David Andrew Wiebe Interviews and Music Business Podcast: A Podcast for Forward Looking Musicians

Pete Lesperance: Fade Into Stars

2012-09-15T19:35:42Z

Pete Lesperance recently released his new album, Fade Into Stars. This is particularly exciting for me as I've been a huge Harem Scarem fan for years.

Harem Scarem, of course, called it quits back in 2008. While I cannot speak for them, the band had evidently grown tired of going back in the studio and repeating the same process over and over again.

Since then, some of the members have released other projects. Drummer Creighton Doane released a 7 song EP titled Pilot Error in 2010. And, of course, Pete, who was the guitarist of Harem Scarem, has released Fade Into Stars, his second solo album, this year.

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Correcting Common Mistakes: Twitter Tips for Bands

2012-08-07T17:43:29Z

I'm sure most artists have heard about the effectiveness of social media marketing. Facebook and Twitter have fast become a vital part of a band's marketing plan, as opposed to a peripheral effort. However, I see a lot of bands and artists making the same mistakes that could be easily avoided with a few simple tweaks.

The important thing to remember with social media marketing is that you need to be able to see things through the eyes of a marketer, promoter, or label representative. You need to consider your strategy through the eyes of the people who are going to be looking at your Twitter profile. I've been on both sides of the coin; I've been an artist, and I've also been involved in event planning and marketing. From my perspective, here are a few things that every band and artist should be doing to make better use of their Twitter account:

1. Use the description

For as long as I can remember, descriptions have always been important on the web. When Yahoo! was still widely used in place of Google, many people used the website descriptions to help them find the information they were looking for. Why? Because while it was easy to find a listing of websites in any category, people would scan the descriptions to find the site that would best match their needs and end goals.

So, now that you know the importance of a description, let's discuss some common mistakes:

Leaving the description blank - think about this for a second. If I was a promoter looking for a band, it's quite possible that I would overlook or completely miss a band that doesn't have a description. Why? Because it's not obvious that you are a band. "But, we have a picture." Have you ever noticed how small those pictures appear on Twitter (especially when you're searching)? A bunch of people standing around without instruments could be anything. Use your description. Put "band", "musician", "singer/songwriter" or other appropriately descriptive terms in there. Even musical genres are fair game and would be better than nothing.
Posting too many links in your description - I could be wrong, but you have a presence on Twitter so you can connect with people on Twitter, right? Then why would you overwhelm people with a bunch of links leading to your Facebook, ReverbNation, and Bandcamp pages? It makes it look like your profit and benefit are the only things you're interested in. It makes it look like you'd rather have people engaged with you in other ways besides Twitter. The only link that you should be placing priority on is your own dot com band site. "But we don't have one." Then you're doing this all wrong. How do you know that Facebook, ReverbNation, and Bandcamp are all going to be around tomorrow? Your social media efforts should be flowing out of your own website. Besides, if you want to direct people to your Facebook page, there are more strategic ways of doing that (connecting your Facebook page to your Twitter account and posting from Facebook for example - that way when people click through on the link, they will be brought to your Facebook page).
Trying to be too clever - it's good to have fun on Twitter, and I hope you do. However, you would be surprised by how many bands try to be altogether too clever with their description without ever using a word or sentence pertaining to music. It's great to try and create a description that is unique and engaging, but please remember that you are a band or a musician and you are trying to make people aware of the fact that you play music. Use musical terms. If I'm skimming through Twitter accounts, I'm not looking for the cleverest description. I'm looking for the most apt description for you, your brand, and your music.

2. Add value

This is a relatively simple thing to do, and yet, I'm amazed by how many bands and artists don't add any kind of value to anyone. As artists and musicians we are observers and interpreters of culture and life, are we not? Then let's correctly interpret culture and life!

