Interview with Rhonda Kelley , Rainmaker Publicity, on Starpolish

Indie publicists, Can they really break a band? Starpolish's Gail Worley sits down with 5 of the leading indie publicists across the country to find out.

(PRWEB) February 21, 2004 -- Okay, here's the scenario: your band just recorded its first full-length CD and, naturally, it kicks major ass. Or so you, your band mates, your friends, your girlfriend (or boyfriend), people on your Friendster page, your dog and your Mom think.

Gigging locally puts gas in the van and selling your CD at shows pays for the disc manufacturing and artwork. But without the support and backing of a label, no radio airplay, and not one clue about how to get your music into the hands of -- let alone reviewed by -- the legitimate press, MP3 downloads, tight trousers and word of mouth will only take you so far. How do you let the music fans of the world know there's a rocking band out there whose CD they simply must hear? Well, you hire an independent music publicist, of course. Because, when you get down in the dirt, self-promotion is what often separates those bands hustling in obscurity from those who define what's euphemistically known as "the buzz." Word.

Just what is a publicist and what does his or her job have to do with making my band a household name?

We work with artists in all genres including; pop, rock, roots, alt-country, singer/songwriter, power pop, punk, blues (traditional and modern) and some jazz

We decided to take that experience, focus on our strengths and turn it into Canary

We now handle publicity and booking for numerous labels and bands.

I decided to use my big mouth for something other than selling airtime

I always empathized with what musicians had to do to get their music noticed. The typical artist doesn't know or care much about marketing strategies, angles and pitches. I knew there was a need for my services and I'm trying to fill it.

We've worked with almost every genre of music

from rock to world to folk, and even comedy CDs.

In searching for a publicist, the first thing to do is take a look at their past and present clients to see if they handle music you'd want to be associated with

If the company handles music that's drastically different from yours, or if you don't like any of the bands they're working with, you should probably keep looking. The most important question to ask is if the publicist likes your music. Ideally, you want someone working with you who's not just in it for a paycheck. At Canary, the first thing we ask any artist to do is to send us some music.

A good fit is a publicist who's worked with artists who have a similar situation as you. In addition to an overall positive reputation and fees that reflect your budget, an enthusiasm and understanding of the music is key.

Paying on time will also make for a much more comfortable relationship

Have a budget set aside for publicity so that you are not relying on what you make per show to pay your bill. The publicist works hard, long hours and incurs expenses on the artist's behalf. Show that you appreciate their work by paying when the terms of your agreement indicate.

Hiring press should be discussed six months before your record comes out

Send music to perhaps five PR companies and lay out all the options before you choose one. The costs range from $500 a month to $5000 a month, but don't spend more money than you planned on. Depending on whom you choose to work with, you may get more press even if you spend less.

Before 2000, I felt it was still possible for musicians to get substantial press on their own

It is possible to take the DIY approach to publicity but it can be very difficult

Each time I do a mailing, I handpick one by one which writers will receive the record. It's important that a publicist really truly loves your music. If they don't love it, they can't promote it properly. I've tried to maintain that concept throughout my indie PR career.

The most important part of the publicist's job is to pick the right reviewers at the right magazines to review your band. I may have seven great contacts at BillboardMagazine, but, only two of them are right for this particular band.

Having the publicist on board allows your band to get out there, tour, do your thing and have someone working for you when you otherwise wouldn't have time

Touring helps to let a wider audience, beyond your local region, know who the heck you are. Also, it's often the only way to sell CDs and help spread the buzz, which in turn can help the publicist. Journalists talk to each other and if one gets really into a band, it helps your cause.

One of the biggest benefits for an artist is how a publicist reduces their own workload. By hiring a professional, the results will be more effective because you have someone tailoring and executing a specific plan on your behalf. Plus, a professional will have greater resources to employ.

I always tell bands to expect nothing

It's a hard game out there and it's only getting worse. I tell my clients that I will work my ass off for them and that I love their CD (that's why I'm working it), but it really is a crapshoot sometimes. If you expect anything, you'll only be disappointed.

One thing I always tell my bands is there are no guarantees in the publicity game. If someone promises you one, run

Once I decide to work a CD, I write up an outline so the band can see what my objectives are, whom we will pitch on their behalf and what their payments will be. We also try to estimate the timetable for review confirmations.

