Mind you, this is not just a recent COVID-19 concern. I've pondered this issue since 2010. The main reason I never altered my course of action: I wanted to get my recordings reviewed. Many publications had (or have) a hardcopy-only policy.
Well, fortunately, things are opening up. Publications are now more willing to review recordings being released in the digital-only format. As I see it, this will save time, money, and certainly space. More importantly, it will afford us opportunities to be more creative and prolific.
Well, fortunately, things are opening up. Publications are now more willing to review recordings being released in the digital-only format. As I see it, this will save time, money, and certainly space. More importantly, it will afford us opportunities to be more creative and prolific.
To do publicity for my current releases--Free Wyoming, Sonic Journey, and Subspace Interception-- I’ve reached out to publicity veteran, Chris DiGirolamo from Two for the Show Media, someone I've been working with since 2009 when I released Blue Soliloquy. And Chris has gotten me some top-shelf publicity, too: a feature on NPR's Fresh Air, a rave review in the New York Times, and a significant boost in the Downbeat Critics Polls. No complaints here!
So, I figured it's only appropriate that I pick his brain about releasing digital-only recordings in this current environment, and what that means in terms of a publicity campaign.
Sam Newsome: Chris. Straight to the point. How does a digital-only campaign differ from conventional campaigns involving CDs and maybe even vinyl?
Chris DiGirolamo: Well, Sam, I think many of us are going to see "digital-only" as the new approach. I have found a number of positives. Aside from the tremendous amount of outreach it creates, it allows the publicist to monitor who listened and who did not. Gone are the days of the artist running into a writer and them saying "I didn’t get or didn’t hear it." Sorry, brother, I have the proof right here. It is more direct and grants more information to the publicist that we never had prior. Also, let’s not forget the $800.00 in postage and the cost for 1000 CDs that become furniture you save on. It is just so much more sensible for 2020.
SN: Amen on that one, brother! Do you feel your client has better opportunities for publicity if they have their music available in physical and digital formats? Or does it simply depend on the person and the music?
CG: I really think this is personal to the person. I cannot remember the last time I personally played a CD. I have hundreds of hours of music just on my phone alone. Its preference. let’s be real- it will all be digital eventually. The physical CD will become like the rabbit ear antennas we grew up with. Lol!
SN: We actually had a conversation about digital-only releases a few years back. And you expressed to me that this would be difficult without at least sending writers a generic CDR of the music. What changed? And when did it change?
CD: Yes, we did. And it was difficult at that time. What basically has changed is just the timeline and technology. We are a few more years from that conversation, where many colleagues in our business have adjusted to the digital side as well. It has changed slowly and we still have a group who are still holding on to “I need my CD.” It will eventually be digi. It is a no brainer. You have all of the materials for the listener and you have saved HUGE costs. And again, we can monitor!
SN: Many musicians see hiring a publicist as a waste of money, whether promoting digital or physical formats. Any merit to this? As you know, I don’t agree with this.
CD: If PR was a waste of money I would not be here for fifteen years. PR is a waste of money when the artist does not understand what the publicist is doing for them. I have seen musicians at comparable talent levels take PR and do amazing things with it. Then there are some who think their ego was hurt and it’s all BS. I use the DB critics poll as an example. If you are listed, it is amazing and you can’t believe it. (You thank Mom, the dog, etc.) If you do not get listed it is BS. Same principle. When the media digs you, PR is great. When they don’t respond as you would like, it is a waste of money. It is an opinion I respect. I never spend someone else's money.
SN: We’ve all heard that famous philosophical question: "If a tree falls in a forest and no one is around to hear it, does it make a sound?" I’ve often thought something similar to releasing recordings: If you release a recording and no publicity is done to promote that recording, do you really have a new release out? What are your thoughts on this?
CD: Sam I have a saying that's pretty clear. “What's the use of purchasing a new Porsche if you are going to buy it with no wheels."
SN: Let's talk about different styles of music. Some musicians feel you need to play weird music or have some kind of shtick to get any kind of press. Branford Marsalis calls it "interview- music." What's been your experience?
CD: If someone is playing their music just to be covered, they should shut down shop NOW. You are a perfect example of that approach and dedication. You do what Sam does. We want the media to understand what YOU are doing. Sam Newsome is a “Soprano Saxophonist, Improviser, Solo Performer & Sound Enthusiast.” You do not do what you do to get press. We both know that. I am not into” shtick" thing. Musicians have put in hundreds of hours to master a skill. It has to be real. IMO. There are writers who love the “left-of-center” material, but you have to know your contacts. I think we both know them.
SN: I think we can agree that my work is left-of-center. Do you feel there are more opportunities to get press for musicians who are more experimental? Or is it easier for more straight-ahead clients?
CD: Honestly, Sam, it really depends on the media you are serving. I am not sending your new releases to people that like the Great American Songbook. Your PR efforts should be constructed around a serviced list of people who would be interested. EVERY writer has interests that a publicist NEEDS to know. Otherwise, you are throwing it against the wall to see what sticks. Which is why publicists can get a bad rep.
SN: Do you feel blogs are becoming more important to publicity than traditional print publications? Or are they both running the same race?
CD: I believe it really is a race that print is STILL winning. Bottom line: we would rather be in the New York Times than Louie's Music Blog. I personally feel every bit of coverage is positive. Some have more value and some are to just keep the fire burning. It all has value. It may not be the value your ego needs, but it all helps.
SN: What can musicians do to get writers and the general public more excited about their work?
CD: Sam, I have been saying for 20 years, the musicians need to market their live performances. Meaning record everything and release live music. Your studio material is on every streaming service for 5 cents a month. So, do something different to benefit instead of complaining about what you will NEVER change. Change the live experience for your fan base. When they get to your gig, give them a thank you card for attending with a download code on it. This could allow them to download the performance the next day from your site. It's giving, it brings people to the site and allows them to relive the event. (You also now have their contact information as well to build database.) I think what we have seen lately is how musicians all of sudden are thrilled about their streaming events. That is something else that will aid in getting more people interested.
SN: One of the most insightful things you said to me years ago, was that the biggest mistake most musicians make is that they put out one recording of something and move on—never really building on the idea. Over the years I’ve felt I’ve built an identifiable brand, not necessarily from great work, but from the consistency of my work. What are your thoughts on this?
CD: You have completely nailed it. More today than ever before you must stay on your branding. I tell every musician who wants to pursue professional music, “You now are a business owner.” You must take the approach as such. You must maintain the quality (practice and performance) and you must maintain the business side (pricing, time, etc.). You must maintain. With the new outlets that have come from COVID-19 you have no excuse.
SN: I know it’s hard to say right now, but what effect do feel the COVID-19 will have on the world of publicity?
CD: It will all be positive. When humans are all in fear-mode.We cannot see the amazing things that are actually going on. I have heard more new music than ever. I have seen musicians really expand their personal growth through streaming and social media. I have seen a number of videos where people were afraid to “open” up and post. Now they feel good about their playing as many would complement them. What about the networking that has occurred. The new teaching business’ The opportunity to now hold a rehearsal online … I could go on and on.
This is a very good time for the arts, you will see. We all lost money. Now how do we make it work? And by the way, this will happen again in another 20 years. It always is changing. I remember in 2006 every record company was closing. We were DONE! Now how many artists have been able to be heard because of that. It’s all good. Music and Bad are two words I never use. It will all be good Sam! Promise!
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