Tag Archives: networking

Jeremy Young Teaches Music & Collaboration In Podcast

Jeremy Young musician flypaper soundfly

Jeremy Young

Education for musicians and creative entrepreneurs is at an all-time high. There are multiple courses, books, seminars, trainings, workshops, blogs and everything in between for all of us to become the finest, brightest, and best at our creative endeavors.

Jeremy Young is one such educator. A musician, blogger, and education specialist with Soundfly, Jeremy has spent the past several years blending his experience with music with knowledge and expertise. The results are a powerful combination of expertise and know-how that he shares with us here.

Insights Into Jeremy Young

Jeremy is a student and musician. He’s taken his experience in the realm of musicianship to discover different methods of growth for not only his music career but also his entrepreneurial path. One of those methods is creating different music related companies. This little nugget of insight was really cool to talk about.

There’s a mention of Palaver Press in our chat. It’s a company he created to pair audiobooks and authors with musicians. There’s a market for this kind of collaborative connection between 2 different types of creators. It’s a path no one has carved yet, and one that he’s still exploring. I’m diving into this too, in a little bit of a different way. Grab my audiobook on Noisetrade to see more of what I’m talking about.

On the surface, it may seem like a wild pairing, authors and musicians in one product line. If it seems like a stretch, that’s the results of great education. Great teachers, mentors, and coaches know how to stretch their students to a place where they do more and become more than the common student. Or to put it this way,

“Growth happens by stretching and being challenged. When you stick to just what’s manageable, you’re really exchanging opportunity for frustration instead of exchanging opportunity for opportunity.”

Aside from performing with his band Sontag Shogun, Jeremy teaches courses on guitar and business at Soundfly. He also has a few music related businesses. He loves helping musicians grow by way of the Soundfly blog, Flypaper. Go there to get some fantastic articles.

soundfly education courses musicianThe Pairing Of Values Creates Bigger Wins

When was the last time you saw your core values as a connection point with other people? This is a big subject that has a lot to do with who you attract to your audience tribe, and who you connect with on a collaboration/networking presence.

Values are the beliefs and ideals that drive what you do. For some, it’s authenticity in their creative expression (meaning they’re going to be themselves instead of adopting a 2nd personality when in “music mode”). For others it’s relationship growth. Values drive what we pursue and how we pursue growth. It’s like Jeremy says,

“Interpersonal relationships are always more important than the project itself.”

Our values help to define how we connect with people. Too often, musicians look at their creative process and the end result as something independent of other people. The best results for your work will come from how you pair yourself with strong relationships, and shared values among other people. This is a common theme in The DIY Musician’s Radio Handbook.

 

How To Create Opportunities For Collaboration

I first met Jeremy Young through the avenues of curiosity. As I said in the podcast, I read a blog he did for Sonicbids where he talked about the 5 best books every musician needed to read. I had just published The DIY Musician’s Radio Handbook, and I wanted to see how to get it in front of him. I started a conversation based on his work, and that led to an education on Soundfly and a new friend.

It was clear in his blog article that education is a big value. It was also clear that he is someone who reads to further his knowledge base. He and I share these practices and values. I felt confident that reaching out to him would result in some great connection opportunities and I was right.

This initial contact (by way of email) created conversations that led to collaboration. We both saw how our stories are similar, and how we can be a resource to each other. Education in the digital age isn’t the classroom that many of us grew up in. We’re not necessarily limited to logging in to an online portal and only interacting with the teacher in that portal (like a classroom in school). There are opportunities to collaborate together to grow even more, you just need to ask the right questions.

Need help knowing what questions to ask to build your knowledge base, collaboration opportunities, and further growth? Connect with me and let’s talk.

 

 

Shaine Freeman On Why Connections Must Know You Back

Listen/Download the Podcast conversation here:

Shaine Freeman

Shaine Freeman

Shaine Freeman is a really good example of people who value connections. As a musician, you’ve heard a whole lot of people talk about why you need to build your contact list, grow your connections with people in the music industry as well as your fan base, and why “who you know” is so important.

