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Succeeding Without a Label
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Succeeding Without a Label
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Posted by
Will
on April 14, 2004 at 06:20
| Robert Fripp wrote: | When a record company makes a mistake, the artist pays for it.
When the artist makes a mistake, the artist pays for it |
Succeeding Without a Label
Author: Bernard Baur, Music Connection Magazine
© 2004 All Rights Reserved. Used By Permission
Is a label deal the only real measure of success? According to many artists, the answer is a resounding "NO!" In fact, more than a few with label experience would rather do it themselves. It's not easy, for sure, but neither is getting a record deal and making it work. The truth is, except for what a label theoretically offers (worldwide distribution and exposure), artists can do it alone. In fact, if they want a great record deal or demand creative control, they should do it themselves. With that in mind, Music Connection set out to see how realistic the independent route is, and if artists can find success on their own. We found that independent artists are very popular with music fans; and, that acts like The Dave Matthews Band, Godsmack, Nickelback and The White Stripes didn't depend on a record company to break them. They did it themselves and sold thousands of records, which naturally attracted hundreds of labels. Moreover, those who enjoyed independent success negotiated deals that were superior to the average deal most artists are offered. Overall, going it alone looks like a win-win situation. To find out what it takes, MC contacted a variety of artists who took the "Do It Yourself" approach and are making it work. They are self-sufficient artists who found that they didn't need a label to live their dream. They prove that the DIY option is not only viable; it may also be the best course of action. After all, who wouldn't like to call their own shots in a market that's up for grabs?
CHOOSING THE ROAD LESS TRAVELED
Sitting in a label president's office suite can be surreal, especially when he's explaining what an artist needs to do to get signed. The list is so long (covering a variety of areas) that after he finishes, you can't help but ask, "If an artist did all of that, why the hell would they need you?" Well, some artists don't think they need an established label at all. Award winning artist, Aimee Mann, has had three major record deals but now says, "I can't recommend signing a label deal. Why should you give them all the power? Really, it's frustrating. You think labels are supposed to sell records, but they don't always do what they're supposed to. So, why deal with them?" In response, Mann formed her own company, Super Ego Records, and became a poster girl for DIY success thanks to her Oscar nominated song from the film "Magnolia" and the 200,000 units sold of her "Bachelor No. 2" album. Today, she claims to be happier than she ever was at a major. "Now, I have the freedom to do what I want, when I want. And, if any mistakes are made, I get to make them myself rather than have someone make them for me." One other thing Mann is absolutely certain about: She won't miss the suits reviewing her work. "You know," she laughs, "no one ever said, 'We're really excited about this! It's obviously the single!'" Other artists choose the independent way because their music doesn't fit the usual formats or marketing schemes. Industry may love the music, but they don't know what to do with it. When he started out, Bob Malone thought he was just a day away from a deal. "Everyone seemed to love my music, but they didn't know how to market it. After a few years, I concluded that quality can be a liability. They actually told me, 'You're too good,' and I thought they were nuts." These artists, and many others like them, decided they didn't need a record deal to do what they wanted. Instead, they struck out on their own and established their own companies and careers. They're a tough breed who work hard, but every one of the artists interviewed is happy with their decision and satisfied with their career. Because the bottom line is: they're not chasing the dream anymore - they're living it.
THE INDEPENDENT MINDSET
It seems simple. You don't have to be signed to release a record. In fact, if you wait to be signed it could be a very long time according to Tim Sweeney, a consultant who specializes in independent artists. He not only presents workshops on DIY, but has also written books about it. Sweeney maintains, "Less acts are being signed nowadays, and of those that do get a deal only 1-3% will make it beyond a record or two before they get dumped." DIY avoids that scenario, but artists need to be a special breed to do it right. According to Pat McKeon, former owner of Dr. Dream Records and general manager at Ranell Records, states, "An independent artist will have to wear more than one hat. When they first start out, they'll probably be doing everything themselves, and not every artist can handle that." An additional prerequisite is a strong belief system. Gilli Moon, who left an indie label to start her own (Warrior Girl Music), wrote a book based on the lessons she learned titled, "I Am a Professional Artist. " She explains, "You need to be optimistic. You have to believe in yourself and your art. Belief and dedication are the keys to making it work." Last but not least, you need to understand how much work DIY truly is. "Everything about it is hard," relates K.K. Martin, an independent artist who survived several label deals. "If you do it right, it's a real job and some musicians are horrified by that idea. You have to learn about the business and pay attention to it. If you can't do that, find someone you trust, or you'll never progress."