It's essential that publicist and artist be on the same page as far as goals and expected results

If you are hired to do tour press, then a call from the band's manager asking why Rolling Stone hasn't reviewed the CD is unwarranted.

If you're a girl band, make sure the PR company has the proper, super specific target publications (Venus, Rockrgrl, Bust, etc) in the proposal and that it's not just some standard-issue document

A publicist is generally responsible for all print media coverage nationally and regionally based around the release of a record, usually in the form of reviews and features. If you don't get a report, then there is probably nothing to report, which may indicate that follow-ups need to be made

I am not going to send your record to a high-end fashion magazine if it's not appropriate, and I may not send it to late-night TV if I know it's not going to happen. High-end contacts like these should not receive every CD that a publicist promotes.

A publicist should be expected to make the journalists aware of a title

This means calling or emailing to make sure they've received the record, and attempting to make the title stand out from the other thousands of CDs they receive. What they do with that CD once they're familiar with it is the journalist's job.

Among my pet peeves are artists that expect too much

No one should ever say something like, You got so and so a review last month in all these publications. That's why I hired you. Why can't you get me reviewed in those publications?' It doesn't work that way.

I have had a couple of bands become very upset about a review and actually e-mail the reviewer directly, which is a protocol no-no

But, I understand; they work so hard on making the best CD they can and they get hurt. Also, bands really can't blame themselves can they? It goes with the territory.

I do think this happens on occasion

although I try not to work with bands whose music I don't like. Sometimes even something like terrible CD cover art really makes a difference. You have to picture a writer's desk filled with probably hundreds of CDs. Sadly, a disc with crappy cover art may get overlooked, unless you're already a well-known band.

I haven't had that happen yet, but I've seen bands get bummed out

I've also had people get upset that I let the publication run the bad review. It all depends on the artist

I can respect a negative review, so long as it's well written and accurately presented

A publicist can be expected to work to get press for your band and to supply publications with information, but they can't control what is written about you

The best thing is when you take a band you love and get someone else to really love them, write about them, and get the word out

Being able to say, I helped them get more recognition because I am a fan myself,' there is nothing better than that.

I work in a creative environment every day, and it's exciting to see the bands we work with grow and develop

The best thing about my job is that I am able to choose who I work with, so I try to only work with good bands

I enjoy seeing my bands called critically acclaimed' after I have worked on a couple of records. I enjoy seeing attendance at shows increase. I enjoy having someone be appreciative of the work I have done and hearing people say, Wow, they get a lot of press!'

I get to work with bands I love and I get to help musicians make their dreams come true

Whether it's a review in Billboard or a feature in Rockrgrl Magazine, my bands benefit in every way. It's an affordable service and the bands get attention that the larger labels or PR agencies can't give them.

A highlight for me is getting a little known band a national placement whether it's in USA Today, or on Letterman

Helping me out with this honorable mission are five of the most well respected independent music publicists in the country. Let's kick this off by revealing a little bit about who these folks are.

Alex Steiningerowns and operates In Music We Trust PR,located in Portland, Oregon.A devoted music fan and tireless promoter, Alex prefers to work with pop and indie-rock bands and is especially excited to have recently landed his first client review in SPIN magazine.

Julie Doppeltfounded her Los Angeles-based company, HoopLA Media & Public Relations in 1997. "We work with artists in all genres including; pop, rock, roots, alt-country, singer/songwriter, power pop, punk, blues (traditional and modern) and some jazz," says Julie.

Canary Promotion + Designis a two year old, Philadelphia-based company run by Megan Wendell and her husband, Mason. The Wendells started Canary after touring the country for a few years with their own band, self-releasing their records and running a small indie label. "We decided to take that experience, focus on our strengths and turn it into Canary," Megan explains. "We now handle publicity and booking for numerous labels and bands."

Rhonda Kelley started Rainmaker Publicity in Boston in 1996, after a successful career in radio sales. "I decided to use my big mouth for something other than selling airtime," Rhonda jokes. Rhonda's firm is unique in that she deals almost exclusively with unsigned bands and artists. "I always empathized with what musicians had to do to get their music noticed. The typical artist doesn't know or care much about marketing strategies, angles and pitches. I knew there was a need for my services and I'm trying to fill it."

