[Via - Bob Lefsetz - Lefsetz Letter, July 10th]

“This is an utterly fascinating story that should be read by bands and concert promoters alike.

This is the Phish phenomenon, absent social media/the Internet which can spread the word so much quicker than in the days of yore. Stop telling me you need development money, you need to get on the radio, on television. Phish had none of that and they can do better live business than today’s Top Forty wonders. Focus on music and culture, not marketing.”

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Rollo & Grady interview with Bob Lefsetz (Click Here)

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‘Manager Spotlight’ is a recurring feature on Rollo & Grady in which we speak with rising
stars in the music management business. This week we caught up with Holland Nix of Anger Management in Nashville, Tennessee. Her clients include JEFF the Brotherhood and Heavy Cream. In addition to running Anger Management, Holland is also a partner in Infinity Cat Recordings.

JEFF the Brotherhood

R&G: How did you get your start in the music business?

Holland: I had a very mid-90’s intro into the music biz. I moved to Nashville a few years after college without knowing it was “music city.” I needed to find a job immediately, so I interviewed and was hired at the Hard Rock Café. I met many people wanting to break into the biz while working at HRC. That’s when I learned about all the music companies in this town. I went home one night and pulled out my CD collection. After reading every booklet in the stash, I wrote down every studio, management company, record label, booking agency and PR firm that was based in Nashville. I whipped out the phone book and wrote down all the addresses I could find. Then, on my days off from the HRC, I would pound the pavement with good ol’ fashioned typewriter resumes. My last day of footwork and the last company on my list was Vector Management. It so happened that the receptionist had just given his notice and I arrived at the right time. He got Kathi Whitley to come and speak to me and then she handed me over to Ken Levitan. All went well and it looked like I had a job, but the receptionist decided not to leave so I didn’t in the end. Kathi asked me to keep in touch with her just in case something else popped up, so about once a month I’d call her and we’d chat. It took ten months, but eventually that receptionist was promoted. I got the phone call to come on over, and the journey began.

R&G: What advice would you give to aspiring managers?

Holland: That’s a tough one because the landscape of the music industry changes every three minutes. I would have to say: do your homework, learn as much as you can about the things that don’t initially spark your interest, and build your knowledge base beyond what you feel is your capacity. (I’m assuming you’re already obsessed with your passions or you would not be in this crazy industry.) I was a day-to-day manager for seven years before I started my own management company; I learned new things every day, and I still am. What you should not do is assume you know all that you need to in order to manage an Artist. Also focus on building your team; no one can do it alone. It’s amazing what can come together when you have the right people around you. Finally, I’ve had some great mentors who have taught me everything from business philosophy to how to properly bang my head at a live show. To these people I owe everything!

R&G: If I had known then, what I know now, I would….

Holland: …have gotten into management a lot sooner. I started at a management company, but then hopped around to many different types of companies in the music industry. Once I really focused on management I was hooked. I don’t have any regrets, as I learned so much working in all facets of the biz, so perhaps I shouldn’t list this as the answer to your question. How about this: I would have gotten earplugs a lot earlier in my career. Although listening to live shows in front of the “stacks” is quite righteous, the long-term affects far outweigh the short-term buzz.

R&G: How important are social media sites like MySpace, Facebook, Twitter and music blogs in promoting your acts?

Holland: Extremely important. What the fans want most is direct access to Artists. It’s important for the fan to stay engaged and the best way to do this is via Twitter. When bands communicate with their fans, it’s instant gratification. It’s the timeliest medium we have today. I mean, who doesn’t want to know what MC Hammer is doing right now? Facebook is still a very clean tool that not only serves as a direct connect with your favorite Artists, but with your friends as well. Total viral lovin’! MySpace is like the 8-track tape player my grandmother had in her car: it looked cool and had been cutting edge at one time, but was no longer the most efficient way to blast tunes in her ride. I don’t mean to say MySpace is irrelevant; it’s simply no longer the shiny new toy. Music blogs are my favorite reads. There’s no greater way to get the fans’ perspective than through the various blogs. What’s posted isn’t always positive but the bad comes with the good. I learn so much about new Artists, new technologies, and the latest hype reading music blogs. Slightly addicted, party of one!

R&G: Most interesting or humorous situation you’ve dealt with as a manager?

