Create a Killer Promo Team

Create a Killer Promo Team

Take your music to the next level with professional (or home-grown) team members –says Lisa Popeil

If you’ve been getting serious about taking your music to the next level, you may have heard the term ‘team’ bandied about.

Who are these people?

Let’s go through each of the potential team members and see what it is that they do. Then, we’ll look at some low-cost options:

  • Manager

  • Agent

  • Music Attorney

  • Music Consultant

  • Public Relations

  • Social Media Marketer

  • Radio Promoter

  • Other

Manager

There are two basic kinds of music managers: a beginner or ‘baby manager’, someone with drive, hutzpah, organizational skills, follow-through and a memorable personality who is basically learning on the job. Could be a friend, a bandmate or even a fan. Then, there are the professional managers with experience, success, and a large smartphone contact list. A manager can help you book your own gigs, create a game-plan and help you stick to it, hopefully connect you to producers, record company folks, sources of funding. They’re the all-around Jacks (or Jills) who love what you do and are willing to persevere to guide you to your career goals. If you’re really lucky, you may find a manager with deep pockets who’s willing to invest in you as well, but that’s a rarity. (They usually take 15%-20% of your income, though what constitutes your income can vary from contract to contract).

close

Agent (aka: ‘booking agent’).

The agent’s job is to book your live appearances in clubs, concerts, radio, television, commercials and may even find sponsors for tours. The agent coordinates between band’s manager and regional booking agents. Top talent agencies normally take on acts once the acts are established and making real money. Agents take 10-15% of income from live shows.

close

Music Attorney

This is lawyer who specializes in music business contracts such as publishing or recording deals, song writing contracts, copyright protection, licensing songs for TV and film, and to review any one of the different contracts which may come your way. For emerging acts, music attorneys may take an hourly rate of $150-$400, or a monthly retainer of around $1500.

close

Music Consultant

This rare breed is type of manager who takes no percentage of your income, but rather, for a monthly fee, can hook you up with A-list songwriters and producers, create showcases and help you procure publishing or recording deals. (Can cost anywhere from $500-$2500 per month with perhaps a 3-month minimum).

close

Public Relations (aka: PR guys)

They work to bring you and your project to the world by way of press releases, parties, radio and TV interviews and, sometimes, social media. If your PR person is well connected, they can promote you to other music business movers and shakers. Normally, you only need PR when you have something to promote, like a CD or a tour. (Usually costs $1500-$3500 per month, but you might find a newer, hungry PR agent who’ll cut you a lower-cost hourly rate).

close

Social Media Marketer

This is the new kid on the block. These are promoters, like traditional PR, except they specialize in getting you Facebook fans, keeping your Twitter feed alive and making your music available on multiple digital platforms. They can work with a traditional PR firm to get and keep your face in the public eye. (A good social media marketer can cost many thousands of dollars each month).

close

Radio Promoter

Once you have an EP or LP done, a radio promoter can be hired to get you “listens” on radio stations, try to get your record on the charts and help to coordinate CD distribution to stores. (Can cost $2500+ per month.)

close

Other

Depending on the type of act you are, consider bringing these additional experts onto your “dream team”:
– a media coach, who’ll prepare you for interviews for print, radio and TV
– a choreographer – if you move on stage, you may need a pro to guide you
– a vocal coach to offer vocal technique strategies and vocal health maintenance suggestions to keep you on stage and out of the operating room
– a laryngologist, a voice doctor who will monitor your vocal health status and help keep you from having to cancel shows due to voice loss.

close

Don’t Have a Ton of Money?

Though having a lot of money to throw at your career is a definite plus, only a small portion of aspiring artists have the benefit of a wealthy family, generous friends or wealthy backers willing to dig deep into their pockets.

So, how do the rest of us create a successful career?

Step One: Be Your Own Promoter. Learn as much as you can about each of the skills required to pull off these ancillary gigs. Along with the internet, search out books on managing music bands, legal contracts you might encounter (e.g. recording, song-writing, production contracts); join low-cost organizations like NARIP or UK Music. Many organizations don’t require a membership fee but simply a fee to attend seminars on the business side of the game.

Step Two: ASK. You’d be surprised how many people will say “yes” to helping you, especially if it doesn’t involve their writing a check or needing to spend a block of time helping you. Perhaps you know someone who might know someone. Learn the art of “earnest grovelling” with practiced questions such as, “I wonder if you would help me, etc.?” “Do you know an entertainment attorney, (or media coach, or music consultant) who might take a meeting with me?”, “Can you recommend a vocal coach or choreographer who has a sliding scale?”

