. Read at your own risk!

I was tuned into a rock radio station in southern California once when the DJ mentioned three stages of partying that most bands and musicians pass through:

Stage 1 – All fun
Stage 2 – Fun with problems
Stage 3 – All problems

Now I found these very interesting because of their ridiculous simplicity. Think about your own partying career… these stages probably ring true. In the beginning, partying is nothing but fun and adventure. Things sometimes seem better with your drinks or drugs of choice in the mix. Colors appear brighter, music sounds better, and the world seems a bit less nasty. Fast forward a few years though, and the fun starts to include consequences. Trouble seems to find its way into your life, your relationships, and your livelihood. Eventually, if you end up in that 10% who cannot seem to control it anymore, the fun disappears all together and life becomes dark and unmanageable. At this third stage, never mind your music career, now you have your life to worry about.

Maybe we ought to reconsider the art of “getting loaded.” Instead of loading up on chemicals, how about loading up on some character, instead of scoring drugs, how about getting some direction, instead of guzzling more booze, how about gaining some boundaries, because you know the old saying… if you snooze, you lose. Maybe its time to start spending more time working instead of getting wasted; making progress instead of living a life of excess. Ouch! This is hitting some of you right now where it hurts. How do I know? Because it happened to me. We can argue about a lot of things, but we can’t argue with the experience of our own stories.

So what’s the message here? Is this an AA meeting or something? Nah… just a not-so-gentle reminder to pay attention to some things that most people ignore… your mental and physical health. Without them, you have no long-term music career. Trust me; my life has been anything but squeaky-clean, tea-totaling. I know what it’s like face down in stage 3… and it ain’t a rock-n-roll fantasy I can assure you of that.

Before you get your panties in a bunch about the serious tone of this article, remember that this stuff is serious. So if you truly take your music career (and your life for that matter) seriously, then all aspects of it deserve attention. This just happens to be a subject that most people don’t like to talk about. Now if you’re one of the few who don’t partake, congratulations! You’re just that much closer to making your dreams a reality.

The Bottom Line: Look for the similarities here, not the differences. These stages are progressive… meaning you will move into the next stages if you keep on, keeping on. It’s not a matter of if, but when. There will inevitably come a time when one’s thinking needs to shift from getting “loaded” to loading up on activities that build foundations and avoid frustrations; habits that bring admiration, not intoxication. Get rich with ideas and actions to further your music, your career, and your life.

So which stage are you at right now? Which direction do you really want to go? At some point you’re gonna have to ask yourself if it’s worth it. Remember, we only get one chance to use our time wisely… this time, right now. What are you gonna do?

www.NewBandTips.com

©2008 Tom Leu

crock stars

What often seems common in knowledge is uncommon in practice. Nowhere is this more evident than in what I call the “crock star” music business. I define ”crock stars” as up-and-coming musicians who are basically full-of-it and full of themselves. The majority of what they tell you is a “crock.” They embellish, blow up, exaggerate, over-state, or outright lie about their actual progress as musicians. They can’t be told anything because (they believe) they already know everything. The truth is, they probably know a lot but don’t know what to do with this “common sense.”

Don’t skip over the subtleties that produce real and lasting success as “common sense” - they’re not that common. Common sense principles are ideas, thoughts, and concepts that are known AND acted upon. The vast majority of people, not only musicians, “know” things, but do not “do” them.

I have often defended the stuff that I write in my books and articles as common sense. If this stuff was so common, more of the artists and groups that I encounter would be more successful than they are. Knowing and doing are two different things.

Most artists want to know what to do, where to go, who to talk to, “so I can get my music out there and get heard.” The problem is that they want a different answer than what’s required for success in music. The answer isn’t sexy, it isn’t fast, it isn’t exciting… that’s why it’s called WORK. And anything worth anything requires good old-fashioned hard work. Hard work that is combined with intelligent, consistent and creative marketing of yourself and your product.

So what’s it gonna be? Are you willing to do what most others are not willing to do? Are you willing to find out what it’s really gonna take to get to the next level? Are you willing to endure the dips, the peaks and valleys, the ebbs and flows required to break on through? If so, then get started… today!

www.NewBandTips.com

©2008 Tom Leu

new music screening

Unfortunately, too many artists and bands really don’t have a clue when it comes to realistically assessing the quality of their recorded music when submitting for airplay, gigs, or general promotion… the following article demystifies what those of us in the biz are really looking, and listening for.

