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8 ways to get the most out of a music PR campaign

Hand holding microphone - accompanies article about how to make the most of a music PR campaign

Hiring a music PR company to promote a release is one of the best ways to raise the profile of your band (well, we would say that). But it can also involve a sizeable financial investment – and one which will obviously be felt most keenly by artists who are self-funding their projects.

As such, it’s important to make the most of any music PR campaign you commission, and in this post we’re going to give you some tips on how to do just that.

1. Make sure the music is top-notch before you approach any music PR companies

It sounds obvious, but before you even go anywhere near a music PR firm it’s important to ensure that the music you are going to them with sounds as good as it possibly can. The best music PR companies are actually inundated with enquiries from bands and have quite a choice when it comes to which clients to take on – to work with your chosen company, you’ll need to make sure that the material you present to your prospective music PR company is as sonically robust as possible.

2. Make sure your other band assets are top-notch too

Music PR firms won’t just base a decision about whether to work with you based on your music. They’ll need to see evidence that all the other aspects of your output – from your music website to band photos to the quality of gigs you’ve got lined up – are also strong. This may seem a little harsh (surely it’s all about the music, man?) but in fact it’s very important that a music PR company looks at ALL band assets closely…because journalists and bloggers sure as hell will. In short, if a music publicity company isn’t convinced by the quality of your band assets, then you can bet that newspapers and music review sites won’t be either.

3. Approach a music PR firm that works with your genre

If you’re in an metal band, it makes sense to look for a company with a track record in working on metal music PR campaigns. Don’t hire one that only does jazz. If a music PR company is interested in working with you, ask for examples of successful campaigns they’ve worked on in your band’s genre.

4. Shop around, and be cautious of PR companies that say yes to anything

Some music PR companies will say yes to any project – because they care more about getting business through the door than promoting quality projects. If you get the feeling that this is the case with a company you're talking to, ask some probing questions – why do they want to work with you? Which music publications do they see your music fitting into? What’s their track record in working with similar acts? Who’s on their roster at the moment? Are there too many bands on their roster for you realistically to get a look-in? Don’t be afraid to shop around – as when it comes to hiring a builder, get several quotes, evaluate them thoroughly and make the best decision based on the evidence. When you come across a music PR firm that’s incredibly enthusiastic about your music and wants to work with you, that’s great – but always let your head rather than your heart rule your decision on hiring them. Enthusiasm about a project is something you should definitely look for in a music PR company – it just has to be backed up with a sense that the enthusiasm is genuine and the company has a coherent plan to maximise publicity for your act.

5. Invest time in creating assets that will help your music PR campaign

As mentioned above the music press take band assets heavily into consideration when considering what to cover. So the more great stuff your music PR has to work with the better – an EPK, strong website, great band photos and music videos with strong production values will all make it easier for your music PR company to do the best possible job for you. (Having great hair also helps).

6. Listen to your music PR team's advice

It’s easy as an artist to get so wrapped up in your own musical talent and creations that objectivity goes out the window - and a good music PR team can help put that objectivity back into the equation. Perhaps a particular track would work better as a first single than the one you’ve got your heart set on? Perhaps a different band photo would be the best shot to distribute to blogs? Maybe a different running order on the album might help? Your music PR will have worked (hopefully!) on hundreds of previous campaigns and as such should have a good knowledge of how journalists and bloggers will react to certain types of content – so be aware that despite you being sure your band is better than Bowie, Lou Reed and The Beatles combined their knowledge of the media might just trump yours. Be open to advice.

7. Stay in touch with your music PR

Without overdoing it, don't be afraid to check in regularly with the person charged with working on your music PR campaign. The reality of the situation is that despite the best will in the world, when you hire a music PR team to work on a release, they're inevitably going to be working on several other releases too and the band that shouts the loudest often gets the most make your presence regularly known and ensure that your project gets as much time as everybody else's. Caveat: don't be a pain in the bum about it, as that can make your music PR team find you annoying - and may affect the effort they put into your project. Strike a balance between checking in about the important stuff and giving your team the space and trust they need to do their job properly.

8. Promote your music PR company and all their works

It may sound daft but as a band YOU need to promote your music PR company too, and the work they do for you. By that I mean ensuring that their contact details and website address are highly visible on any of your band assets – websites, promos, social media presences and so on. Same goes for any content produced or coverage attained by the music PR company on your behalf – you should ensure that the blog or news section on your site features your latest press release and any reviews, premieres or interviews secured by your music PR team (these should all be shared on social media / via e-newsletter too).