Guess what? Who you know, though it’s a big part of the growth process, is not nearly as essential as who knows you back. This art (and science) is one of the key things that created the connection between my friend Shaine Freeman and myself. His career in music, entertainment and professional sports is vast. So are his connections. But that’s only a small part of what makes Shaine dynamic.

This dude gets it. He gets relationships and how to build them over time. He gets marketing and growth for musicians and entrepreneurs. He gets the process of vetting the people you listen to for advice. He gets the power of reciprocity. AND he gets growth farming.

This podcast episode is full of wisdom, advice, and great perspectives on what folks who do what he and I do (as podcast hosts and music industry professionals) as well as what goes through our minds when people ask certain questions. There are some things that you should be careful what you ask for with certain people. Gaining instant access to someone’s contact list, particularly someone you just met, is a tale of caution.

I highly recommend subscribing to Shaine’s podcast The Miews. Each episode has great conversations and insights into how to build, grow, and be more successful with your music project. There are a few podcasts I’m a proponent for, and The Miews is one of them. It’s connecting with podcast hosts that’s one of the big secrets to getting the attention of music industry influencers. If you want insight into how to do that, contact me and we’ll talk.

Podcast Notes & Quotes:

[Why we need to experience loss and failure]: “At the end of the day you wouldn’t be who you are if you didn’t have those (negative) experiences.”

[Why growing connections and building relationships takes time & you can’t shortcut  it]: “This is an important step in your process to grow the relationship. You don’t get to pull the Game Genie out and advance to Level 30 in the relationship process when you’re barely on Level 1.”

[Why you need to check out the people you want to connect with before you do it]: “If you don’t have the decency to go and at least see what someone’s done before you ask a question, you’re not going to get anywhere.”

“How many musicians would give up their only guitar to someone they don’t know who said they needed a guitar? You probably wouldn’t. That’s how it is if you ask me ‘hey Mister, can you give me the contacts that you spent 9 or 10 years building, can I get that today, and I don’t really know you?”

[On how much you need to know versus how much you actually know]: “When I was 18,19,20 years old I thought I knew everything. My father told me to get out now while I knew everything. There was a strong message behind what he was saying. You’ll go through some realizations that you don’t know everything.”

There are SO many more great quotes in this podcast (essentially every time Shaine talks or answers a question) to list here.

One key thing we talk about over and over again is the process of networking and building relationships with your fan base AND with music industry & media folks. We talked about some of the big things artists get wrong. If you want to change your game and get them right, pick up the manual for making that happen with the DIY Musician’s Radio Handbook.
Listen/Download the Podcast conversation here:

Music Entrepreneur & Super Fan Tom Giles Joins The DIY Artist Route

Tom Giles

Tom Giles

Networking seems like it’s becoming a bad word in the music and marketing world. I’m not sure how else to talk about relationship building through our existing friends and contacts. Networking just seems like the best word. That’s how I came to know Tom Giles (pronounced with a “J”), the serial musician, entrepreneur and music super fan whose business SoundBloc was recently acquired by Full Screen to further serve the needs of musicians and creative entrepreneurs in the direct-to-fan space.

Hosting the DIY Artist Route Podcast has been a real joy and privilege. This episode marks the 20th of the series. Each new person we learn from teaches some incredible and profound new things. It was past Router and friend Chandler Coyle who put me in Tom’s sphere, helping to set up this chat. But real relationship building and networking, as I’m discovering and living out, is about more than just an interview for a media post. We’ve talked at length about our respective projects before doing the podcast session, and will continue to do so. This is the power of “knowing you back.”

I was very impressed from the start with Tom’s pedigree in music and business. He’s built record labels and promotions companies while also being a musician. His mantra for audience growth is mirrored by Benji Rogers and Derek Webb, who both built similar platforms to help musicians do the same thing: connect directly with their most ardent tribe of fans.