Holland: This is hard for me to narrow down from fifteen years of being in the industry, so I’m going to go with something recent. SXSW 2010 at one of the epic JEFF The Brotherhood showcases: There was a guy talking and eating pizza during the JtB set, so Jake walked over to his table, propped his foot on the edge, and played the entire solo in this guy’s face. It was totally rad. Jake and Jamin really know how to grab the attention of the unsuspecting live show attendee. The best part is, that dude bought a CD at the end of the show. Mission accomplished!

R&G: Blackberry or iPhone?

Holland: Blackberry. Thank you Verizon for not jumping on the iPhone bandwagon and therefore allowing my “wheelie ball” callus to grow and grow.

MP3: Jeff The Brotherhood – U Got The Look
MP3: Jeff The Brotherhood – Bone Jam

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‘Manager Spotlight’ is a recurring feature on Rollo & Grady in which we speak with rising stars in the music management business. This week we caught up with Ian Wheeler of indie outlaw management in Brooklyn, New York. His clients include Deer Tick, Wye Oak, and MG&V. In addition to running indie outlaw, Ian is also co-owner of Partisan Records, home to Paleo, Mountain Man, Holy Sons, Delorean, JBM, and Deer Tick. Wheeler is also co-president of Knitting Factory Records.

Deer Tick (l) and Wye Oak (r)

R&G: How did you get your start in the music business?

Ian: I played in a bunch of rockabilly and bluegrass bands as a kid and in college. At a certain point I realized that the musical talents of others were much greater than my own and I naturally developed an interest and passion for helping those folks out. I managed some bands in the South and put out some records through my first label/management company, indie outlaw. Eventually I felt like I wasn’t getting enough first-hand experience and I ‘moved’ to NYC— crashing at a friend’s place. I got a job teaching sailing in NYC and quickly lucked into an internship at Rough Trade Records as it was being sold to World’s Fair. It was myself and one other person, and there was plenty of experience to be had there. From there, I became a publicist for a couple of years before going independent with my management company and also starting Partisan Records with my business partner Tim Putnam— who I am obligated to tell you is the greatest business partner in the world as well as my best friend.

R&G: What advice would you give to aspiring managers?
 
Ian: The only way to learn how to manage is to actually do it. The majority of the job really comes down to dealing with various personalities, and the only way to learn that is by experience. Pick up a client, learn how to read them. Spend a lot of time with other industry folks; learn how to read them as well.

R&G: If I had known then what I know now, I would….

Ian: I actually ask myself this question a lot after a few glasses of wine and the consistent answer is that I don’t think I’d change a thing. I know it’s a cliché, but I’ve really made a point to learn from every fuck-up that I’ve made… and there have been quite a few. Ultimately I feel like those lessons are the best, because the terrible feelings that come with screwing up badly condition us to never make the same mistake again. Maybe that’s a bit dramatic, but learning from mistakes is something that I hold in high regard. I also really make a point for our staff here to value that. I really want all of us to be improving together every day.
 
R&G: How important are social media sites like Myspace, Facebook, Twitter and music blogs in promoting your acts?

Ian: Extremely. Those sites serve as a direct connection between the bands and the fans, which is increasingly important as the world’s population explodes and the number of bands on this planet does alongside it. Fans increasingly want to feel like they’re part of something, and they need to be treated as such. MySpace has become a wasteland, but Twitter and Facebook are fairly spam-free still and, if handled properly, fans can get a really personal experience— especially Twitter… People can have a very intimate relationship with the artist, all the way down to the minutia of what they’re eating for lunch. As silly as it may seem, fans really enjoy that connection— increasingly so in an atmosphere where the “mainstream” big commercial stuff is becoming more homogenized. The bands that really have lasting power are the ones that have dedicated fans who will buy every record, t-shirt, beer koozie, concert ticket, etc. that they can get their hands on. It takes a lot of work to win a fan over to that degree, and social media is really the only means of achieving that right now. Music blogs have been a major force for a long time. They break indie bands and are really the gatekeepers at this point.

R&G: Most interesting or humorous situation you’ve dealt with as a manager?
 