And now the obligatory plug: if you are interested in working with Prescription PR, don’t hesitate to contact us. (Just make sure you've followed all the above advice first).

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How to deal with a bad review

Sad face - image accompanying an article about how to deal with a bad music review

You’ve spent years slaving over a mixing desk to make your album. You’ve spent thousands on CD manufacture. You’ve hired a PR company, radio pluggers and even a stylist to ensure your meisterwerk gets the best shot at rising up the charts. And then what happens? Your record gets an absolute stinker of a review in a newspaper or blog read by thousands, accompanied by the 1 out of 5 stars kiss of music career death. Ouch! So how do you deal with this? 

1. Keep calm and don’t write letters to the publication

A bad review hurts, there’s no question about that. Yes, it took you years to make your record and a critic 5 minutes to dismiss it (45, actually, if you include listening time), and the instant reaction is to run over to your computer / iPad / typewriter and furiously type a letter to the critic’s publication decrying the ears and/or writing abilities of the critic. DO NOT do this. It is incredibly tempting to put your feelings down in rant form and mail them to the editor, but it will not help your cause. Firstly, it makes you look like you can’t take criticism (never a good trait); secondly, if the publication actually print your rant it will only draw further attention to the fact that you got a bad review; and finally, it may reduce your chances of getting more coverage (and perhaps more positive coverage next time) for future releases from the publication in question.

2. Remember that you can’t please all of the people all of the time

Whatever kind of music you make, and however good it is, it simply will not be everybody’s cup of tea. Critics are no exception to this type-of-tea business; some will recoil in horror at a glam rock-influenced album whilst others will positively devour it. Better-informed critics, or those who listen to a broad range of musical output, should in theory be able to cast prejudice about genres to one side and judge a record on its merits within that genre…but hey, sometimes, you just encounter a critic who doesn’t like glam rock and will use your record to vent their frustration at the whole genre. Dem’s de breaks. The best way of dealing with this is to 1) take a note of that particular reviewer’s music tastes and never ever send them a glam-rock record again and 2) accept that some people just don’t like glam rock. (I love glam rock, as it happens.) 

3. Accept that the critic might have a point

As difficult as this is for you to do, try to think the unthinkable for a moment: maybe the critic who roasted your album alive had a point? Maybe your record, despite everything your mum said, wasn’t very good after all? Particularly after an awful review, it is tempting for bands to dismiss the whole idea of rock criticism completely (and yes, some of it can be terrible) but it's not entirely fair to do this, and it isn't helpful either. Remember that reviewers probably listen to a hell of a lot more music than you (it’s their job after all) and as such are able to compare your efforts to what else is out there and put its quality in some sort of context. You may not initially agree with what they have to say about your album, but step back from your precious baby for a minute, listen to it with more objective ears and see if you can see the reviewer’s point for a moment. Maybe the critic was not just being mean when s/he said your record was a bit derivative; maybe his/her observation about its poor production was correct; maybe the drummer’s playing does hint at the fact that he was just in from the pub when he did his takes. As hard as it may be to admit, there can be learning points in a bad review – the trick is to spot justified criticism and learn from it rather than dismiss everything the critic has said simply because it hurts to hear it.

4. Put your stinking review in context

As mentioned above, you can’t please everybody all of the time. Which means that even if you’ve just released the 21st century equivalent of Dark Side of The Moon, at least one reviewer is going to think it’s absolute pants. But before you get all despondent about one stinking review, put it in context. What were your other reviews like? Was the general reception to the record good? If so, calm down: it’s probably just a rogue review from a journalist who doesn’t like whatever genre you’re operating in. However, if a particularly bad review is consistent with all your other reviews (i.e., if reaction to your record has been, shall we politely say, generally muted), it may be time to look at how to improve your musical output. If all the critics you’ve sent your music to don’t like your stuff, it’s probably not just a taste thing and there is clearly stuff for you to address.

5. Remember that even a bad review can have some benefits

Even a bad review can help you a little bit. For starters, if it’s published on a heavily-visited site (for example, a newspaper site that attracts hundreds of thousands of visits a day) and there is a link to your band website at the bottom of the review, it will instantly boost your site’s search ranking (and – you’ll be relieved to hear – without any sign of the review necessarily appearing in the search results). Also, you can post a link to your bad review on your various fan pages, allowing fans to get all outraged on your behalf, massage your ego by telling you how great you are really and post angry tweets to the reviewer who had the barefaced cheek to slag your band off. All while you hover gracefully and impassively above the fray.