Common mistakes:

Advising other people to "check us out" when you have done nothing for them - I think this one speaks for itself. Look, we're all guilty of this, and, certainly don't underestimate the power of telling people to do what you want them to do directly. However, it's best to connect and meet with people where they are at. Add some value, and they won't have to be convinced to check you out. They will check you out because you made their day! This is a quid pro quo world. You scratch my back and I'll scratch yours. You're missing some great opportunities if all you're doing is sending out a message that says "check us out over here on Facebook" every time someone follows you. Learn about their efforts, and see if you can add value to them in any way. Send them an article. Join their free service. Subscribe to their podcast and actually listen to it. Use social media to engage and connect.
Being too self-focused - again, this is not a revolutionary concept. Social media is about connecting and engaging with groups, communities, organization, and people. If you're not interested in what others do, why is anyone going to show any interest in what you do? Think about how you can add value to the community you are connected with. Make them laugh. Make them think. Make it urgent. Make it compelling.

Finally, let's end with Zig Ziglar's immortal words: Help enough other people get what they want, and you can have anything you want.

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Thing 1: Don't Believe the Hype

2011-11-08T05:27:47Z

I've decided to take another look at The 20 Things You Must Know About Music Online, so I thought I would share with you any ideas or insights that come to me in the process.

The first thing we're going to take a look at, of course, is Thing 1: Don't Believe the Hype.

This can be a bit of a confusing subject to understand, but here are the key points I get from it:

Not everything you read about music online is without its bias, and is sometimes completely untrue. Most 'news' items hail from press releases, which are written by people in a PR department, which means that someone stands to gain from it. Many "major discoveries" from MySpace (yes, I know, MySpace is mostly irrelevant now), already had some kind of financing, major label backing, or publicity before their "overnight success story" was ever published.
People are just looking for a good story. That's why the aforementioned is so important. If you can make it look like/sound like someone succeeded as result of some form of media outlet (like a blog, podcast, webstream, etc.), an overnight explosion in fan base, or some other act of God, it makes for a "better story" in the eyes of the media and the reader. Keep in mind that some of these artists couldn't have done what they did without serious financial backing.
Technology does not determine one's future in the industry. It makes for a nice story, but the ongoing addition of online tools for musicians doesn't generally create the type of success often depicted by the aforementioned PR departments. The tools are good and are not evil. However, they don't necessarily hold the answer for future achievements in the industry.
Don't believe everything you read. Don't count on a miraculous MySpace, Facebook or ReverbNation success story for you or your band. Don't let it stop you from promoting yourself or making use of online tools, either. Most stories about astronomical success and total and utter ruin are extreme at best, so learn to ignore them.

The 20 Things You Must Know About Music Online was written by Andrew Dubber, and all credit goes to him. I do not claim any ownership over the book, nor am I quoting any information verbatim. If you would like to download your free copy, please follow this link, and don't forget to visit New Music Strategies as well.

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Lessons from Yanni: A Living Legacy

2010-12-10T04:49:46Z

Cross-posted from www.DAW-Music.com

Tonight I had the chance to watch Yanni: A Living Legacy on KSPS (public broadcast, for those who don't know). As a musician I am often taking notes of other musicians and concerts that I go to. I thought I would share with you some of the things I picked up while watching Yanni.

Now I should point out that I don't usually watch TV. All of that kind of changed when I was offered a free DVR. The ability to skip through commercials is rather essential in my opinion, and the ability to record what I want to watch and watch it when I want to is also a nice feature. But I digress, let's move on.

Whether or not you're a Yanni fan (I've never identified myself as such), there are some important lessons that could be learned from his music.

Yanni is Always Engaged in the Music

You can see that it makes him come alive. He feels every note and every beat that's played. He's always involved in the music, whether he's actually playing or not. That in itself could be a big lesson. Sure, he has an entire orchestra backing him up, but knowing when NOT to play is just as important as knowing WHEN to play.

Yanni isn't Afraid of giving up the Spotlight

Yanni is indeed a great musician himself, but the musicians backing him up are equally so. Yanni isn't the only one that gets a solo; many of the musicians and singers playing with him have the opportunity to be in the spotlight as well. You can see that he gets great joy out of letting others shine.

