MusicCareers’ Post

As artists in the music industry, having public relations managers and communication managers who understand how to respond in times of crisis, is important and these are some tips for PR pros out there. #publicrelationstips #communicationmanagement #crisismanagement #publicist

Life in a music PR office in the 1990s had a routine to it. On Monday we would spend the morning looking over the newspapers and magazines from the weekend, cutting out any stories that featured our clients, and then sticking them in the cuttings book, but not before we had photocopied and faxed the piece to our client's manager. In the afternoon, we'd turn our attention to what was happening that week, either writing releases or stuffing huge post bags full of albums or singles for review. Tuesday and Wednesday we'd spend faxing out releases, or lugging heavy bags of the review copies to the post office. This also involved the tedious setting up and using the franking machine, so that everything had the right postage. Thursday and Friday we were on the phone. Did they get it? Did they need anything else - a unique story, an interview slot, or perhaps photos (which we'd then bundle into the post too, no emailing them over). Compared to PR now, it was exceedingly slow and very routine. This was punctured by the odd meeting with clients here and there, or coffee or lunch with a journalist. However, as meetings were in person, they were held infrequently, and most of our attention was just on getting things done. Occasionally, I would add a new contact to the database (not forgetting to manually save it to the disc), but that was always the last job of the day.  Last thing on a Friday, we would back up the computer, an exercise which involved lots of churning and grinding noises from the one computer in the office. We always had the radio on, Radio 1, and the day was punctuated by the different DJs - Dave Lee Travis and Steve Wright are the main ones I remember, and they felt like work colleagues as much as our actual colleagues. When I left to set up my own PR company, my biggest expense was a lumbering second hand fax machine, which needed two people to carry it, and I thought I was so modern as I started using a mobile phone (the size of a brick, of course). The company I had just left hadn't come on board with this. Although I tended to only take calls, as the call costs were pretty expensive at that time, and I had to buy a new bag as carrying it around hurt my shoulder! In my next installment, I'll talk about starting up on my own - how I found clients and got going. Pic - me in full PR mode, with a 90s perm too!

{PART 1: ENTRY-LEVEL JOBS IN UK MUSIC INDUSTRY} I know a lot of friends and former colleagues who are out of work or looking for new job opportunities in the UK music industry right now 🔍 The market is tough, and I know that a lot of people are struggling with their search - which from experience I know can be grueling, soul-sucking and demotivating to say the least! I started compiling a list of current music job openings based in London - in the hope that it might help some friends of mine find their next opportunity ⭐️ Whilst I was making it, I thought I could also share with my community here, just in case it's useful and could help anyone else who is on the hunt for their next music industry job too 🤝 I’ve sorted this list into three parts: 1) Entry-Level 2) Mid-Level 3) Senior-Level ➡️ Please see my other posts for the mid-level & senior-level opportunities. If you find this resource valuable - share with your network so it can be of use to those in your community too ♻ #musicindustryjobs #musicindustry #musicjobs #musicjobsuk ----------------------------------------------------- PART 1) Entry Level Jobs In The UK Music Industry ✅ Management & Label Assistant @ Harbour Artists & Music https://lnkd.in/evY4Khzs ✅ Studio Intern @ Mercury Records Limited https://lnkd.in/eBremz6m ✅ Music Touring Assistant @ Creative Artists Agency https://lnkd.in/e44mazGU ✅ A&R Assistant @ 5dB https://lnkd.in/erKVVW_q ✅ Campaign Coordinator @ Absolute Label Services https://lnkd.in/ecfj8DJc ✅ Agent Assistant @ Arcade Talent Agency https://lnkd.in/eyH84CvW ✅ Personal Assistant @ 247 Productions https://lnkd.in/eWCVnrZ7 ✅ Part-Time Retail Assistant - Record Store https://lnkd.in/ebdY4x4C ✅ Product Coordinator @ NOW Sony Music Entertainment https://lnkd.in/eyJd4HsR ✅ Contract Admin Assistant @ The Orchard https://lnkd.in/enKAthtz ✅ Booking Agent Assistant https://lnkd.in/eHdf7Wem ✅ Creative Services Coordinator @ Warner Chappell Music https://lnkd.in/e6ub8jd2 ✅ Shop Supervisor @ Abbey Road Studios https://lnkd.in/enBQnW7J

