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I was watching some late night TV recently and came across a show about Bigfoot. You know, the big hairy creature that everyone says lives in the great northwest. Only a few people claim to have ever seen one and there really isn’t much to prove that they actually exist. Even so, there are Bigfoot groups, TV shows, scientific expeditions and museums dedicated to the existence of this elusive creature. Lots of people are sure that they exist and their optimism keeps the rest of us right on the edge. Not willing to give up, but still not sure what to think until we run into one with our family station wagon on the road to Oregon. Funny, I feel the same way about the equally elusive creature known as the major label A&R representative.
I’ve never personally met a real major label A&R person. After an informal poll, none of my other indie artist friends have ever come across one either. I even spoke to several people who currently have, or have had in the past, major label deals. Some even have gold and platinum albums hanging in their home studios, but it was no use. Nobody that I contacted had seen a true A&R representative in the past decade or so. Oh sure, we’ve all met lots of people who claim to be a former A&R rep for this label or that, and way too many indie label reps, but what good is that? Where are all of the current major label A&R staffers? Isn’t anyone out there searching for new bands or solo artists to bless with a cushy record deal? Do Sony, EMI and Universal have enough signed artists that they don’t need to look for new ones? Of course not, but they have changed the way that they sign new talent. Today’s A&R departments are more interested in squeezing the most money out of their rosters while spending the least. If you can’t sell ten million albums, they’re not interested. Just ask Kelly Osborne. So where does this leave the rest of us?
The reality of the situation is that most new and indie artists don’t have a chance at success unless they quit waiting on help from others and do things themselves. Sony is not going to see you play at the local beach bar and then show up at your duplex to offer you a million dollars. This means that you have to put in a little hard work and sweat. “How do we start?” you ask. First, you have to understand that the music business is 50% business. When you are not playing gigs, you have to be booking new gigs, working on your website, finding new ways to promote your band, selling merchandise, networking and on, and on, and on. It’s just like having a 9-5 job and its not always fun. I figure that on an average day I spent 5-6 hours responding to emails, finding new people to network with, and coming up with new ways to get my music out there. Do you really think that if you don’t send your music to a publisher or agent that there is a chance that they will ever hear of you? Why wait? Be proactive and approach people that you want to work with directly. Don’t be pushy, approach it professionally, just like a real business. In short, get off your butt and start working to make your business (i.e., your band) as successful as you desire. Remember, you are your first best asset and chance at making it big. Not Bigfoot. |
