Look, Ma! No hands...

My mom (as well as most folks) really has no idea what I do. I hate to break the news on my blog, but I really don't haul beer from Texarkana to Atlanta, nor have I ever worked as a lineman in Wichita. No, I work in the music industry, my friends. But, what the hell does that mean?

 

Big and Little Enos Burdette - my former bosses.

I recently did an interview for a Belmont music business student, my alma mater. Since I don't talk about my work very much, I decided to send it to my mom in an attempt to validate my non-traditional career choices. Then I thought, I'll just post it on my blog. Why? (1) You may not know this about me, and (2) it's my blog, and (3) it's random, so I can post whatever the hell I want.

Interview commences in 3...2...1...

  1.) What is your background (education and experience)?

I come from a musician background. Piano, trumpet, as a kid, moving on to guitar and bass before settling on Dobro. I grew up in a small town in NC, and there wasn't many opportunities to play. So, I started booking myself in nearby larger cities and then started creating events in my county to give me a chance to perform. One event is a Habitat for Humanity benefit that's in it's 11th year now. While I truly wanted to benefit Habitat for Humanity, I really wanted opportunities to perform. I went to the local community college on and off for a few years, but really was disinterested in college b/c there aren't a lot of opportunities for Dobro players. I had pretty much tapped out my resources back home and needed to move on. So, I contacted Belmont about the possibility of taking a Dobro student. They were excepting and really let me kind of create my own curriculum as far as instrumental study of the instrument. There have been some really talented Dobro players at Belmont through the years, but I'm the only one that actually graduated from the School Of Music with a performance degree. Unfortunately, that's a pretty self-indulgent degree, yes?

My experience really came in the years when I dropped out of Belmont (before returning). I formed a group with some fellow music students called Daybreak. We were a four piece band and stayed together for almost six years. We were Nickel Creek-esque and came along at a good time for acoustic music. We ran the band as a business, more so like a label. Booking, Press, Radio, Labels/publishing - everybody had their responsibilities and we'd rotate out from time to time. Although, we shared a brain and everyone knew what was going on in every aspect of our career.

We did an independent release and toured to support. We averaged about 80 dates a year, and again - that was all internal. Although we never signed one, we worked through 4 different record contracts. Some fell through on the label end, others we walked from. We did a lease deal and some licensing, as well as chase down a booking agent. A very painful process.

After doing everything on our own, we realized things we thought were problem solvers, such as getting an agent, really set about a whole new set of challenges. We then adapted and learned how to navigate through. We were talented, but we were probably more so determined and persistent.

I'm really proud of how we represented ourselves as a band, and we were often brought up as seminars at Folk Alliance and IBMA by labels as a band to watch regarding how we conducted our business.

We realized loving music and playing professionally were two different things. After feeling burnt out and accepting that we really weren't enjoying ourselves, we decided to call it quits before we got much older and grumpy.
 

    2.) How did you get your start in the music business?

Well, post band, I really wanted to find a way to build upon the amazing experiences and insight I gathered through those years. I applied for numerous jobs in the industry, but was told that I lacked experience which was pretty ridiculous. So, I was denied repeatedly. Very frustrating.

After a few years apart, I reunited with one of my former bandmates and we decided that since nobody would give us an opportunity then we'd just create our own. We're well into our 3rd year and have made a profit every month we've been open.
    
    3.) Which artists have you worked with in the past and who do you work with now?

As a musician, I've gotten a chance to work with some really wonderful artists. I've done some freelance work as a music transcriptionist as well, although I think I'm going to retire from that.

As far as management, we currently work with JD Souther and The Apache Relay. We've also worked with Brooklyn-based rock trio The States and a very talented girl from western NC named Shannon Whitworth.

    
    4.) If you work or have worked with a group describe the differences as compared to working with a solo artists.

Well, that's a great question that I'm not sure how to best answer. All the basics apply to both. Vision, dedication, trust. Everybody has to be on the same page. Believe it or not, that can really be harder with a solo artist at times.

Bands are definitely easier as far as budgeting for touring, esp. in the early years like Apache. For solo artists, we have to book the band, rehearsals, deal with payment.

Other than that, it really just depends of the act.

    
    5.) How do you view the future (technology/business models)?