You’re not touring abroad. Why do PR there?! Let me explain 👇 💫 You want to know who loves you, where. Of course, Spotify, Bandcamp, Instagram/Facebook, newsletters and other (DSP) data can help you determine where your audience is. But what about where your audience COULD BE? Generating press with credible sources can be a great way to discover untapped potential 🥳 💫 I’ve literally heard peers with more hiring power than myself (booking agents, venue programmers, artistic directors) say that they’re interested in an act, but “will see what the press thinks before making a decision.” So getting reputable journalists to vouch for you can make all the difference when trying to book local gigs abroad! 💫 Girls just wanna have fun…ding applications. Whether it’s a regional, national, or international grant application, getting recommended by The Guardian will give you some serious cred, don’t you think? 💫 Whether you’re aware of your reputation or not, I must congratulate you: you have one either way. And it might as well be a good one, right?! So if your carefully crafted new music makes it out into the world, it’s all the better for you if it makes it into as many ear holes as possible. Getting 10 placements for your new release is way better for your reputation than 0, nill, nada. Promise! 💫 Finally: industry relationships. I don’t really do interviews myself, I suppose you could say I have a form of professional stage fright - while I love presenting podcasts, festivals, and video interviews. I did one a while back, though, and one of my favorite Dutch artists, whom I’d never met in my life, responded. We’re getting lunch next week. I won’t elaborate on some of the beautiful friendships I’ve been blessed to build with some of the journalists I work with, that probably goes without saying. But the same could work for you! Every interview, every placement, every second of airplay can bring you another opportunity, experience, or relationship. If you’re excited about building your brand abroad, let me know; I’ll gladly talk your head off about it. 😉

Avoid this Common Communications, Leadership Trap How many times have you heard, “We all need to be singing from the same sheet of music?” To put it another way, many leaders and a shocking number of communications professionals and executives think when everyone is using the exact same talking points it shows alignment and unity of purpose. Which couldn’t be further from the reality, as rote talking points generally fail to connect with and inspire people. Here’s why. First, organizations aren’t solo acts — and everyone in the organization has a specific role to play, much like the members of an orchestra. Which is why you wouldn’t give a percussionist the same sheet of music as a saxophonist. If you did, you would either end up with a cacophony of noise — or silence surrounding the sole saxophonist who has the instrument to play the music provided.    The second issue is the inverse relationship between C-suite messaging clarity/credibility with the numbers of levels between the C-suite and the person receiving the message. To put it bluntly while the CFO, CMO, CHRO, etc., can easily relate to talking points about the organization’s overall strategy or the latest corporate initiative; those very same talking points are rarely relatable/relevant to a first-line manager trying to inspire their team. Finally, what’s most important inside the organization may not be what is most important to external audiences. Like internal audiences, external audiences are made up of individuals and sub-audiences. What is most relevant to the investment community is rarely what matters most to your customers, regulators, community, or government officials. Which is why when leaders and spokespeople try to force fit a single set of messages into every situation, and use them with every audience they come off as being disconnected, un-empathetic and impersonal. To avoid that outcome, leaders and Communications professionals should be thinking like a composer creating a symphony. Think of the overall messaging — used by the most senior leader — as the melody, or unifying theme. Then craft the harmony or supporting messages — the bass and treble lines that amplify the unifying theme, while resonating within the sub-organizations or audiences. Leave room for subtle variations between the messengers and their intended audiences. Even within an orchestra not every violinist is playing the same notes at the same time — the subtle differences create resonances within the music. With messaging, those subtle differences ensure what you are saying resonates and connects with separate audiences. Yes this requires more thought, time and trust; but it results in a much richer, fuller suite of messages. It’s the difference between an atonal and discordant solo act that lands like a dud, and a unified symphony of messaging that connects with and moves your audiences. Learn more about how leaders can fully connect with their audiences at https://wr4c-llc.com