Ian: Well, managing Deer Tick, there are quite a few stories… Not too many appropriate for this forum though. Newport Folk Fest was a really big moment. There’s so much history there… That’s where Dylan went electric and where Cash, Dylan, Joan Baez, and Jack Elliot traded tunes in a motel room. There’s a really mythical quality to the thing. George Wein, the original promoter, is still really heavily involved and there was some debate over which stage Deer Tick should play. Newport is local for Deer Tick so we had a feeling that there would be a nice crowd, but it wasn’t worth pissing off George, so we settled on the smaller stage. As soon as Deer Tick started, the tent was way over capacity and the festival had to bring in extra security in a bit of a panic. It was really overwhelming seeing Deer Tick up onstage at Newport with all of this event staff swarming in to try and keep things under control. We all just stood at the side of the stage with our arms folded, beaming with pride. The band didn’t flinch… I think the chaos got them even more fired up to play a great set. Deer Tick also made a “How’s My Driving?” bumper sticker once with my business partner’s cell phone on it, and it was a real treat watching him field all of those calls. Also, the first time I ever saw Wye Oak was really special. My brain couldn’t really comprehend how Andy could play keys and drums at the same time, and seeing Jenn for the first time felt like watching an “Everybody Knows This Is Nowhere” era Neil Young, but female, of course. I really love the moments when a band steps onstage and just totally takes control of the audience… Everyone leaves the show with the exact same feeling. Jenn and Andy from Wye Oak are masters of it.

R&G: Blackberry or iPhone?

Ian: iPhone. I like pretty things.

Deer Tick – Sink Or Swim
Wye Oak – Siamese

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‘Manager Spotlight’ is a recurring feature on Rollo & Grady in which we speak with rising stars in the music management business. This week we caught up with Jay Steele, Director of Shipping and Receiving for New West Records in Athens, Georgia, and manager of Futurebirds.

Image – Alyssa DeHayes

R&G: How did you get your start in the music business?

Jay: I started out interning at American Songwriter Magazine in Nashville. I pretended I knew about music and journalism and eventually secured a regular gig writing for the magazine. After deciding that I didn’t see myself as a full-time music journalist, I set about getting involved in as many music industry outlets as I possibly could. I hit the road with the Ice Cream Man and interned at Merge Records and the Progressive Global Agency. I then went on tour with Dead Confederate. I also worked as a doorman at Local 506 in Chapel Hill. I now work in Athens, GA, at New West Records and manage Futurebirds.

R&G: What advice would you give to aspiring managers?

Jay: Find a band that you really care about and really believe in. This is obviously very much easier said than done, but it’s important. Focus your efforts on one band. If in the beginning you spread yourself too thin, you won’t be nearly as effective. Try to learn as much as you possibly can about the industry before you start managing. There will still be a lot that you learn on the fly, but it helps to have some idea of what you are doing before you tell a band you will help them out. I suggest finding a mentor. It’s important to create strong relationships with other industry folks. Also, don’t give up if you lose an artist or potential artist. The first artist I tried to manage was Chaz Bundick aka Toro Y Moi. That was back in 2006 when no one knew who he was and I had no idea what I was doing. We were very close to working together before he realized I was totally clueless at the time. Needless to say it worked out for him without me, and I’m more than happy with my current situation.

R&G: If I had known then what I know now, I would have….

Jay: …studied more in college so I could have gotten into the business school at UNC and pursued a career in finance. Right. I would have tried to learn more about the nuts and bolts and day to day operations a manager deals with in the music industry. Most everyone can think of the big picture ideas; if you slack on the details the big picture ideas will never turn out exactly as planned. Trust me: I’ve learned this the hard way on a couple of occasions. You’ve got to know how to lay the foundation and it’s a notion that I am still figuring out on the fly.

R&G: How important are social media sites like Myspace, Facebook, Twitter and music blogs in promoting your acts?

Jay: I think Twitter and Facebook are the most important social networking sites now. They are a great way to maintain the attention of your fans. Artistdata is an awesome site to help you keep all of your social networking outlets on the same page. In my opinion, MySpace has lost a lot of steam. Someone just helped me set up our Bandpage feature on Facebook. It’s just one of many applications that I think could spell the end for MySpace Music.

