Gatekeepers Without A Fence

Is going through the gate still the easiest way to get there?

Music Industry professionals like A&R reps and label staff, booking agents, managers, music directors, music supervisors, publishers and the like, all provide very valuable services that can significantly help an artist in promoting their music and getting it into places that are hard to access: retail shelf-space, movie soundtracks, video games, on the radio, MTV, having versions sung by famous musicians appear on their albums, live performances on opening slots on major tours, etc.  All very difficult things to achieve, and all potentially great things to have happen to a musician’s songs.  Given that, there has been a perception that musicians need to seek the approval of those folks who are installed as the gatekeepers of these access-points, in order to achieve success. These access points are viewed as goals… and attaining the acceptance from these gatekeepers is perceived as a “win” for the artist.

But when you ask yourself, as a musician why do I want these things?  Why do I want a record deal, a song on the radio, a song placed in a movie, an opening slot on a tour… what am I trying to achieve?  The answer, at the root of it all, is because these things all provide access to an audience.  That is the true goal.  Getting music heard by people.

It used to be, that these touch-points were the only ways to achieve that most ultimate of goals, but the fundamental shift brought about by interactive technology, social networking, the internet, email, SMS, web 2.0, recommendation engines, and the like, has changed things forever.  The wall between band and audience has been torn down and direct connection to a worldwide audience is now available to every musician, without requiring the approval of the gatekeepers.  Now you can keep your focus on seeking the approval of the audience, and you don’t need to be distracted by trying to achieve intermediary goals anymore.  All the other touch-points are still helpful, but should be viewed as additional opportunities brought about by business partners interested in working with you.  There is also a timing strategy that should be applied to engaging business partners… Begin by building your fanbase yourself, using web tools, interactive communication, conversations, live performances, community building efforts, and exhaust as many of the things you can do yourself first.  For more concrete suggestions on things to focus on, please have a look through this site’s archives.  You can also look to hire outsourced service providers for certain aspects, like taking your songs to radio.  But again, ensure that you’re conscious of the timing, so that you’re not wasting money.  For example, a good idea would be to engage a radio promoter in a certain market about a month or two before you’re planning to tour through that market.  That’s just one example, but in every decision you make, please ensure that you’re thinking strategically.

Don’t focus on “getting signed,” getting an agent, a manager, or any of the other intermediary goals.  Believe me, when the time is right, and you’re so successful that you can no longer manage the size of your fanbase yourself, and all the business aspects of being a musician are becoming so time-consuming that you don’t have enough time to practice, write, and perform… something magical will happen.  Business partners will present themselves… trust me, they will.  Don’t forget, it’s their job to find the artists that are going to become really successful, and connect with a wide audience.  The best way to attract reputable business partners is to show them you are attracting and building your fanbase on your own.  Ensure your main goal is connecting with your audience, and know that there is an entire playing field worth of ways for you to do that yourself.  Keeping this top of mind will not only help keep you from chasing goals that you shouldn’t be chasing, but by doing this, when potential business partners do present themselves, you’ll be in a better position to negotiate with them because you’ll be more focused on how they can enhance what you’re already doing, instead of giving them the leverage of being the gateway to reaching your audience.

Why chase after the approval of a gatekeeper when there’s no more fence in sight?