I think many of us take the music we hear on the radio for granted.  We quickly assess whether we like a piece of music or not, giving little regard to amount of work “behind the scenes” that went into getting “the song” on the radio in the first place.  Rarely do songs just end up getting radio or television airplay by accident.  A tremendous amount of work writing, recording, and marketing the music takes place long before we hear it blasting through our speakers.  My experience as a musician, manager, and radio producer point to three things that get immediate attention when listening to or screening new music by an artist or group.  If you are submitting music for airplay consideration in any medium, pay close attention to these factors in order:

The first thing that anyone listening to music will notice is the production value.  This is the overall sonic quality of a recording.  This has everything to do with engineering, production, mixing and mastering.  You don’t have to be Mutt Lange or Quincy Jones to tell if a recording has been done well or not.  This factor is instantly recognizable within the first 20 seconds or so of listening to a track (more on this later).  With all of the technology available today for recording, there is really little excuse for poor audio or production quality.  While producing music has become much easier and affordable in recent years, most bands and artists are still better off leaving the engineering and production to a professional who really knows what they are doing.

The second thing that gets listened to is the lead vocal.  You simply have to have a very strong lead singer… period.  If the singer doesn’t connect with a listener right from the start, the whole song is in jeopardy, at least from the perspective of that listener.  “Great” singing is obviously a subjective concept that involves many variables and preferences.  Great singing isn’t necessarily limited to those with the best tonality, pitch, or vocal range.  It also refers to the emotion, passion, originality, and authenticity a singer brings to a vocal performance.  Think about it… have you ever heard a really good or great song that was sung, in your opinion, by a mediocre (or worse) lead singer?  How likely are you to return to or purchase that song again for future listening?  Very unlikely.  On the other hand, many average songs get recorded by great singers and become hits.  While it’s true that the song can help the artist; it’s even more true that an artist can hinder a song.  Be objective and insist on having great lead vocals. 

The third, and arguably the most important part to listen for when screening new music is the songwriting.  The reason this is third is only because most musical recordings introduce you to the production quality and lead vocal long before you can assess the actual songwriting merit.  This is why most A&R staff or radio program directors will usually listen to a song at least through the first verse and chorus.  This is just long enough to assess the production, vocals, and songwriting in that order.  If they like what they hear, they will let it play… and probably play the tune again and again.  Think about your own music listening habits.  When you hear a song you like, do you stop the song in the middle of it or do you play it over and over again?  While it’s true that some songs do “grow on you” after several listens, this is usually the exception, not the rule.  Psychologically speaking, the songs that have “grown on us” is simply due to the repetition factor wreaking havoc on our brains, and not necessarily due to a song’s overall quality. 

So will your music pass the “20 second test”?  Many industry pros will tell you that it only takes about 20 seconds or so of listening to most music to get a good idea if it’s gonna fly or not.  The production quality usually gives clues about the quality of the rest of the track.  If you can’t be objective and honest about the production of your music, chances are you haven’t been objective about the singing or songwriting either.  Real honesty and objectivity is missing with most indie music out there.  Sad but true.  Too many artists and bands get this stuff out of order.  For most groups, the focus is often on just existing first; quality and professionalism come later.  This is obviously a mistake…a big mistake.  Production value can be forgiven and more easily corrected than an average or poor lead vocal.  And fortunately, lead singers can be replaced easier than getting someone to write, not just a good, but a great song.

Another observation and comment… Yes it’s important and cool if the musicianship of a group is top notch.  You have to have musicians that can play, and can preferably play well.  It’s great if the guitar player really shreds and the drummer is out of this world, but these aspects of a band are more important in a live setting than on an actual recording.  The fact is that “bands” of musicians can be put together relatively easily at any time to perform live and put on a great show.  Those players with excellent chops and superior musicianship skills are capable of quickly replicating most music made.  Recording a great track of a great song is a little more difficult however.  Technique should never replace feel and emotion… play for the song first, the record second, and ego third.

You have to have a great song with a great and hopefully memorable lead vocalist, competent musicians, and then combine these elements into the creation of a sonically superb recording.  Analog or digital recording…?  It doesn’t really matter.  At the end of the day the question is – did it move you?  I believe most people could really care less whether music is recorded on Pro Tools or on two-inch analog tape.

