The world of music PR can be mind-boggling to get your head around, particularly if you’re well…not a publicist.
For an artist entering into a publicity campaign for the first time, we can completely understand you wanting to know exactly how your budget is being spent when it comes to music publicity.
A lot of that understanding can come just from simply knowing what our goals are at the base of any campaign. Our job is to get you noticed. And to do that, there are ways we go about executing our campaigns to ensure you’re not just noticed, but remembered too.
Getting The Message
Beehive realises that not all media outlets are the same. We realise not all radio stations are the same. Hitting contacts up time and time again with the same blanket pitches just don’t get the results we aim for.
This is why, early in our campaigns, we work with the artist from the beginning to make sure their voices are being represented to the fullest from the start.
When it comes to approaching different media outlets, we as music publicists are always thinking about content that is relevant to each publication and journalist. Knowing the sort of music any particular journalist or outlet is into.
It may seem like commonsense, but not every indie artist is going to fit into a one size fits all box when it comes to media coverage. As such, it is the job of your music publicist to know how to approach each contact in just the right way.
Keep It Sharp, Keep It Moving
Pacing and timing are also crucial parts of any publicist’s day to day work on a campaign.
Whether we are timing our content to drop around tour dates, music video releases or other #bandscoops, we also have to be readily aware of print deadlines, online editorial breaks and other developments in the media atmosphere.
This is a big reason as to why a publicist’s relationship with the media climate they are working within, is so important.
Establishing rapport early with a follow up phone call will ensure we are on their radar, and going that extra mile to help a time-strapped editor or journalist also lays the foundations for great relationships moving forward.
This is why we encourage open communication between the client and the publicist from the beginning. Avoiding media industry members being hit up multiple times by an artist and publicist alike, when it should be the publicist’s role solely to do so, can be a quick way to being left on read.
Telling the Right Story
We’ve mentioned before that a big part of the role a music publicist plays is in telling the story an artist has already pieced together themselves on record.
Throughout any campaign, we use publicity tools to keep the wheels turning and keep the hype and interest around your story engaging and captivating. However, we keep things real and truthful.
We aren’t trying to sell you as something you’re not.
If you’re a pop artist with R&B influences, we’ll pitch your music as such. We’re not going to pitch you as the next big thing in hip-hop.
If your music is heavy, we know a mainstream indie pop website is probably not going to be the best fit. However, we’ll also know the plethora of awesome metal and heavy rock mags and blogs that would love the opportunity to be exposed to sick new music.
Always Keeping An Ear Open
As music publicists, we are always keeping our eyes and ears open to new music. We get submitted a lot of music daily but even when we are working on new client campaigns, we’re listening for artists who might be good to connect our clients with.
Sharing is caring – that has remained one of Beehive’s big mottos!
We want everyone to win and we find that connecting people where we can, especially when it comes to music – it’s a cool little bonus perk of what we do.
Feel free to ask us for recommendations if you or your band is looking for local supports, or even different connects in your city who might be into some new tunes themselves.