This was also one of the first times for someone to be a guest on the podcast but treat it like a real conversation, turning questions back in my direction to get this side of the story. I appreciate that. It’s uncommon, and made me more connected from the outset.

Plus, there’s a chance that Tom Giles and JJ Watt played backyard football together at some point. Being a Houston Texans fan and having a little bit of a man-crush on Watt, that’s just cool. Chalk up another point for Mr. Giles.

Big takeaways for you in this podcast episode (download and share via iTunes, Spreaker, & Stitcher via the right hand margin) include:

  • How your brand defines everything you’re doing, and why you having full control over how your brand is marketed is very important
  • Insights into artist management and indie labels
  • The power of networking and relationship building to create new collaborations with industry professionals and how you can have those connections too
  • Why you should focus on building relationships to truly grow because it’s the most important thing, even if you don’t think you’re naturally good at relationships or marketing

Tons of good stuff to dive into here and learn from. You should have questions when you’re finished listening. I did. Reach out to me and let’s figure out how to solve your questions together.

How To Get Solid Radio Airplay The Right Way

This blog article is also published on Dotted Music. Musicians submit music to radio on a daily basis. Many of these music submissions to radio go ignored. Here’s how to submit music to radio that really works.

Secrets To Music Submissions To Radio Stations

Radio Mic Old FashionedGetting radio airplay isn’t a dice roll and it’s not a matter of doing multi-million dollar promotion campaigns. Especially not in public or indie radio (where your attention should be if you’re a DIY artist).

As I’ve said in past posts like How To Build A Radio Promotion Strategy & How To Make Effective Music Submissions To Radio, the basics to submitting music to radio is fairly easy.

The science to getting radio airplay has more to do with only a few specific things, AND they must be made a high priority. Community building and communication is top of that list.

Each radio station decision-maker (station manager, program director, program host, etc)  has their own individual perspectives and motives.

These preferences determine what they play and what they don’t. They also determine how often some songs get rotation versus others. However, how radio stations decide which songs get played actually has to do with a few factors that you might not realize.

online radio station jowanna lewis radiokscr music submission indie music airplay

Jowanna Lewis, owner of RadioKSCR in Los Angeles, CA

Station managers with commercial radio will give a few spins here and there to “unknown” or DIY musicians if it fits with the format and if they earn the respect of either the DJ or the station management.

Once songs begin to chart more (meaning that the music ranking organizations like Billboard and CMJ are recording more plays nationwide) those songs will get more rotation.

Much of this is based on requests and promotion dollars from the labels.

As a DIY artist, your plan is to get your music on stations who are be looking to add indie and unsigned artists to their station playlists.

These are the radio stations and managers who you should be trying to figure out how to gain the interest of. Indie radio is your ticket here. What does that look like?

What determines an indie radio station playlist and spin count

There are essentially three factors that determine whether a radio station manager or music director will add a new song to their rotation. See if your music fits into these factors to be Radio Ready with this free ebook.

The songs that get airplay first off have to meet these three qualification. Sound quality and production value are paramount.

Most professional radio outlets qualify potential music submissions on the quality of the recording first. It’s instinctive, we aren’t going to play a poorly mixed song.

Great songwriting involves lyricism as well as composition and arrangement. Some great songs have very clever, witty, or thought-provoking lyrics. Yet others simply have a good arrangement with a nice melody but nothing very complicated about how it is written.

The last qualification plays the largest role in not only whether as song will get added to the rotation of a radio station but also how often it will be played.

Simply put, if a radio station manager, music director, or approved station personality likes a song, it will probably get some radio airplay. If that song also catches on with other station staff and especially with listeners, that song is going to get a lot more spins.

radio submission music submission to radio How To Submit Music For Radio Airplay

Radio station managers are people too. We like what we play. We have a personal interest in the content that we put on our platforms. It’s just simple human nature.

To be in this industry an din this creative space, you have to be a fan. Radio station managers are fans of music too, and often we’re fans of artists who not only make music that we enjoy but also who have engaged with us in some manner.