6. Don’t forget the other channels of music promo

Good reviews are helpful, but reviewers are not the only arbiters of musical quality. Even if you are not getting good reviews (or any reviews at all), remember that if your music is inherently appealing, it still stands a good chance of doing well. This is because well-written music, irrespective of how hip it is, or people’s opinions on it – has an uncanny knack of travelling. Good reviews are important and certainly help music on its journey, but so can radio play, word of mouth and gigs. In other words, you should not view press coverage as the only tool in your armoury but as an important part of the mix, because if it all goes Pete Tong with reviews, there are still other avenues you can and should explore.

7. Prove your critic wrong

Ultimately, the best way of dealing with a bad review is to use it as an opportunity to prove your critic wrong. Put your head down and make a follow-up record that is so fantastic that the guy or gal who wrote that awful review of your album ends up wishing they’d actually fawned over it and were backstage in the VIP area of your sold-out and much-talked-about gig chatting to Nigel Godrich, Niles Rodgers and Zsa Zsa Gabor now. If there are genuinely lessons to learn from your critics, learn them and improve so significantly that your critic will have no choice but to give your album 5 stars next time; if not, just move on, screw everybody's opinions and be bold in pursuit of delivering that perfect glam rock record. Either way, make an album so fabulous that nobody will dare criticise you ever again (well, until the underwhelming follow-up to that one comes out).

Article by Chris Singleton, Head of Digital Communications at Prescription PR

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Filters - what they are, why they matter and how they can turn you into a rock star

A coffee filter

Back in the old days, the music industry was all very simple. You got a manager; they got you a record deal; the record company commissioned you to make a record; the record company’s PR team approached journalists and radio producers with said record; the journalists and radio producers got you in the papers and on the airwaves; owners of record shops heard your wonderfully hip new sound and agreed to stock your album…and eventually, you sold some records to a bunch of girls in Stevenage. All of the aforementioned individuals and organisations – right down to the girls in Stevenage – constituted ‘filters’: the entities that you had to convince to let you past the gates of rock and roll into a world of stardom and excess. If any one of the filters or gatekeepers in the chain said ‘no’ to your musical efforts, you were quite probably screwed and consigned to a life of miserable gigs at the local Rat and Parrot attended by your mother and your drunken aunt. 

In this brave new world that we makers and purveyors of fine music now find ourselves in, it’s tempting to think that the whole ‘filter’ model doesn’t apply any more. After all, it’s just a case of setting up a website, sticking a free EP up there and waiting for the world to come knocking down your door, isn’t it? Well, no, not exactly, as we shall soon see.

But it does feel to many musicians as though the filters aren’t there any more. In my view, that’s down to two things. Firstly, recording: thanks to remarkably cheap and powerful recording gear it’s now technically possible to make a record without any record company involvement whatsoever. Secondly, distribution: you don’t need to impress any distributors to get distribution – all you need to do is just whack your album up on iTunes – or if you’re feeling very lazy/confident, simply put it up on your own website and leave it at that – and hey presto, your album is available 24/7 to a global audience.

This removal of the barriers to recording and distribution understandably makes a lot of bands think that if they work hard, make an undeniably great record and put it up on the net, that it will inevitably sell millions of digital copies, or, at the very least build them a fanbase that they can flog t-shirts to. Build it and they will come, to quote Field of Dreams or misquote Wayne’s World II.

But if anything, there are actually more filters in the music business than ever before. For a start, the old ones mentioned above are still there; record companies may not be selling as much music as they used to, but they are still capable of shifting units on a huge scale from time to time (even if that’s only once a year, at Christmas time, and involving a Leonard Cohen song or similar being murdered by a heavily autotuned, scantily-clad young lady who stayed on the right side of Gary Barlow for 10 very long weeks). Rock critics are still around (just); radio stations are still hugely important; hell, people still watch TV.

And then of course there’s our disruptive friend, the Internet; its arrival means that we now have a load of sites, blogs, social media pages, RSS feeds, podcasters and online radio stations that end up constituting a whole new set of filters – in short, musicians have a whole bunch set of dudes to impress (or not!).