Yanni Performs in Exotic, Unusual, and Beautiful Locations

Now this might be a little harder to duplicate for us independent musicians. However, there is something to be said about the venue you play in. Is the venue interesting? Does it engage your audience? Is it easily accessible? Does it have plenty of parking? There's a lot more to picking a venue than we usually tend to think about.

Yanni's Music has a Particular Esthetic

Orchestral, New Age, Middle Eastern, Instrumental, whatever you want to call it, his music has a particular quality to it. He doesn't pretend to be anything he's not. He's not a Punk Rocker. He's not a Blues Crooner. He does what he does.

I think this is often overlooked in music. All too often we're caught up in trying to engage everybody, when we should be focused on who we are and the people that are attracted to our music. Everything from your hairstyle to the way you play your instrument plays a part in who likes your music.

Yanni has Quality Musicians backing him up

I think I've already touched on this, but Yanni has some incredible musicians backing him up. Not that everyone and anyone should aspire for virtuosity, but rather we should aspire to be the best that we can be. We should get comfortable enough with our instrument and what we're playing that we don't stumble over ourselves in the process.

Any thoughts?

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JJ Soriano Interview February 2007

2007-04-03T22:17:53Z

On February 21, 2007 I had the chance to sit down with local jazz guitarist JJ Soriano to discuss the local jazz & classical scene. After the interview, I also had the opportunity to jam with the man himself, and learn from his expertise.

How many gigs, on average, do you play in a week?
Not a lot right now; maybe once every two weeks or so. I'm experiencing a lot of cutbacks right now. I used to get a lot of gigs from a guy who did wedding and cocktail gigs but he doesn't pay the same rates anymore. I also used to get gigs from college, but now it's down to zero, which is unfortunate because I'm in a performance program. It seems kind of funny that a performance program would pull the performance aspect of it. Right now the only gigs that I can get are the "real world" gigs. I still play every month at the Pic Niq, but it's sort of back to reality right now. I'm not playing a lot of gigs because I don't take volunteer gigs.

Name some of the venues you've played in.
I'm not sure where to start. Um... Pridis, Cochrane Ranch, Cochrane Golf Club, the Sheraton, Eau Claire, Palister Hotel, the Beat Niq, Epcor Centre, the Pic Niq, Webster Art Gallery, Calgary Art Gallery, the Hiatt, Carriage House Inn, different venues at Mount Royal, the Winton... Lots of different venues. It's different every time.

What is the largest audience you've played to?
Not a lot. Not in jazz, anyway. Usually we play cocktail gigs [where there are a lot of people] so you're not really the focus. So I'm not sure if you would consider that an audience. But most gigs it's usually 150 people or less.

How much time do you spend promoting, marketing, and booking yourself?
I'm fortunate in that I don't need to do a lot of that. We usually get hired by someone so typically I'm not the one doing the promoting. My drummer Spencer [Cheyne] calls, gets the date, makes the arrangements, etc. In the jazz community it's all about connecting with other musicians, going to jam sessions, and attending other people's gigs. One day they might even invite you and have you sit in.

What are your thoughts on the Calgary jazz scene?
It's definitely getting bigger. In the past six months I've seen some good musicians move in. I mean, it's growing but it's evolving more so. There are two venues for jam sessions that I attend and they both have different crowds and a different set of players. It's interesting because the two crowds are usually separated. More recently some of these people have started to mingle. At first I thought the jazz scene was small, but it's not. I still see new faces frequently. It's a busy scene and the good players play about two to three nights a week. You don't get a huge crowd with jazz.

What are your thoughts on the Calgary music scene?
I can't really speak for other scenes, because I'm not really exposed to that. From what I've seen in the classical & jazz scene, it's growing. And the level of performance is up, too. Some of our local artists could match or top other experienced artists from New York. Many are amazed by the level of musicianship in this city.