Sonya Kolowrat's firm, located in Brooklyn, New York, is Midnight Feeding. Originally born from a former Public Relations team at Rykodisc, Midnight Feeding has a diverse client list. "We've worked with almost every genre of music," says Sonya, "from rock to world to folk, and even comedy CDs." Most of the labels Sonya works with are independent.

The first baby step you must take on your journey to becoming "Critically Acclaimed" is to actually find a publicist with whom to work. As a way of getting started, Julie suggests taking advantage of connections among your existing network of musician friends. "Ask your friends in bands who have publicists for referrals. You can also check out local clubs or promoters in your hometown market and visit the websites of bands you admire to see who's handling their press. You might even contact the big university in your town and talk to someone at the student run newspaper, or radio station, to see who they get pitched by. College media can be a terrific source of information."

Once you have a few reputable names on your list, you'll want to know how an artist can find a publicist with the right fit, and what are good preliminary questions to ask before getting started."In searching for a publicist, the first thing to do is take a look at their past and present clients to see if they handle music you'd want to be associated with," offers Megan. "If the company handles music that's drastically different from yours, or if you don't like any of the bands they're working with, you should probably keep looking. The most important question to ask is if the publicist likes your music. Ideally, you want someone working with you who's not just in it for a paycheck. At Canary, the first thing we ask any artist to do is to send us some music."

Julie agrees. "A good fit is a publicist who's worked with artists who have a similar situation as you. In addition to an overall positive reputation and fees that reflect your budget, an enthusiasm and understanding of the music is key." Julie suggests making sure you know up front what services are included; what the publicist sees as realistic coverage given the current status of your career; whether the PR firm bills for expenses; if they provide progress reports/updates; how many other artists they are handling; and who your day-to-day contact at the company will be. "Paying on time will also make for a much more comfortable relationship," she adds. "Have a budget set aside for publicity so that you are not relying on what you make per show to pay your bill. The publicist works hard, long hours and incurs expenses on the artist's behalf. Show that you appreciate their work by paying when the terms of your agreement indicate."

Sonya adds that investing in a publicist is worthwhile if you are planning in advance. "Hiring press should be discussed six months before your record comes out," she suggests. "Send music to perhaps five PR companies and lay out all the options before you choose one. The costs range from $500 a month to $5000 a month, but don't spend more money than you planned on. Depending on whom you choose to work with, you may get more press even if you spend less."

As far as finding the right fit, Rhonda feels it often "boils down to personality type. I tend to be a no-nonsense person. I am aggressive and I'm serious about the job at hand. I want to make sure that I am working effectively and efficiently. I don't waste a lot of time on the phone with bands after the initial first four to six weeks of a campaign. I spend all of that time with writers and editors persuading them that they have to listen to this band."

Although it was once possible for a band to run a successful grassroots or DIY press campaign, these are chaotic times in the music business. In most cases, the benefits of employing the services of an independent publicist versus the DIY approach are well worth the monetary investment. Rhonda sheds some light on how things have changed. "Before 2000, I felt it was still possible for musicians to get substantial press on their own," she says. "Music magazines like Performing Songwriter, Relix, CMJ, Billboard and Music Connection Magazine had doubled DIY and Indie space in their books. Some hired extra editors just for Indie bands. As we approach 2004, however, things have changed a lot. Music editors, critics and freelancers are now getting bombarded with press kits. I find that almost 70 percent of my press contacts work from home. They guard their privacy and trust those publicists with whom they've developed a working relationship. This trust, access and respect for a professional manner are invaluable when pitching story ideas and coverage for new CDs."

"It is possible to take the DIY approach to publicity but it can be very difficult," Megan continues. "A publicist has an established and researched database of contacts and should be able to create a target press list for you based on your style of music. The publicist will also have developed relationships with many editors and writers and will have a sense of their tastes and what each publication covers. It's the publicist's job to call and email these people each day, whereas band members might be fitting it in on nights and weekends. Ideally, you've got someone representing your band that's excited about your music. That alone shows writers there are other people that support what you're doing."