If you ask enough people, someone is bound to respond positively and make an introduction for you. When a sincere artist says, “I don’t have much money, but I really want to do this”, there are always a few people out there willing to help, just for the sheer pleasure of helping. But you have to ask a lot of people and be able to take rejection to get to the ones willing and able to make a difference.

Step Three: Study Other Singers. Study the paths to success taken by current artists who have ‘made it’. Each has a unique story worth committing to memory. Learn the names of all the people on the way who played a part. Young artists often waste time ‘reinventing the wheel’ when it comes to creating a game plan. Model yourself on what’s already worked for others.

Step Four: Pay for a Consult. Sometimes it’s worth paying an attorney $350 for an in-depth meet-n-greet consultation. If there’s magic between you, there’s a chance that the attorney will help you for no or little additional fees. That is, until the contracts roll in and need an expert eye. But you must make it clear that you have everything going for you except money.

Step Five: Use a Friend’s Manager. Find out who manages your friends. This approach only works if you are not in direct competition with your friend. If you’re a male rock singer and your friend is a Latin pop singer, asking for an introduction may actually work. Be alert to the possibility that the manager is much better connected in the Latin pop world though than the rock world! There’s got to be a magic connection on both ends for this scenario to work.

Step Six: Do Favors. What can YOU do for someone else? Intern at their office? Be on call to pick up their kids at school? Do you have a skill you can barter for? Ten guitar lessons in exchange for a music video?

Step Seven: Learn from Promoters. You can do a lot for yourself if you’re willing to put in the time. Pay a radio promotion guy $150 for an hour and learn how to do your own radio promotion (expect that to take 10-20 hours each week of your time, but hey…what do you want for free?)

Step Eight: Hustle. Be nice, be helpful, be generous and don’t whine. Be dogged. Work your butt off to do as much as possible to promote your career and constantly be on alert for low-cost opportunities to meet people, show your work and make a lasting impression.

Gina Latimerlo’s Reactions to This Week’s Peer Review Vids

Salvatore Salvatore – “Susanna” (Original)

You have sweet tone and an earnest presence. The words are clear and heartfelt. Your body posture (because of the guitar position) really makes it hard to sing your best. Get a guitar strap so that you can get your shoulders back and your chest up. Also, your neck position is forward and craned down – which also creates an awkward position for your vocal cords. Your mind will be blown away by what you sound like once when you adjust your posture — stand up with a strong chest, shoulders pulled down from your ears, straight long neck, and a chin even to the ground.

Stelios Stelios – “Madness” (Cover)

You have an amazing use of crescendos. You build within a note beautifully both vocally and on your guitar. Nice tone, as well. I have two notes. The first one is that it is distracting to watch you watch the words or whatever is to your right. It pulls us out of the reality of the performance. Secondly, your high notes need more support. Breathe low and expand your belly. Then use your abdominal musicles to keep pushing your belly out strongly while you are singing those high notes. This is especially important for supporting high notes that aren’t meant to be especially loud.

Lurian Lucianne Lurian Lucianne – “Listen” by Beyoncé (Cover)

You have a nice range and a pretty voice that is beginning to grow into itself. Those low notes at the beginning can be tough, so show your teeth on them to add resonance. To add some depth of tone on the low notes, try opening your phraynx – the muscle at the back of your throat that opens sideways (pretend you are silently laughing and you’ll feel it pull). Also, spend much more time learning the runs. Put in the time to be precise. It takes time to train your vocal cords to do those runs accurately. Professionalism is in how you handle the details.


If you’re signed up to VoiceCouncil’s Peer-Review, you’ll be receiving unique coaching insights from Lisa Popeil for the next 4 weeks. Co-author with Lisa on Sing Anything – Mastering Vocal Styles, Gina Latimerlo, will be providing feedback on our Peer Review Videos. You can sign up now.

Lisa Popeil

Lisa Popeil is one of LA’s top voice coaches. She is the creator of the Voiceworks® Method, the Total Singer DVD, and the ‘Daily Vocal Workout for Pop Singers’ CDs, conducts cutting-edge voice research, lectures internationally and is a vocal health consultant. Lisa is a voting member of NARAS, the Grammy® organization, ASCAP, SAG-AFTRA and the National Association of Teachers of Singing. www.popeil.com

Gina Latimerlo

Gina Latimerlo is a polished performer of over 20 years. Her students have performed on Broadway, in touring companies, and have signed with talent agents, record labels, and national producers. The Latimerlo Studio also oversees singing classes in over a dozen cities in the San Francisco Bay Area. Her book with Lisa Popeil, Sing Anything – Mastering Vocal Styles, has sold internationally and throughout the US. Sign up for Peer Review.