So, no matter how easy it is to record or distribute music, filters haven’t gone away, and for my money it’s really important to remember three things when embarking on a music project:

(1) Despite the apparent lack of barriers in this internet age, you still need to get your music past a truckload of filters/gatekeepers and you need to be aware of who/what they are

(2) You need to spend time working out which individual gatekeepers you need to approach

(3) You need to decide in what order to approach them.

Step 1 boils down to making a list of ‘gatekeeper groups’. By groups I mean the likes of: 

  • managers
  • A&Rs
  • promoters
  • producers
  • journalists
  • bloggers
  • podcasters
  • publishers
  • distributers (yes, they are still relevant)
  • gig-goers
  • PR companies
  • radio pluggers
  • search engine users
  • social media fans  

(Those are just examples that I thought of off the top of my head; there are probably far more groups that I could think of if I wasn’t concentrating on my need to head off and eat a curry). 

In terms of step 2, the individual targets, you need to identify people within the above groups who really ‘get’ your music. For example, don’t spend ages trying to put your Oasis-esque tracks in front of some A&R guy who specialises in hip hop; don’t ask a blogger who only ever reviews folk albums to write a critique of your punk record; don’t approach a country music radio station with a heavy metal album. Instead, find people who are likely to champion the noise you make – fortunately there is a champion somewhere for every type of noise (which is why Ed Sheeran, despite his best efforts, is experiencing musical success). 

Finally you need to think about the order that you approach these champions; should you approach a management company first? Or get some airplay and then approach a management company armed with a spin from Steve Lamacq? Or get Alex Petridis to say you’re the greatest thing since Girls Aloud and use this quote to convince Steve Lamacq to give you that spin? I won’t go on, but you can probably guess that it’s my sincere view that mysteries of music success can in many ways be explained by that nursery rhyme about the old lady who swallowed a fly. Perhaps she'll have a hit in the dance charts.

Ultimately there are so many variables involved in the making of a successful music project – not least luck – that it is unfortunately impossible to boil it down to a simple formula of approach X with Y and then impress Z with the results to obtain desired outcome (rock stardom and an interesting encounter in the back of a tour bus). However, I feel that artists don’t really stand a chance of any musical success at all if they don’t understand the importance of filters/gatekeepers and have a decent gameplan around how and when to approach them.

If all the above talk of filters, gatekeepers and game plans seems a little complicated, I’ll now give you the abridged version. Virtually every record company exec I’ve ever talked to has explained pop stardom to me in four words: “It’s who you know”. So get out and start knowing people.

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A simple way to massively increase your chances of press coverage


Musicians are forever harassing journalists, for the obvious reason that most of them are broke (the musicians, not the journalists) and getting column inches in a national newspaper or magazine is infinitely cheaper than paying for an advert the same size – even when you take a PR company’s fees into consideration. Thus long-suffering music journalists get vast quantities of approaches every day from music PRs, the musicians themselves and perhaps even the musicians’ mothers (if we’re talking James Blunt). Journalists are important gatekeepers to the elusive kingdom of rock success, and the competition for their attention is intense.

Given this fierce war for press coverage, and being a music PR agency, we get asked the following question time and time again: “what can I do to get more press for my act”? This begs some witty replies of “hire us”, “take a big ad out in whatever magazine you want a review in” or “shag Ashley Cole”. But there is actually something simple you can do (other than Ashley) that will help either you or your publicist generate more PR for your band. It doesn’t involve any stunts, celebrity affairs or a huge outlay. We’re just talking about putting a decent online press kit together.

You may think that a flash website, a digi-pack, a slick video, an iPhone app and 100,000 Myspace followers are the ingredients required to get a review in Q Magazine or Mojo. And you’d be wrong. This is because loads of independent and unsigned bands probably have these assets anyway (thanks to free online tools, cheap freelance designers and dodgy Myspace adders) - and established artists certainly do, thanks to their major labels’ in-house, fast-talking, big-spending, cocaine-snorting marketing gurus. High-quality promo materials are always helpful, but they are not really going to make you stand out from the crowd; at best they will make you look professional or competent.

Far more important is a serious attempt on your behalf to make it very easy for a journalist to write about your band, and this is where your online press kit comes in. We’ll come to what it should contain shortly, but first let’s really try to understand why having one is an absolute must for your act. To do this, let’s put ourselves in the shoes of one of those harassed journalists we discussed above (probably a pair of Converse, or some sort of tasteful brogues).

