My Pet Peeve with Music Marketing

I got all fired up when I saw this.

No, it’s not the typo, but how I feel about how music is often marketed these days.

The Tone is Too “Corporate”

I know, it’s called the “Music Business” for a reason. But which word comes first? Good music is art, and art doesn’t often mix well with business. But PR and marketing types can do us all a favor and lose some of the tone that would be perfectly appropriate for a corporate earnings press release, but strips away any sense of the art that should be the focus of their efforts. It’s not just press releases, but site content, media kits, bios, etc.

Top offenders:

…opened for the likes of…

…exploded on the scene…

…combined 20 years of music experience…

And my new fav:

…song was featured bumper music on MTV’s Tool Academy.

If it’s a professional wedding band, go ahead. If your focus is on placing music in TV, that’s great too. For talented artists that aim to reach new audiences with original recordings and performances, this kind of publicity content simply sucks. Not to mention it can strip the artist of artistic dignity and credibility.

At the very least, keep content designed for industry audiences separate from content designed for public consumption.

One last thing: I know it’s tempting – and often required by business types like booking agents and label reps – but not every artist is a mashup of two or more other artists. Sure, we all have influences, but does your client really sound like John Lennon tripping over Liberace’s piano stool?

Isn’t it time for Rock ‘n Roll to be destroyed once again?

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Ubiquitopia IV: Oct 3-4

The fourth annual Ubiquitopia campout/cookout/music thing is around the corner.  On October 3rd, we’ll converge on the Cove Campground in Gore, VA. Camping. Music. Food. Drink. Good Peeps. Noff Noff BBQ will be throwing down serious production as they always do. Email me at andrewwrightdc @ gmail dot com if you have any questions. Here’s the poster by  Regan Kireilis.

DC Live Music Radar for August 2008

I won’t be making all of these. Let me know if you’re hitting any of these shows or have any other shows to suggest.

Sunday 8/3: Wolf Trap
The Black Crowes
Grace Potter and the Nocturnals

Thursday 8/7-8: Wolf Trap
The Gypsy Kings

Monday 8/11: 9:30 Club
Rancid

Tuesday 8/12: The State Theatre
Mike Gordon (from Phish)
The Bridge

Thursday 8/14: The State Theatre
New Riders of the Purple Sage

Friday 8/15: Wolf Trap
G-Love & Special Sauce
John Butler Trio

Saturday 8/16: The State Theatre
Garage A Trois

Saturday 8/16: Wolf Trap
Stanley Clarke
Marcus Miller
Victor Wooten

Beyond August…penciling these in…

Wednesday 9/3: Constitution Hall
My Morning Jacket

Friday 9/5: The State Theatre
The Gourds

Tuesday 9/30: Merriweather Post Pavilion
Allman Brothers Band
Phil Lesh and Friends

“Before the Music Dies”

Sometimes, when I’m determined to veg out in front of the tube, I wind up “surfing” TiVo – checking out what’s coming up over the next week or so on a handful of channels I like. This is how I discovered “Before the Music Dies” by filmmaker Andrew Shapter. Not unlike to how I discover music.

On its surface, “Dies” is a doc about the tribulations of the music industry over the last decade or so. Something we’re all at least vaguely familiar about. Consolidation. Napster. Wilco and its label(s). Metalica and its fans. Britney. Cratering sales.

But “Dies” goes deeper, painting a picture of the Western music *world* and the schism that’s currently in full swing. If you haven’t noticed, there’s a major disconnect in music right now between Wall Street and actual music as an art form. One sells, one doesn’t. Which is which? You might be surprised.

There’s always been beautiful people playing music, but music always took the lead. But now, with video, pop culture worship, and technology that can turn any vocalist into a perfect-pitch siren, image has taken over. “Dies” hilariously demonstrates hit creation using a gifted songwriter, a model who can’t sing, and computer wizardry that produces pure candy that fits right into radio or MTV.

“Dies” peeks into focus-group testing, *Artist and Repertoire*, and commerce. It explores why great artists don’t “cut” it (sell hits), how country music can be “too country,” and what it means to be a “band.” Would Bob Dylan, Bruce Springsteen and U2 have made it today? What does the Internet and file-sharing really mean? What happens when the artist takes control of their business?

You see, corporations are throwing good money after bad, and they’re running out of money. But there’s a lot of success to be had in the biz with really good music. And success can mean a lot more than just money.

Heart matters. Improvisation is exciting.

“Dies” includes great live footage of Doyle Bramhall with Eric Clapton, Dave Matthews Band, Calexico, The North Mississippi Allstars, and Erykah Badu.

“Before the Music Dies” is playing on the Independent Film Channel (IFC) on Wednesday, February 20. Record it and watch it.

RAQ at the State Theatre

The first and only time I saw RAQ before Saturday’s show at The State Theatre in Falls Church, VA was when they opened for my band at the Grog and Tankard many years ago. That was one of those instances where you ask your bandmates: “Do we really have to follow these guys?”

Back then, they were a blisteringly-fast technical jamband with oft-noted similarities to Phish. A lot has changed.

RAQ’s recent performance bore little resemblance to the band that played at the Grog, or to Phish. The RAQ of today has slowed things down, added in heavier – dare I say metal elements. The guitar-keys interplay wizardry that dominated the RAQ of old has given way to a more unified musical machine where much of the drama now emanates from the rhythm section. The band has more in common with Umphrey’s McGee these days, and they’ve got the chops to pull it off.

The six string histrionics of Chris Michetti are still available in abundance, and keboardist Todd Stoops masterfully dabbles in the lower registers of his instrument. But it was the precise interplay of bassist Jay Burwick and drummer Greg Stukey that stood out. Burwick, with his pronounced bass accents, and Stukey, with his heavy right foot, produced something akin to a crowd carpet-bombing.

Interestingly, the band’s vocal interplays and harmonies were more effective than solo vocal performances. Overall, they successfully avoid the typical jamband trap (the vocals suck). The originals provided enough interesting turns, catchy refrains, and bass-bombing breakdowns to keep the crowd moving and on their feet. A few covers, including takes on Ween and the Allman Brothers (the latter featuring a very capable Cris Jacobs of The Bridge standing agog at Michette’s guitar solo) added enough familiarity for those unfamiliar with original RAQ material.

If the “Grog RAQ” > “State Theatre RAQ” progress continues at this pace, these guys have a very long and bright future ahead of them.

Burwick and Michette doing the two step last October. Photo by Aaron Williams.

Umphrey’s McGee Clips from Kimmel Live

Umphrey’s McGee is simply one helluva live band. A mix of jamband, prog-rock, pop, funk, and extreme music talent (see the twin guitar slayers Jake Cinninger and Brendan Bayliss, along with monster drummer Kris Myers) they stretch a wide variety of styles and will throw down some amazing covers.

Here’s their performance of Women Wine & Song on Jimmy Kimmel Live from 2006 (with Huey Lewis!)

And their soundcheck, Nemo from the same album…

Go see them!

Two Choice Robert Randolph Clips

Check out these two performances by Robert Randolph and the Family Band on the David Letterman Show. One of the best live acts going today.