Next Steps To Get Music Submissions Accepted On Radio

How someone feels about you as a musician can play almost a bigger role than whether they only like your music. When you try to just separate yourself out and away from your art you limit the reach and connection-building power you have.

Instead, focus your energies on building connections and communities with the radio stations that you want airplay on. It’s not a matter of getting your music out to every single station in existence, or even every station that plays music in the same genre as you.

Learn The Proven Process To Getting Radio Airplay

Many musicians don’t think about the pieces that need to be in place before starting this process.

If you want key elements , a proven process to implement with actionable steps, you’re going to get radio airplay and much more.

All of these tools and more are available for you in the Indie Radio Course.

You can build real relationships with the people behind the microphone. Get your spot on the course here.

 

How Radio Promotion Is Done Right With Jesse Barnett

RelationshipBeing a radio host, I’m plugged into different parts of this industry. I’m connected to radio stations, artists, managers, radio promoters, and listeners alike. I see things from the perspective of a radio station manager, music director, program host, and curator when it comes to music submissions. I do also see things from the perspective of the artists. It might seem like these are two opposing viewpoints, but they’re not.

Not if you look at it the right way.

Jesse Barnett

Jesse Barnett

Jesse Barnett (Right Arm Resource) is one who sees the harmony between the musicians and the media platforms who showcase their work. It’s a team effort, where both sides win when they work together. Look folks, there’s no I in team. We know that. It’s cliched. But how often do you, musicians, look at your music promotions to radio as something that offers a benefit to the station you reach out to other than them “getting to play” your music?

Radio and musicians win when there’s a relationship connection in place. That’s why public, community, indie and college radio continue to be powerhouses in the modern media-rich world. Relationships matter. Make that a focus and you’ll see bigger and better wins in your music promotion.

This podcast episode is about just that: relationships. Jesse is the best in the business of radio promotion because he puts relationships first. He has worked with and represented some big names in indie music including Damien Rice, They Might Be Giants, Cage The Elephant, and others. And he works with smaller indie labels and artists too, quite successfully I might add.

We talk about the power of networking and relationship building a lot in this episode because it’s the real key to achieving anything that lasts. Trust me. Or better yet trust Jesse. We’re both proof of this. Radio is a conduit between people who share interest, love, and stories driven by music. When radio works best is when it builds communities together of people who share these areas. That’s not the same thing as it being a platform that just plays music and has listeners. That’s boring commercial radio, which you’re not listening to.

One other thing that is mentioned a few times in this podcast episode is The DIY Musician’s Radio Handbook, which illustrates the exact things we talk about in a How-To format. Jesse has read it and shares his thoughts on it. It’s easy for me to tell you that you need this book. However, you decide how much you want to succeed. If you want to win, and you want long term wins, go grab the book here.

After you listen to this, if you get just 1 thing out of it (which I know is an understatement because you’ll get way more than that), do your part in the growth farming process and plant a seed with 3 of your music friends (i.e. share the episode). Cultivate it with me here, and let me know what 1 thing you got the most from in this conversation. We’ll talk soon!

Learn How To Get Radio Airplay The Right Way


In the video there’s a bit of role-playing through examples to illustrate the method explained here in this blog.

MusicansPlayInBar

Many artists reach out to me on how to get radio airplay. It’s a big subject that confuses DIY musicians because music submission to radio is so common, but getting accepted isn’t. I’ve set out to remedy this for musicians who are serious about growing their audience using one of the best methods: radio airplay on specific media platforms.

 

Over the past few months I’ve talked about Super-Fans, Audience Growth, and the particulars of what works for Successful Indie Artists.

Radio airplay is one of the methods of exploding your fan base, as well as your music income.

Start with how to NOT get radio airplay

Radio airplay and promotion continues to be a beneficial means of growing your music as an indie or unsigned artist. However, there is a way to get airplay that is more beneficial to you than how 99% of artists do it.

  • Submitting your songs to every station who accepts and plays indie music is not the way.
  • Sending DM messages to radio shows or stations on Twitter is not the way.
  • Emailing stations your mp3 song is not the way.