What are some of your goals and ambitions as a musician?
I have lots of goals. I guess my dream is to not have a day job, and make a living at it. I would have my own band, and I would still play side gigs, but the dream would be to play full-time. I would rehearse with the band in the morning, set up during the day, or travel to the next town and set up, and play at night. One of my dreams would be to cross the Christian/secular market and reach out to those who don't know Him, and encourage those who do. And maybe twice a year I would do conferences or workshops for kids that are less fortunate, and share God with them. I don't really want to be boxed in as any type of band at the end of the day. I want God to place me where I can serve Him best. Why should I just play it safe and be in my comfort zone?

What do you see in the future for yourself?
I can dream, but I can't see the future. If anything, I see myself still following God. And even if it means leaving music I want to do that. I can only really see a week ahead, and beyond that I'm not sure. I had all these plans, dreams, aspirations, and God tells me "just finish your Diploma, and that's it." This is going to be much more "real world" than I expected. I can't see myself doing anything other than following God.

What are some things you do consistently to market and promote yourself?
For now, since I'm in school, it's not a big issue. I don't do a lot of booking but I try to get out to jams and treat musicians well. It's a good idea to exercise etiquette in all situations. If you get hired, be on time and perform well. Allow for suggestions and criticism. Having the right attitude is huge. Having a self-important attitude won't get you anywhere and it's key to remember that. Do what you can to please your client. Personally, I don't have a big fan base and I'm not really at the point to record a CD. But when you get to that point, you can promote by radio too.

In your opinion, how important is it to make new contacts?
It's very important. It's also important to maintain a good relationship with other musicians and previous clients. Exercising etiquette is very important. I'm a quiet guy; I only talk when I need to. Don't hold any bitterness or grudges either. I've worked with musicians who don't conduct themselves professionally, but since I'm Christian I think it's important to give them second chances. So it's all about being able to release any bitterness you may have.

What advice would you give to someone who wants to get established in the Calgary jazz scene?
In a nutshell, it's a lot of networking. Tell your clients what to expect and promise your client profit based on the price you quoted. Go to other people's performances and jams and you'll get asked to sit in. If you have to volunteer a gig, go for it. Always take the right attitude. What helped me is being in school because I got a lot of referrals.

If someone decided that they wanted to do what you're doing, where would be a good place to start?
It all depends on the resources available to you. Do you have a repertoire? How many contacts do you have? How much experience do you have? Do you know of any other musicians you could play with? I've been studying music for a good chunk of my life so I have lots of contacts. I've established a lot of connections through other musicians and students of music. And, as I mentioned before, go to jam sessions and your friend's gigs.

What are some basic things every musician can do to promote themselves regardless of what type of music they play?
It's all about maintaining and establishing relationships with other musicians and your clients. It's also good to build a reputation of being a good player, or hard worker, or someone with a lot of passion for it. On the other hand, you need to be discerning too. Be cool, and don't oversell yourself. There was a guitarist that played all the time at the Beatniq and he started to get a bad reputation. Everybody would come in and see that he was playing and they went, "oh no, not again." He disappeared for awhile and everyone breathed a sigh of relief. About a month later he came back. People were leery. But this time he blew everyone away. So if you can demonstrate that you're a hard worker and you have a passion for it, it's possible to redeem yourself too.

Musicians often have to wear two hats; there's the promotion side of it, and the performance side of it. How do you strike a balance between the two? It's a process. When you first start promoting, you should have posters; send messages to people, like a newsletter, get an article in a magazine... Do stuff like that. Don't forget that performance in itself is a form of promotion. That's about it. Once you have a bigger fan base you can advertise on the radio. At that point you probably have a CD, and the radio station can play your songs and plug your upcoming shows. But just make sure your first performance draws people instead of repel them. Sometimes it feels like you have to wear two hats, but it is part of your career; one is not excluded from the other. Once you get bigger you have CDs and products and merchandise, and you'll play charities and things depending on the scene, and that's good promotion too. But the bottom line is that you're not going to promote unless you're performing. If you're famous, people come to you, so that's a different situation entirely. Oh, and websites are good for promotion too.

Thanks for your time, JJ.
Thank you.

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