KEEP IT REAL
If you want DIY success, you have to have realistic expectations. Nearly every artist dreams of playing The Forum or appearing on MTV. Unfortunately, that doesn't even happen to major label acts unless they have a hit and are extremely successful. Most independent artists have to set their sights a little lower. That's not to say it could never happen, because it does. But, the fact is you'd have to have fantastic connections or enjoy phenomenal success to reach that level. "Keeping your goals realistic is essential for all independents," Moon points out. "If you don't do that, you're going to be disappointed." Moon suggests keeping it real and at a level you can achieve. "Set up small goals on a monthly, quarterly and yearly basis. Then, evaluate the results. If you reached your goals, move on - if not, figure out why." Perhaps the greatest state of mind independent artists need is patience. Angus Richardson, of the band BROTHER, has known phenomenal success, selling over 150,000 records and playing almost 250 dates a year. Nevertheless, even BROTHER had to suck it up. " When we didn't get a quick record deal, it would have been easy to get discouraged," Richardson reveals. "But, we believed in our music, our fans and ourselves. And, the fact is," he stresses, "if you get hurt every time you're rejected in this business, you're going to have a lot of scars. Just look around at all the bands that have disappeared. You have to realize that you can't please everybody, and if you want to make it, you have to have patience and determination."
TOURING IS KEY
Now that you're in the right frame of mind, it's time to form "The Master Plan" for world domination. Everyone agrees that the most important part of the plan is playing live. Everything, including radio, promotions, distribution and marketing, should revolve around that because it's the way you sell records. Of course, you're going to need a recording, but according to Moon, it need not be up to industry standards. "Even a live recording will do," she says. "Your fans want to hear your songs, not the production." Most artists have booked themselves before, so this area should be familiar. The difference, however, is that you have to book gigs beyond your backyard. Sweeney suggests that artists should start by looking 2- 3 hours in each direction. "That will only cost $30-40 in gas, and you should be able to make that in sales," he says. "If an act is based in Los Angeles, they can look as far as San Diego and Santa Barbara. Eventually, they can increase the drive time and even look at neighboring states. But," he warns, "don't try to do it all at once." Naturally, when it comes to touring solo artists have it the easiest. Moon, Malone and Martin only occasionally bring a full band along. "It's a matter of economics as well as personal dynamics," Martin maintains. "Traveling in a van with five other guys can challenge your patience." To cut costs, Malone, who toured eight times across the country in three years, established a network of musicians he hires in each city. "That way," he says, "I only have to pay them for the gig." But, if you're a real band, expenses become a concern. Tina Broad, BROTHER'S manager, relates that their merchandise table is a critical part of their financial success. "If we didn't have product to sell we couldn't do it. Our merchandise sales (CDs and goods) have a dramatic impact on our ability to tour. Traditionally, we make 2 to 3 times more from our merchandise than we do from tour guarantees or ticket sales." Broad also advises bands to take a serious look at their hospitality riders. "Include things that you need (towels, water, food, backline, etc) so that you have fewer things to deal with. And, when you can," she recommends, "insist on a 50% deposit so that you're not shouldering all the cash flow until the performance check clears." YOUR BANK Touring, recordings, and merchandise obviously require money, and artists should be ready to dip into their own pockets. Sweeney contends that if artists aren't willing to invest in themselves, he questions how serious they are about a career. "However, if resources are severely limited, you just have to start smaller and think smarter," he says. "Find a sponsor to help with costs. Play free shows for them and put their name on your CD. " Moon suggests doing your own artwork or finding a friend who's talented. In fact, every independent artist who is successful uses a network of resources to help them defray costs. Some, such as Skywind, a Minneapolis band who tours over 100 days a year and plays before 1000 or more fans, got their family and friends to loan them seed money. Bill Berry, their manager, indicates, "Everyone got paid back in just over a year. And since then," he relates, "we've been able to pick up sponsorships and lines of credit." Each band member contributes to pay off loans and, by doing this, Skywind has been able buy a van and tour three states. The bottom line is that you're going to need a budget, so that you know what you can do. Indeed, BROTHER'S manager, Broad advises artists to be realistic about costs. "If you don't know what your real expenses are," she informs, " you're going to be operating in a vacuum."