How to get radio airplay that actually works

One of the best ways to learn how to get radio airplay is by seeing examples that work.  Just like everyone else, I’ve made some big mistakes in reaching out to radio stations to get my platform picked up. The key though is recognizing what works and what doesn’t, and making a pivot on the stuff that isn’t producing the results you want.

Most of us are used to seeing blanket emails that were obviously sent to a ton of people, with no specific individual in mind to receive it. Think about group messages on Facebook or group texts. Even if the person reaching out is a good friend, those are kind of annoying, aren’t they? Treat the person you want to contact the way you want to be treated. Send them an individual note. Before that, have an experience with their station that you can talk about when you email or contact them. By doing this, you show that you’re a genuine person who wants to build community and add value to the station or radio program with your music.

This is the method that I used to get my indie radio show heard around the country and across the world. I first did all the wrong things to grow my radio show. I sent the blanket emails, to both people that I know and those I didn’t. I got the same response from both endeavors: silence. Those tactics didn’t work for me and rarely work for others. There’s a reason why so many artists feel scammed when they pay for radio promoters to pitch their music to stations that get zero airplay from the endeavor.

The real secret to getting radio airplay is a mindset change. Shift from music marketing to community building.”Or as Ghandi said, “Be the difference you want to see in the world.” It’s the Golden Rule. It’s what makes the connections that we all have to build (the real ones, not the mouse clicks that pretend to be connections). Treat those you want to feature you like you want to be treated. It’s the pivot we have to make to see real growth happen.

When I made the pivot, and changed my approach, I found that it actually works. The details and step-by-step process of what to do, how to do it, and why is chronicled in my book book The DIY Musician’s Radio Handbook. The Handbook can also be used in your endeavors to grow your audience online via social media and with gigging, as well as reaching out to other music and media mavens for networking.

Get a preview of the first 4 chapters of the DIY Musician’s Radio Handbook HERE.

James Moore Joins The DIY Artist Route With PR Tips

“A lot of artists, if they don’t know how to do something, they find some sort of ideological reason not to do it, and that holds them up. You do need to take that leap. Learn about it instead of complain about it.” -James Moore, Independent Music Promotions

Image credit: Ryan Donnelly

James Moore; Image credit: Ryan Donnelly

PR is a buzzword in some business circles. In some music circles it’s a curse word. Author and PR pro James Moore is working diligently to correct the misinformation about not only the the business of PR for musicians, but also the pieces that make it up.

One of the ways he’s done this is from his fantastic book, Your Band Is A Virus. Websites, branding, social media and guerilla marketing are all subjects covered in the book. I’ve read it, and encourage musicians to pick it up to educate yourself on the pieces of the entrepreneurial puzzle that is the music business for DIY artists.

I wanted James to join me on the podcast because we have similar mantras about growth, fan building and the essential need that every artist, startup and creative entrepreneur in this space has for using basic business principles to win. His quote above is something we discuss in the podcast, and address solutions for.

“Getting rid of the mental obstructions that are holding you back is the same for businesses as it is for musicians or any endeavor really.”

It’s easy to complain about all the pieces of the puzzle that is entrepreneurial business. There is a LOT to be confused about. There are even more pathways available to learn something new, and grow your ability to connect the dots. James’ work with musicians with his company, Independent Music Promotions, does a blend of education with hands-on networking.

One key piece of this puzzle is the reality of how networking and relationship building actually works in the digital space. I’m thankful that social platforms like Facebook and Linked In have given us the ability to connect with fellow community members across the country and around the globe. However, there is a misnomer that clicking a Follow button is the same as networking. It’s not. Networking is relationship building. This requires time, conversation and shared interests. We build our networks and our relationships over chats, talks, and reciprocal connections.

I’m thankful to James Moore for sharing his insights into how growth works from a PR standpoint, educating both musicians and entrepreneurs on the role of media coverage in the development process, and the myriad of great quotes provided in this conversation.