An innovative research study in the music industry highlights the challenge of applying strategic communications or public relations processes in a management context.   It finds that strategy is an ongoing process that involves both formal, planned practices and emergent, improvised activities. It highlights the tension between planning and improvisation, and informal and formal processes.   Jessica Edlom and Per Skålén of Karlstad University published their study in the Journal of Communication Management last week.   The tension manifests as the more deliberate, planned aspects driven by management concerns and emergent, improvised elements that arise from the creative process of developing and executing communication strategies in response to real-time data and feedback.   The study identifies evidence of five strategic communications practices: ✅ Meetings ✅ Working in the office ✅ Gathering and analysing consumer engagement data ✅ Collaboration ✅ Storytelling   The authors call for further research to explore the role of strategic communications practices in other settings.   Consumer engagement data gathered from social media and music streaming is a useful example of the situation that the authors identify. It is used for formal planning purposes but is also an important input that leads to emergence and improvisation in strategic communication practices.   This so-called strategy-as-practice (SAP) perspective, which views strategy as something practitioners do through everyday practices rather than a long-term plan, provides a useful framework for understanding the dynamics of broader strategic communications practices.   Theory and practice operate as separate communities within corporate communications and public relations. This perspective could help bridge the gap, improving outcomes and the relationship with management.   --   Edlom, J. and Skålén, P. (2024), "Understanding tensions in strategic communication practices: a strategy-as-practice study of the music industry", Journal of Communication Management.

This write-up serves as a guideline for building a record label company. However, it's crucial to prioritize building the capacity of your staff to ensure maximum output. The fundamental aspect of any company is the people who operate within its system. 1. A&R Department The A&R department is responsible for scouting and recruiting new talent. Acting as intermediaries, they manage relationships between artists and the record label, ensuring a balance between the artist's creative vision and the label's commercial goals. 2. Artist Development Department This department focuses on the growth, branding, and career planning of artists. Though many labels now refer to this as the Product Development Department, the primary goal remains to maximize the potential of artists, though with an increasing emphasis on creating strategies for high record sales. 3. Legal/Business Affairs Department This combined department handles contract drafting, negotiation, and provides legal advice. It also manages commercial activities, including finance, business estimations, partnership opportunities, and leveraging emerging markets to boost revenue. 4. Marketing Department Responsible for creating marketing plans for label projects, the marketing department collaborates with other departments such as promotion, sales, and A&R. They focus on content creation and developing long-term relationships between artists and their fan base. 5. New Media Department This department explores new technological innovations and their impact on the music business. They help artists establish an online presence and embrace new trends and platforms to maximize revenue. 6. Promotion Department The promotion department secures radio and television airplay for new tracks. They work to ensure that tracks reach influential platforms and achieve top chart positions. They also collaborate with marketing and sales to develop comprehensive promotion strategies. 7. Publicity Department The publicity department manages the public image and brand promotion of artists. They handle television appearances, magazine articles, interviews, album reviews, and feature stories, ensuring a positive public perception of the artist. 8. Sales Department The sales department focuses on selling the label’s products, including physical records, digital downloads, and merchandise. They work with retail stores and digital service providers to ensure that music is available on all platforms by the release date. Conclusion While the marketing and promotion departments might appear similar, there is a distinct difference. Marketing focuses on long-term relationship building through social media and content creation, while promotion targets immediate airplay and media exposure for new tracks. Follow for more valuable insights on the music business. #entertainment #entertainmentlaw #music #musiclaw #nigeria #africa #musicbusiness #recordlabel #afrobeat #africa #nigeria