Exciting, scary, mostly exciting. There's no one business model anymore. Not the one way track or single door to go through, and there probably will never be one again. What's exciting is that artists can create their on unique models, and the term 'success' is more subjective.

For example, let's look at a major label act on Music Row with a record deal. You maybe getting radio play, publicity, touring, but the foundation supporting that may not be yours. You're plugged into a system, and you're doing what you do because the industry has told you you can. But one day they may pull the plug. Now there are exceptions to the rules of course, and I really don't want to diminish someone's talent or career path.

But there are other ways now. Artists now have direct access to things they didn't necessarily have in the past. Mainly, fans. Which will always be what makes an act.

I once heard someone say that if you want a record deal, sell 30,000 albums on your own. Well, that's true, because that means you have a fan base. Now the real question for an artist in that situation is - 'why would I need/want you?' Maybe they do offer something you want to get to the next level, or maybe they don't. Up to the artist to decide and that's not a bad spot to be in.

Of course, there are really no rules any more either, which is what's scary. One major booking agency in town signed someone based off myspace plays, more so - the artist, who had never played a live show sold out venues on their first tour.

Pretty awesome and depressing at the same time.

I really could talk forever about this sort of thing, but will force myself to stop.

    6.) Briefly describe your day to day activities

Well, we're small in the fact that they're just two of us. We don't have a traditional office. No need to right now, esp. with IM, vid chat - it cuts back on overhead. My partner and I meet for 2-3 hrs a day and brainstorm, organize, make task lists, goals, timelines. Then we go about knocking it all out.

I work on and off all day, and it's often filled with unexpected situations.

I'm usually more hands on with the touring side of things. No booking for me, but I work with the agent on routing, tour strategy, how to build markets, and most importantly that our artist is getting the attention they deserve.

I work with the promoters leading up to shows to make sure marketing/PR is all on track. Building long term relationships with promoters is very important to me.

I do quite a bit of fan relations stuff as well. Newsletters, special promos and all social media madness. 

     7.) What is your opinion on 360-deals?

Whew, first off - all in one label/management scares me. As management, part of my job is making sure other folks are doing their job. So, who's going to fight for the dollars you may need from the label. Like I mentioned with the agent, a big part of what I do is making sure they're giving our artist the time they deserve.

In theory though, I don't have a problem with the deal structure. If the label is going to commit to all aspects of the artists career, then the should get paid. Labels, whose job is selling records, have problems. Piracy and the direct distribution opportunities available to artists - whether it's through digital distribution or online sales of physical merchandise with in-house fulfillment. Neither of which, piracy or direct to fan distribution do I see as a bad thing. Hell, I download music for free and I haven't bought a physical CD in 6 years.

I want get into the the file sharing argument too much, but ideally it turns into touring revenue, which the label may not get a piece of. Artists can also generate revenue through licensing which can be lucrative and boost album sales. So, the label is adapting, something they may should have done earlier. This is their way of generating income in todays market.

The reality is they're just moving toward management and management is becoming more label-esque.

In the end, it really depends on the label, artist, and team involved. Like most things, in the right situation, it can be good.

    8.) What advice do you have for an artist or a manager looking to make a career in the music business?

For artists, my biggest suggestion is to just go do what you do. Don't wait on the industry to give you a thumbs up. It's all about building fans and creating opportunities. So many talented people in this town are waiting around as if there waiting to get picked up in a kick-ball game. Play shows, book yourself, make a record, market it, promote it. Repeat as many times as you like. I'm not saying you can't benefit from the industry, but don't look to it for validation.

Same with management really, create opportunities for yourself. Helping hands are necessary, but the more opportunities you create the more chances you have.

Be honest with others and yourself. You're constantly going to grow and learn things as you go on. If you don't know an answer, say 'I don't know', but I'll find out.' It minimizes BS.

There will also be people smarter, more experienced, more talented, etc. so don't sweat that stuff. Never take a back seat to your career, and never let someone else make assumptions about who you are. In other words, just respect and stand up for yourself when needed. Learn to be comfortable in your own skin. Character is long lasting and will open more doors for you in the long run.

Sounds cheesy, eh? 

Oh, and never fry bacon in the nude.