You get up to start your music-journalist day. After a strong coffee or a stiff drink, you check your email; it’s only 9am but you’ve got already got about twenty emails sitting in your inbox from desperate musicians and pushy PRs begging you to review an album that is clearly the greatest thing since sliced bread. By 10am, this number has risen to 40. By lunchtime, it’s up to 80 (we’re not exaggerating here – rock journalists can get hundreds of approaches a day). Now, being a fair-minded sort of a chap – or chappess – you don’t ignore all these emails from bands; you are, at the end of the day, in the business of discovering great new music and writing about it, so you do your best to check each and every email out.

The first email you open is from an independent singer-songwriter who has sent you his album. Not a link to it, mind, but 14 individual MP3 attachments. As you try to read the email you realise that this sensitive indie minstrel who has written an album about his traumatic break-up with a girl who was fundamentally out his league anyway has just crashed your copy of Outlook, because the 45MB or so worth of attachments were too bloody big for Microsoft’s clunky attempt at an email program to cope with. This makes you think two things: firstly, it may be time to switch to a Mac, and secondly, there’s no way I’m going to bother reviewing that idiot’s music – he crashed my computer and I can’t open the email anyway. Delete.

When you’ve finally got your computer working again, you move onto the next email. It’s from a really hip skinny-jeans wearing band who have sent you a Soundcloud link to their new opus. You check it out and discover it’s actually pretty damn good. However, there’s no press release included with the email, and nothing on Soundcloud to tell you anything at all about the band. You’re a busy guy, with 73 other review requests currently sitting in your inbox, so you don’t really have time to email the band back asking for a press release and whatever other background info you need. Despite quite liking their music, you consign this band to the dustbin of rock history too (or your recycle bin of rock history, as we are talking about emails here).

The next email you receive is from an unsigned band that has taken the time to furnish you with a press release. Their description of their music as ‘prog-rock-for-a-grime-dubstep-shoegazing-nu-metal generation’ does tickle your fancy, and they’ve had some good reviews in the past from your favourite prog-rock-grime-dubstep-shoegazing-nu-metal blog… but there’s no link to their music anywhere on the press release. You’ve got a copy deadline approaching, and 72 other emails to get through, so you don’t bother googling the act. You just move on.

Finally you hit upon an email from a new rap artist that has sent you a record you like, in a format you can stream, with a decent press release, good quotes and all the background info you need to review him. The only thing you need now is the cover art for the album so that you can give the dude a five star review and whack it over to a respected music magazine before their deadline for the current issue passes. But… a hi-res JPG of the album art is nowhere to be seen. However, because you do like this record more than most you’ve received that day, you get your finger out and google the artist. You find his website, which has lots of nice pictures of him wearing a plaster on his face, surrounded by bikini-clad women and dangerous dogs – but no press resources, and certainly no downloadable artwork. You really like this record, so you look at the press release again to see if there’s somebody you can call to procure a JPG. But the artist forgot to include proper contact details on the press release. In the end, you don’t get the information you need for the review and are reduced to reviewing Coldplay and Lady Gaga yet again – and those struggling new artists and indie bands who contacted you that day will remain sidelined on the margins of the music industry for yet another issue of whatever magazine it was you write for. And it was all their own bloody fault.

This sad, cautionary tale has a moral: before going near rock journalists with your album, make it as easy as possible for them to do their job. And to do this you need to put a good online press kit together, containing everything they might possibly need to review/cover you. And as ever, dear reader, we are here to help – read on for our magic (ok, sensible) tips for putting together a great electronic press kit.

Things your online press kit should contain

  • A well-written, grammatically-correct press release that references your influences, highlights any interesting ‘angles’ you may have and doesn’t stroke your ego to the point where you just look like a knob.
  • Quotes from publications that have reviewed your music, or established artists that rate you highly. Phil Collins doesn't count.
  • Clippings of previous coverage.
  • High-resolution, print-quality images of your act.
  • High-resolution, print quality artwork.
  • Key contact details for you or your management / publicist.
  • A link where journalists can stream or download your music.
  • Any other background information or assets that will help a journalist review or cover your act – music videos, podcasts, TV interviews, links to social media profiles (providing you've got a decent social media following) and so on.

Where should your online press kit go?