Having a publicist with a keen ear and intuitive sense for which press contacts will be likely to dig your music is, according to Sonya, extremely advantageous. "Each time I do a mailing, I handpick one by one which writers will receive the record. It's important that a publicist really truly loves your music. If they don't love it, they can't promote it properly. I've tried to maintain that concept throughout my indie PR career." Rhonda agrees. "The most important part of the publicist's job is to pick the right reviewers at the right magazines to review your band. I may have seven great contacts at BillboardMagazine, but, only two of them are right for this particular band."

Another added benefit of having a publicist is how it frees the band to concentrate on doing what they do best -- playing. "Having the publicist on board allows your band to get out there, tour, do your thing and have someone working for you when you otherwise wouldn't have time," says Alex. "Touring helps to let a wider audience, beyond your local region, know who the heck you are. Also, it's often the only way to sell CDs and help spread the buzz, which in turn can help the publicist. Journalists talk to each other and if one gets really into a band, it helps your cause."

Julie echoes his sentiments. "One of the biggest benefits for an artist is how a publicist reduces their own workload. By hiring a professional, the results will be more effective because you have someone tailoring and executing a specific plan on your behalf. Plus, a professional will have greater resources to employ."

Once you've been taken on as a client by a PR firm, what can your band expect from the Publicity experience as far as reviews of your music are concerned? All of our experts agreed: the fewer expectations you have, the better.

"I always tell bands to expect nothing," says Alex. "It's a hard game out there and it's only getting worse. I tell my clients that I will work my ass off for them and that I love their CD (that's why I'm working it), but it really is a crapshoot sometimes. If you expect anything, you'll only be disappointed."

"One thing I always tell my bands is there are no guarantees in the publicity game. If someone promises you one, run," Rhonda warns. Getting a written proposal up front is also very important. "Once I decide to work a CD, I write up an outline so the band can see what my objectives are, whom we will pitch on their behalf and what their payments will be. We also try to estimate the timetable for review confirmations."

"It's essential that publicist and artist be on the same page as far as goals and expected results," says Julie "If you are hired to do tour press, then a call from the band's manager asking why Rolling Stone hasn't reviewed the CD is unwarranted." Julie agrees with Rhonda that a written outline of some kind provides a vital blueprint. "The publicist should be clear about what the game plan is, either verbally or in a written proposal. Every situation requires a variety of services from the publicist (securing/attending public appearances, being on-set at video/photo shoots, securing print media, researching charity organizations to affiliate with, etc.). Artists should have a clear sense of what they want from the publicist and, in turn, the publicist should define what his or her role will be."

It also helps if the band takes a proactive role in assisting the publicist with finding its target audience. "If you're a girl band, make sure the PR company has the proper, super specific target publications (Venus, Rockrgrl, Bust, etc) in the proposal and that it's not just some standard-issue document," Sonya offers. "With that in mind, do your own research. Be smart and know what magazines should write about your band. Go to a magazine stand and spend a few hours there figuring out which magazines write about different types of music. Use the Internet. Is there a band you think you sound like? If so, find out who has written about them by using Google.com or another search engine.You should know where you need and want to be covered. Ask questions about the report. You're paying for this service; so don't hesitate to be in touch each week. The more information a PR person has, the better they will do."

Okay, maybe you can't expect a five star review in Rolling Stone right out of the gate. That doesn't mean you shouldn't expect a publicist to stay in communication with you about his or her efforts on your behalf and to report back on what kind of reviews and feedback are coming in from the writers and editors of various press outlets. "A publicist is generally responsible for all print media coverage nationally and regionally based around the release of a record, usually in the form of reviews and features. If you don't get a report, then there is probably nothing to report, which may indicate that follow-ups need to be made," says Sonya. She adds that it's important to be realistic about who is likely to review your disc. "I am not going to send your record to a high-end fashion magazine if it's not appropriate, and I may not send it to late-night TV if I know it's not going to happen. High-end contacts like these should not receive every CD that a publicist promotes."

"A publicist should be expected to make the journalists aware of a title," says Alex. "This means calling or emailing to make sure they've received the record, and attempting to make the title stand out from the other thousands of CDs they receive. What they do with that CD once they're familiar with it is the journalist's job."