ART MEETS COMMERCE
If you want to be an independent artist who's self-sufficient, don't deceive yourself: you are in business, and there are two parts to business - the legal side and the practical side. Legally, you must protect your interests and follow the law. Everyone agrees that you should consult with counsel when setting things up. You may need a band contract, a business license, and an assortment of other things that make you a legal entity. On the practical side, you need to keep accurate records of all your sales and income. Get a unique Bar Code and register it with SoundScan. Online sites, such as CDBaby offer a discount on unique Bar Codes with savings of several hundred dollars. SoundScan offers several programs for independent artists, including a Venue Verification Form that allows club owners and promoters to vouch for your gig sales. Sweeney informs us that you can simply pay the tax on your sales to obtain a verifiable record. These figures are all important if you hope to convince anyone - including a label, a distributor or a lender - to work with you. Indeed, Broad says it still makes her guts churn to think that BROTHER neglected to register the sales from their 2001 Summer Tour. "That was 15,000 unverifiable sales," she sighs. "We've got manufacturing records, but it's not the same." Finally, protect yourself when you're on the road and prepare for the worst. Broad reports that BROTHER was involved in an accident while on tour. There were serious injuries and catastrophic damage. "It was every band's worst nightmare," she recalls. "It derailed us for months and ran up debts that we're still paying off. It was almost the end of BROTHER."
MARKETING & PROMOTIONS
Mann contends that marketing and promotion is always a challenge, whether you're on a label or not. "It was my biggest cause for concern with every deal I had," she reports. "At least, now, I have the freedom and control to do it the way I want." But, when you're independent, you have to think outside the box. You cannot compete with the majors, so you have to do things differently. For starters, McKeon points out, "All independent promotions must revolve around live performances. That has to be your focus because it's your moneymaker. After booking gigs, you can contact press, radio and retail." Of all of them, radio is usually the most difficult, but persistence pays off. Skywind's Berry relates that they maintained a two-year relationship with a local station before their songs were played. "We bought advertising time late at night because it's cheaper and played radio events for free. After they got to know us, they put our songs in rotation." Sweeney suggests attending station concerts and handing out free CDs. "It gets your music to their audience," he says. Artists should also learn to cooperate with each other. Sweeney advises, "Instead of competing, artists should work towards a common goal. They should book shows together, share expenses and even buy commercial time on cable TV. Cable companies will sell 30-60 seconds for less than $100 and you can promote your act on MTV. If you run a few commercials about a week before your show, you'll see tremendous results." The ultimate goal, however, is to put on a "Great Show." "That's where it's at," K.K. Martin explains. "You can set up all the promotion in the world, but if you don't deliver live, you won't sell any records."
THE DISTRIBUTION MONSTER
Distribution is one of the biggest issues facing all independent artists. You need to stock your CDs wherever you play, but getting distribution isn't easy. For some artists, consignments may be the way to go. Many record stores will accept your CDs on spec and if they sell, will order more. "You might start with only 10-20 in a store, but if they move the orders will increase," Martin explains. "The only problem with consignment is that you have to keep on top of it on a regular basis." Other artists, like Nashville songwriter, Hal Bynum, have found alternative markets. He reveals, "I've been a songwriter for 50 years, and it's still not easy to get distribution." So, Bynum created a unique package - a book and CD - that Barnes & Noble will carry. "I agreed to make in-store appearances and they agreed to promote me." Some artists set up their own organization. With the help of her New York manager, Michael Hausman, Aimee Mann founded "United Musicians," a sort of cooperative for artists. Hausman explains, "We found that distributors don't like to work with a single artist. They want product every few months, so we set up United Musicians for other artists who may be in the same boat. R.E.D. agreed to distribute our records and we're sharing our contacts with artists who bring something to the table." Hausman continues, "We're not looking to build a big company, but we believe there are artists like us, who may have limited resources. Our idea is to combine and share resources so that we all benefit. We'll simply license a record and put it into distribution." Of course, Hausman points out, that they're only interested in artists who can sell records, by either touring or getting press. If you're not quite to that stage yet, there are services to meet your needs. The independent network is full of companies that cater to independent artists, and one of the newest and most intriguing is 101 Distribution. Damon Evans, 101's executive director, describes his company as an alternative solution to traditional distribution. "We service over 2100 retail stores across the country and into Europe." Essentially, 101 takes the work out of consignments. They give stores product on consignment, collect revenue and pay artists every 30 days. Their split with artists is generous (70-80% of wholesale) and they will handle promotions and marketing, unlike other distributors. "Our deals are non-exclusive for one year," Evans continues, " and we will help develop the market for artists who are willing to work at it."