What stands out the most to you from what James shared? Is there one thing in particular you’ve been trying to figure out about PR and still don’t understand? Reach out and we’ll figure it out together.

In this chat we also talked about my upcoming book, The DIY Musicians’ Radio Handbook: How To Growth Hack Your Fan Base Using Radio Airplay. The book will be out in early May. Make sure you’re on my book list to get first dibs and special bonuses.

Gain Super Fans With My Upcoming Book. Sign Up For The Book Release Here:

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Why Musicians Don’t Need A Label For Music Growth

“If I can just get signed to a label then I’ll be able to get my music out to more people and finally build my fan base.”

Unexpect out of Canada

Unexpect out of Canada

I’ve heard this phrase (in a few iterations) countless times in the past year alone. Here’s the thing: a label might save you a little bit of time but being on a label doesn’t guarantee your growth.

The reason for this is that a lot of labels AND PR firms AND marketing agencies AND music promoters don’t serve their artists as well as the artists could serve themselves if you only knew what and how to do it. This is where I come in to help you learn the what and the how. Read on if you want both of those things.

How you can do the work of a label and do it 300% better

There is this ongoing misnomer among DIY musicians that you need to get your music on a label so that they can really market and grow your music audience. This belief is mistaken, that labels are better at connecting with music industry influencers and platforms with big audiences.

Image by Johan Oomen

Image by Johan Oomen

The “label savior” belief stems from a historical period that the music industry was at around 60 or more years ago. Back then, every new artist was on a label because that was the only way that distribution worked. There weren’t indie presses for individuals to create their own records (on vinyl), CDs didn’t exist and tapes were the way that demos were recorded at home. Labels emerged as the main method for distribution for music for media companies to have something to broadcast. Remember though, that was in the 1950s and 1960s. Times have changed.

It’s no longer the case that you need a label to win in this music industry. We all know the power of the Indie Music Movement that has changed the rules for how music growth happens.

“Indie” means more than independent from an artistic standpoint. It can also mean individual.

Labels continue to exist and continue to spend GOBS of money marketing their artists. Major labels spend the most money and put their artists out every where they can as a method to gain leverage.

Let’s pause for a moment and dive into this term, because it’s really important for you.

Gain leverage without signing to a label

Leverage is the crux of what growth is built on. The more people know who you are, become connected with your name and brand, the more opportunities you have to sell your uniqueness to the world. This is leverage.

In a sense, leverage is a numbers game but only in the capacity of very big picture ideals. When labels strive to gain leverage by only playing a numbers game, they miss the mark. This missing creates negative results for artists.

Truthfully, the most powerful and successful leverage makers are those who get themselves out to the RIGHT people, and lots of them. This is one way that labels large and small can miss the mark, by not targeting their audience appropriately or communicating properly with them.

When you’re trying to reach everyone, often you’ll miss the mark. Everyone isn’t an audience or a target, it’s a black hole. Think about a bow and arrow. You can aim for a target on a tree or a post that’s 50 yards away. If you simply lift the bow into the air and shoot the arrow into the sky, did you hit anything?

Think about all the advertisements you see for artists you don’t care about, or music styles that don’t appeal to you. They’re all over the web, TV and other media. Those are attempts to gain leverage. Many of them are unsuccessful because they’re not aimed at the right audience, they’re aimed at everyone.

You don’t need a label to gain leverage in growing your music brand, gaining more fans or creating more opportunities to sell your music (both live and online). What you need is to recognize that the people who serve as gatekeepers for audience reach are just that, they’re people.

Wow, did that seem a little too simple? People are people. Radio people are regular people. People who write blog reviews and host music podcasts are regular people too. Yes they have platforms that reach hundreds or thousands (or maybe even millions) of other people that you also want to reach. At the end of the day, people are still people.

I say this “people are people” ideal because this is where labels often miss the mark. Their outreach to music curators, radio platforms, or even audience groups doesn’t communicate in a person-to-person way. The communication is far too formal and hard to embrace.