Remind yourself that every band, like every person, is different. Don't delude yourself into thinking that your publicist will get the same results for your CD that he or she was able to get with the CD of a different band, no matter how similar you think your music is. "Among my pet peeves are artists that expect too much," says Alex. "No one should ever say something like, You got so and so a review last month in all these publications. That's why I hired you. Why can't you get me reviewed in those publications?' It doesn't work that way."

Sonya has been in the same boat. "I've had a lot of experiences where someone has seen the results of work I did for an album that people really loved and, as a result, it got a lot of press. The band then compare the results from their record, which were maybe only a small portion of the other band's press, because they thought I could get them the exact same results. I tried equally as hard, but maybe the record just wasn't as good, and I can't force someone to like something. Maybe I am in the minority, but I truly believe that the better your record, the better reaction you will get from press. These are rock critics."

Speaking of the critical, do these publicists find that clients blame them when critics write negative reviews of their bands CDs? "I have had a couple of bands become very upset about a review and actually e-mail the reviewer directly, which is a protocol no-no," offers Rhonda. "But, I understand; they work so hard on making the best CD they can and they get hurt. Also, bands really can't blame themselves can they? It goes with the territory."

"I do think this happens on occasion," says Sonya, "although I try not to work with bands whose music I don't like. Sometimes even something like terrible CD cover art really makes a difference. You have to picture a writer's desk filled with probably hundreds of CDs. Sadly, a disc with crappy cover art may get overlooked, unless you're already a well-known band."

"I haven't had that happen yet, but I've seen bands get bummed out," says Alex. "I've also had people get upset that I let the publication run the bad review. It all depends on the artist"

"I can respect a negative review, so long as it's well written and accurately presented," says Julie. But when critics are negative because they haven't done their homework and don't know what else to write, then I think being upset is justifiable."

"A publicist can be expected to work to get press for your band and to supply publications with information, but they can't control what is written about you," says Megan. "Generally, most bands know that the publicist does not control a writer's opinion, but I did have one band that wanted to blame me for an error in an article about them. The publicist's job is to best represent the band to the press, but that doesn't mean every writer will love the music. Also, it's not uncommon for someone's name to be spelled wrong or for some information to be reported incorrectly. The important thing is that your music is getting exposure. Appreciate and use the good press to your advantage, and shrug off the negative reviews."

As tough as the job of the Independent Music Publicist can be, they're here to help your band realize its full potential, and they really are on your side. These people do what they do because they love music and they love the job. "The best thing is when you take a band you love and get someone else to really love them, write about them, and get the word out," says Alex. "Being able to say, I helped them get more recognition because I am a fan myself,' there is nothing better than that."

"I work in a creative environment every day, and it's exciting to see the bands we work with grow and develop," says Megan. The best thing about my job is working with music I love and meeting amazing people."

"The best thing about my job is that I am able to choose who I work with, so I try to only work with good bands," says Sonya. "I enjoy seeing my bands called critically acclaimed' after I have worked on a couple of records. I enjoy seeing attendance at shows increase. I enjoy having someone be appreciative of the work I have done and hearing people say, Wow, they get a lot of press!'"

"I get to work with bands I love and I get to help musicians make their dreams come true," says Rhonda. "Whether it's a review in Billboard or a feature in Rockrgrl Magazine, my bands benefit in every way. It's an affordable service and the bands get attention that the larger labels or PR agencies can't give them."

"A highlight for me is getting a little known band a national placement whether it's in USA Today, or on Letterman," says Julie. "It's exciting to be part of the development process, especially when the band works hard and appreciates the laboring of others on their behalf. I think indie publicists love what we do because it's so challenging. Not only are we competing for coverage with nationally known artists, but we are also competing against other arts coverage. Since 9/11, a lot of music and entertainment columns have been discontinued. Getting coverage in a daily paper where there is one Arts Editor covering live theater, books and music is yet another obstacle to getting your artist featured. It's a lot more satisfying to raise the profile of an artist who is relatively unknown nationwide as opposed to a band that's already playing 5,000 seat venues, has a Top 40 single and a video getting regular airplay on MTV."

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