THE ULTIMATE REWARD
Of course, for some, whose music may not be mainstream, independence is their only choice; while for others it's by design. But, regardless of whether you're a maverick or an act still seeking a deal, the same rules apply. If you want success, you have to work for it. While DIY may be a lot of work, it can be very rewarding. "It is time consuming and takes a lot of patience but," Gilli Moon concludes, " there's nothing quite like having control over your own destiny. You can be as big or as small as you want and go at your own pace." The independent route is empowering as long as you're up to it. K. K. Martin reflects, "Everything is a challenge that must be met. But, if you believe in yourself and take care of business, you can make it work. And, there is one thing you can be sure about - at least, it's not boring."
SIDEBAR - TEN STEPS TO SUCCESS FOR THEINDEPENDENT ARTIST
(All the artists profiled are self-sufficient. They make a living "solely" with their music. This list was compiled from their interviews.)
1. BELIEVE IN YOURSELF
You must believe in yourself. Realize that you don't need a label to be a success. Don't be egotistical, but be confident. Be optimistic - believe you are good enough and can get what you want. If you don't have faith in yourself - no one else will.
2. BE REALISTIC
Do research - Get objective opinions - Identify your market. Know that you're going to have to tour. Know when to ask for help. Accept the fact that you probably won't become a star or get on MTV, but that you can make a living playing music.
3. MAKE A WISH LIST
Create a Wish List - What do you ultimately want and how do you plan to get it? What are the things you need to do and how long will it take? Set reasonable goals and break your Plan into phases: 3 months - 6 months - 1 year - 3 years, etcâ¦
4. KNOW YOUR BUDGET
If you're serious about a career, you're going to have to invest in yourself. Itemize your expenses and add 20%. Approach Sponsors with a detailed plan. Negotiate deals that take care of the basics: travel, food, lodging, backline, etc... And, don't forget manufacturing and promotional costs.
5. TAKE CARE OF BUSINESS
Remember - it is the music "business." Network as much as possible. Organize a team, as soon as you can, with each person responsible for a specific area. If you're solo, manage your time wisely. Get your own Bar Code. Seek professional advice to set up your business entities. Pay attention to licenses and tax implications. When you tour, get insurance.
6. MARKET YOURSELF
Think creatively. Make time for "personal appearances" before your gigs. Set up cross-promotions with radio stations, sponsors, venues, and retail stores. Make sure you have enough products to sell - both CDs and merchandise. Offer promotional contests. Play Special Events. Work your mailing list and keep in touch with your fans at least once a month.
7. KEEP RECORDS
Keep books that reflect income and expenses. Accurately account for sales. Register and report to SoundScan. Maintain tax records. Record your draw - note the venue/locale that draws best. Keep updating your mailing list.
8. ADAPT & ADJUST
Evaluate results: What works - What doesn't? Revise your plan and adjust your approach accordingly. Find ways to increase your fan base and make a profit. What can be done better?
9. KEEP THE FAITH
No matter how hard you work, there will be frustrating times. Keep the faith and don't let it deter you. Everyone experiences setbacks. Those that persevere will prevail.
10. MAKE IT FUN
If it's not fun anymore - don't do it. Reward yourself (and your team) whenever possible. Acknowledge a job well done. Take a break - enjoy life - then, get back to work.
- About the Author:
Bernard Baur is the Review Editor & Feature Writer for Music Connection Magazine http://www.musicconnection.com
This article was reprinted with permission from the Indie Bible, and is just one of over 50 really quite funky articles available (go buy the bugger).
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