The Bottom Line:  If you’re music is not ready to be “released,” then don’t release it… yet.  Seek out feedback from objective music fans AND music professionals at the same time.  The pros aren’t always the final authority anymore than your manager’s girlfriend is.  A healthy combination of both, mixed with honesty and objectivity will do you more good in the long run than folks simply telling you what you want to hear.  If you write great songs with strong lead vocals, and then give these songs professional production, you will be ahead of 95% of all other artists and bands out there.  So are you interested in standing out from your peers or being just another one of a million bands out there? If you want to be heard, you have to separate yourself from the herd…

www.NewBandTips.com

©2008 Tom Leu

good cop – bad cop

The Good Cop  -

Several years ago I wrote a couple of books for indie musicians called the Musician’s Corner®.  The books were born out the popularity of my syndicated columns and radio spots of the same name. In the book (and additional audio book), I outlined tons of innovative strategies for musicians, bands, and artists to consider and put into place to take their music careers to the next level. I’ve gotten wonderful feedback over the years from numerous musicians, bands, managers, and industry pros who endorse this effort. Click HERE to read reviews.  My style for the initial Musician’s Corner® material was a positive, “you-can-do-it” approach… the good cop.  I felt this was the best way to share my educational and encouraging messages. I pointed out the things musicians need to look out for, but I primarily focused on the things that should be done for a band or artist to make a name for themselves and their music. I stayed away from too much harsh reality, that could be construed as negativity, as it pertains to this very tough and competitive business.

So I have come to two realizations over the past few years that have prompted this writing… 1. As successful as these first books have been, I know there are many, many, more artists and bands out there who could benefit from this information.  2. In my travels and consultations with musicians and bands from coast-to-coast, I’ve realized that many people just don’t respond to the good cop mentality. This “nice guy” approach gets overlooked or discarded for reasons unknown. Despite a wealth of great “nice guy” type resources out there for indie musicians, most local and regional artists I see and hear from are making the same mistakes over and over again wondering why they aren’t really getting anywhere.

I deliberately wanted to deliver uplifting and positive motivation for musicians everywhere. But as the song says… nice boys don’t play rock-n-roll…

Enter the Bad Cop -

The bad cop is the one who tells it to you straight; without sugar-coating; and without much regard for how you may feel about the information that is being shared. The goal is simply to pass along the message in the most direct and often-controversial way possible.

So whichever approach works best for you, I recommend you pursue that avenue. If you’re one to get your feelings hurt easily and take things too personally, then go with the Good Cop products. If you’ve got thick skin and prefer things straight, then I recommend the Bad Cop products out there. Either way, you’re going to get invaluable information that, if put into action, will greatly benefit your music career. The worst thing you can do right now is nothing. The second worst thing you can do right is to keep doing things the same way you’ve always done them, expecting a different result. The choice is yours.

www.NewBandTips.com

©2008 Tom Leu

rich in personality

There’s a fine line between doing what you love… doing what you’re good at… and paying the bills. The ”happiest” and most “successful” among us have found this elusive balance. It’s goal toward which we all should strive. Of course, it’s way easier said than done.

In a recent newsletter, Michael Laskow, the founder of TAXI (a great company helping unsigned bands and musicians make money with their music) had this to say to his independent-musician subscribers:

“Do you want to make money making music, or are the journey and the validation you feel enough to slake your thirst?”

“What IS Indie? Cooler sounding than ‘unsigned,’ or a commitment to a life of starving artist excuses? Making money, enjoying the journey and feeling validated aren’t mutually exclusive. You can be something more than a starving artist if you’re not already.”

“I hope I find you at the intersection of Money Street and Validation Avenue.”

There’s something romantic and attractive about starving artists and struggling entreprenuers who are rich in personality but low on dough. The twisted allure of this lifestyle comes from enduring being revered and rejected at the same time. For those in this category, “success” really comes down to contenment during the journey. If you have it, money becomes a by-product of the pursuit. 

So here’s the challenge whether you’re a musician, a model, or a mechanic… 1) Make sure your passion is also your true talent. 2) Be realistic about your situation - are your endeavors merely a hobby or supposed to be making your house payment? 3) Be honest about #1 and #2. 4) Be honest about #1 and #2 and #3.

©2008 Tom Leu

The Musician’s Corner® on TV

Here is a Musician’s Corner® promotional story/interview that aired on local TV in Rockford, IL a few years back. Check it out…

©2008 Tom Leu