What works better for you, a friend of yours talking about a new band they just heard that sounds like Mumford & Sons but with only 3 band members and since you like Mumford you should check them out, OR a graduate level term paper detailing the exploits of a new Americana band and everywhere they’ve traveled and all the inspirations of their music and how incredible they are?

You want to listen to your friend because your friend communicates in a way that gels with you. People talking cordially with other people communicate in a way that gels. Companies trying to communicate with people don’t often do so very well.

This is one of the most common areas of difficulty I see both artists, PR companies, indie labels and management companies struggle with in terms of getting their music out to radio, media, and music fans as a whole. We’re all trying to get regular people who do specific jobs to give us their attention, their interest, their care, and ultimately their support. That’s the whole process of fan conversion.

How does that happen? How can you as an artist figure out what works to get your music in front of radio platform makers, blog reviewers, media outlets, and even individual fans both online and offline?

If only there was a book or something that showed you all of this

Actually there is. The DIY Musician’s Radio Handbook reveals everything that individual artists, bands, and musicians need to do what a record label or PR firm is supposed to do, AND do it better. If you decide that you’d still rather delegate the responsibilities and time to a company or team to do your marketing and outreach, that works too. The book will show you exactly what to look for in bringing the right people into your team to get you successful results.

What kind of successful results? You’ll not only get airplay on radio but you’ll build your personal network of industry contacts for long-term relationships that benefit you over time so that your future record releases will have instant traction and you won’t have to start the “marketing” process all over again.

RadioCourseMainImage-CoverImageDo you want even more insight into how to build a stronger network of media contacts, connections with radio, and gain more support from your fan base using effective communication and messaging techniques? Click here to get all of this and much more in the Indie Radio Promotion Course and save 60% by joining now.

This is how businesses who network with other businesses work. They build connections and relationships that benefit both parties in the immediate and future time periods. That’s real connection. Gain the step-by-step process to not only getting your music heard on radio but also how to grow your connections with music industry influencers in this powerful new book, set to publish in February. Sign up for the Book below.

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How To Get A Response From Your Radio Submission

Radio Mic Old FashionedYou’ve sent your music submissions out to radio in the hopes that your music will get picked up and carried on radio stations, music programs and other media. Now what?

The NEXT STEP is something a lot of artists don’t do. Honestly, the next step is the best part of the submission process. It shows you how well you do at making first impressions.

Your submission to radio for airplay look just like every artist and label’s blanket pith.

OR it can be crafted in a way that makes you stand out from every other artist who is trying to get their music heard. When you do craft the submission right, you’re in the gold.

Getting a response from stations and programs happens through submissions and pitches. Most music curators have very little time for phone calls, especially to people we don’t know on a first name basis.

Whether you’re contacting radio for airplay, review or interview this principle is true.

(Speaking of interviews, If you want to know how to get a radio interview click here and let’s talk.)

Make it a habit to check your email at least once a day after you start your radio submissions. Here’s why:

When a media professional responds to you, you need to make sure any questions they ask in their reply are answered quickly. If they want more information, the longer you take to write back the more you are flirting with a common human characteristic: forgetfulness.

It’s true, we’re human too and with the influx of media that radio music managers deal with on an hourly basis (let alone daily) is massive. If you take 1-2 weeks to respond to a reply that was sent to you about your submission, it becomes harder to make the connection that you wanted to make, and in turn get the airplay or feature you were hoping for.

You’re in the relationship building business, even if music is at the heart and soul of your offering. The truth is that the better you get at networking and building relationship connections, the greater your audience will be and the more radio/media support you’ll have to back it up.

Do you want to know the first, second, and next steps to take to not only get your music on the radio, but build relationships with radio station managers, radio program hosts, music bloggers, and other media professionals? I’d love to show you the practical and connection-building techniques I’ve used for years to do just that. It’s all about of The Indie Radio Promotion Course.

Have you sent submissions out to radio and not heard anything back? There could be a reason for that too. Let me help you get your messaging right so you can have the airplay and feature you’re looking for. Click here to connect directly with me.