If you have the time or resources, it’s great to create a little microsite containing the above press resources, with a URL that is distinct from your regular site. It means you look professional, makes anyone who accesses the area feel a bit special, and allows you to direct journalists to content that you don’t really want to flag up on your main website – for example, complete album streams or downloads. Avoid creating any links to this microsite on any other sites, or it will start to show up in Google and allow your less-trustworthy fans to listen to that album you’ve slaved over for years without paying for it. The bastards!

However, as journalists may just head straight to Google to find out more about you, and ignore any cute microsite links you send over, it’s really important to create a press resource sectionon your main website too - even if this is just a simple one-page affair. When you do this, it’s probably worth avoiding including a whole album stream (you do want people to buy the record after all). Instead, make a publicly available ‘sampler’ available – a podcast containing lots of snippets of music from your album (see for an example) – and encourage journalists to contact you or your publicist for a link to / password for a whole album download.

Help with creating online press kits

Finally a bit of a plug (sorry, there's no such thing as a free lunch). Prescription PR are now offering a new service to help you build your digital press kit. We’ll help you create all the assets you need for it – including press releases, audio samplers/podcasts and a password-protected download of your album – and our online team will create an excellent microsite to house everything in. Just contact us today to find out more about how we can help you with your online press kit.

A press kit is not just for journalists...

Hope you found the above suggestions useful - not only will they make journalists' lives a lot easier, they'll help your publicist massively too, or indeed anyone you are hiring to promote your music. A lot of PR agencies and pluggers will only work with you if they think you are serious about your music, and having an online press kit will really help convince them of that. And if they do work with you, they've got an excellent set of tools to help them do their job.

Don't miss great free music promotion advice from Prescription PR

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The Long Tail - and music PR

Chris Anderson's The Long Tail is a book that was published a few years ago, but it's one that we thought we'd flag it up in The Prescription, because it's still hugely relevant to musicians and those working in the music industry. Musician Chris Singleton is a fan of the book; you'll find some of his thoughts on it and the implications of 'the long tail' for musicians below.

In his fascinating tome The Long Tail, Chris Anderson highlights how in this new-fangled age of e-commerce, online retailers are actually making more money out of selling lots of individual niche products than they are from selling hits. The classic example given in the book is Amazon: in a given week they may sell thousands of copies of a particular Coldplay album, but during the same time they will sell far more albums by a variety of less-well known artists.

The Long Tail

The Long Tail

This creates the 'long tail effect', which is illustrated in the diagram on this page. On the left hand side of the graph you see the million-selling acts, seemingly way more popular than everybody else. On the right hand side you see the 'long tail' of all the other less popular niche artists that don’t sell as many copies of their albums. But because digital distribution has allowed literally anybody to sell albums online, there are now so many niche products available for sale that the tail goes on and on and on…until all the products that sell one or two copies a year actually generate more profit, when considered together, than the hits that might sell millions in a year. The little guys actually pack more of a sales punch.

This is great, obviously, for Amazon and other online retailers - all they have to do is stock as much stuff as possible. But what are the implications for all the niche artists? Well, to be honest, the long tail effect probably doesn't help niche artists that much in strict retailing terms. The best application of 'the tail' for generating music sales is probably to make as much of your music as possible available to buy – somebody’s going to want to buy that alternative nu-metal-emo-dance remix you did of some crappy B-side, so why not let them (the downside though is that putting ropey content out there may not be great for your artistic integrity or image). 

However, what may help musicians a bit more is another long tail effect: the long tail of media. If you look again at the chart above, and this time think of the left-hand side of the graph as containing the big publications – national newspapers and magazines – and the right hand side of the chart as containing the bloggers (or online content creators), it becomes clear that the bloggers actually have a bigger readership than the traditional media. A country may have 10 national broadsheets, which will be read by millions of people a day, but millions of people in that country will be creating content on blogs or social networks every day which is read by 10 or more people a day. 

Needless to say it’s fantastic for bands if they can get into conventional print publications – as this is brilliant for profile and will no doubt also influence what bloggers are writing about – but it’s bloody hard. In the absence of success in that area, the long tail of media points to an alternative strategy for musicians who need exposure. This is to convince a critical mass of bloggers and other content creators to advocate their music. This is not by any means an easy process – it requires a lot of targeted approaches, and a lot of email-writing, but if done properly, at least it offers some exposure instead of none. The digital revolution has created a situation whereby decent bands who had no hope of getting national press can now at least get their music written about and crucially, heard by a potentially large audience.

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