Music blogs are obviously tremendously important. Blogs like Aquarium Drunkard, Rollo & Grady, HearYa and Harmon Drive have championed Futurebirds since the early days, providing the band with really great exposure. After they started writing about the EP, the Bandcamp downloads and sales jumped significantly.

R&G: Most interesting or humorous situation you’ve dealt with as a manager?

Jay: Hard to say. Nine shows in four days during the band’s first trip to SXSW was a test. There were more than a few adverse situations that the dudes handled very well. The house party they played the last night is a perfect example. The cops showed up as the second band finished playing outside and told us to shut it down. It was Futurebirds’ ninth show in four days. The band was exhausted and we could’ve very easily packed up and headed home. Instead, we cleaned out a twelve by twelve breakfast room and set the band up. There were probably fifty people in this tiny house. People were watching from the kitchen and the living room. There was barely space to breathe. The only light came from a colored projector and the occasional camera flash. No one there will ever forget that show. Folks were blown away.

R&G: Blackberry or iPhone?

Jay: Right now I’ve got a flip phone. The front screen is cracked. Verizon doesn’t support the iPhone. I’m thinking about bringing back Morse code.

MP3: Futurebirds – Megachills
MP3: Futurebirds – Johnny Utah
MP3: Futurebirds – Dirty D

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Twitter for Audio? audioBoo Announces Funding, Partnerships DMN

Blogger-Run Labels: Conflict of Interest or Evolution? yvynyl

Bloggers Running Labels – Good/Bad/Natural? Drowned In Sound

Dusting ‘Em Off: Sly & the Family Stone – Stand! COS

RIAA, Lime Wire to meet in courtroom showdown CNET

Rolling Stone Preview of Bonnaroo – RS

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Rollo & Grady is adding a new feature – Headlines – that will focus on the latest news and developments in the music world. This follows our recent shift towards Twitter posts and away from aggregating music and industry news on our own site.

Audio: Gorillaz at the London Roundhouse – SKOA

Watch: Gorillaz at the London Roundhouse – COS

Apple only bought dying Lala for the engineers - BeatWeek

Bloggers To Pay License Fees? – The 405

5 Music Industry Blogs You Should Read (Religiously) - audiolife

Guide to May 2010 Releases - One Thirty BPM

Music brings authenticity to HBO’s ‘Treme’ - LA Times

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Daniel Gill, the founder of Force Field PR, grew up in Florida and started his own record label, Animal World, in 1997, through which he released albums by Frog Eyes and The No-No’s, as well as tributes to The Shaggs and Captain Beefheart. After serving as music director at WVFS radio station in Tallahassee, Daniel went on to work for Fanatic Promotion for several years, moving the company from Colorado to New York City and later opening its Los Angeles branch office.

Force Field PR, one of the most reputable music PR firms in the business, provides national, tour and specialized publicity campaigns for artists such as Panda Bear, Neon Indian, Dan Deacon, Real Estate, The Pains of Being Pure at Heart, Lightning Bolt, Black Dice, Ariel Pink, WHY?, Deer Tick, Vivian Girls, Crystal Stilts, Woods, The Fresh and Onlys, Field Music, The Strange Boys, Papercuts, The Rural Alberta Advantage, and the list goes on. In the past, the company has helped to launch the careers of a long list of established names, including Sufjan Stevens, Dirty Projectors, St. Vincent, YACHT, Blitzen Trapper, WAVVES and Beach House. Force Field’s website is set-up like a music blog, that features tour info, band bios, and free MP3 downloads from their roster.

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[via - WSJ]
“After nearly a year of review, the Justice Department on Monday set the conditions under which it will permit concert promoter Live Nation Inc. to merge with ticket-selling and artist-management powerhouse Ticketmaster Entertainment Inc., in a deal that could reshape the music industry. As laid out in a briefing in Washington, the conditions appeared relatively straightforward and shouldn’t pose major obstacles, thereby clearing the way for the creation of single entity that will be able to manage artists, book them in venues which it owns and sell tickets to their concerts. It will also be able to sell merchandise, run fan clubs, and in some cases sell recorded music. The Justice Department said in a statement that the conditions would “preserve competition” in the U.S. ticketing business.
“We were prepared to litigate this case, and I told the parties that,” Christine Varney, the head of the Justice Department’s antitrust division, told reporters. (continue reading article at WSJ.com)

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