Case Study – A National Level PR Campaign in Action I’ll walk you through a PR campaign I'm working on and how I create the angles to promote it. The client is a DJ but he’s largely unknown, at least at the level where he could put on a festival, so the point of the PR campaign is to change that. He wants publicity and to be known, ideally to appear on TV, radio, and wiggle his way into a scene that is highly protected. Can we achieve that? 100% yes, and here is how I do it! I'm not revealing his name or the festival name as this will become a case study in the future, but this is about how we take that story, and make it something journalist and the press want to run with. Journalists don’t care about unknown DJs, so we tie the story to things we know they do care about. As with newspapers in the past, people care about names they know, places they know, things that make them nostalgic, and joining the 'good fight!' The piece will cover the history of the festivals in the scene, and also in the local area. People like to read about their interests, and they like to read about festivals they attended. Nostalgia will play a part. In the location there were a few really famous music venues, and anything that talks about those locations automatically gets shared because of all the middle-aged people being brought back to their youth. Us against them – I'll include that he's pushing against resistance, as the council and old people do not want a festival at that location. They certainly aren't happy about it, but by framing this as an 'us v them,' people will join in helping to protect the festival. I'll include names of other big festival promoters that people are familiar with, and include their comments. Regardless of whether they are positive or not, it is either 'old men holding the young guy down' or 'big promoters endorse this!' When you tie a story to an area you can automatically generate a lot of interest from people in that area. If you've laid some prompt work in local forums and boards, it gives you a powerful trigger and quotes of interest within those communities. What he brings and his views on the above is how we take a whole landscape of emotional triggers, and hang the story on him. This will propel what he wants people to know, into a story that people and journalists will happily share, and read. The worthy fight – the suggestion it will be opposed is always useful, and we have an excellent villain for the piece as the local council have indeed grumbled. Everyone loves a story of the hero (of their tribe) opposing 'the man.' Past quotes will be found from 2 television personalities opposing and encouraging this type of festival, as big names always help to generate interest. The HERO of the piece is of course the DJ that wants me to promote his festival. Hope this was helpful, it's how you take a story of an unknown DJ wanting to put on a festival, and generate real PR and interest in the target market.

What I miss most about performing is the communication and the magic that happens when everyone is in sync. Musicians are some of the best communicators! It’s all about observing and adjusting. It is a literal public display of teamwork in front of a live audience. We have to communicate as an internal unit (without words) in order to make sure our external stakeholders (audience) is pleased and adjust based on the results. Communication skills happens to be one the competencies employers look for. So if you’re a hiring manager reading this consider hiring more musicians 😎 #Music #Communication

I'm part of a choir that sings in partnership with a full orchestra. We spent yesterday putting the polishing touches to The Queen Symphony before taking it on tour at the end of the month. "I need you to watch. I need you to listen. I need you to anticipate." That's what our conductor said to us yesterday - we needed to listen to the other voices, and the assembled musicians, we needed to be ready to attack the notes, getting out there at exactly the right time and stepping back again to let the solos shine... It struck me how much being part of a choir is like running a Communications department. We need to watch for opportunities and craft messages, timing them just right to make the most relevant impact. We need to keep our ear to the ground to be aware of the rumbles that might prompt reactive statements. We need to make sure our spokespeople are prepped and ready to stand centre stage, with the key messages at the ready... I love working with teams to help them bring out the best in their communications functions. There's something special about helping teams develop new ways of working together in order to get the most impact from their messaging, - it really is just like listening to all those instruments and voices come together in harmony. ________ I'm Claire, I'm a freelance communications consultant. I'd love to help you with: ⭐Communications Strategy ⭐Social Media ⭐Developing communications functions ⭐Content Strategy More info: www.clairedunford.com (I don't sing at work often... honest! 🎶) #freelancer #communications #communicationstrategy