SXSW Day 1 Review/Licensing Recap

Now that I have had a chance to decompress (and an opportunity to type on a real keyboard), I have some further observations on SXSW Music Day 1.

The most informative panel that I attended was licensing unsigned bands for tv and film. The director of music supervision from MTV networks (which includes VH1) and the music supervisor for a movie company, among others, provided practical instruction for getting placements in television and film as an unsigned artist. In summary, the panel agreed that unsigned artists:

should NOT send unsolicited emails to music supervisors with links to view mp3s
should send hard copy press kits if sending unsolicited mail
should follow the proper format for submission when there is one listed. The music will get heard (they assured the audience).
should seriously consider hiring a song plugger. All panelists agreed that music supervisors trust a limited number of people. Many of them are professional song pluggers. Specific song pluggers mentioned were Talenthouse, The Orchard, and Sir Groovy.
should NOT suggest what scene the music would be appropriate for.
should be touring and actively engaged in a music career. Particularly for MTV and VH1 artists, the music supervisors want to be part of advancing an artist’s career. If it doesn’t look like the artist is even trying to have a career anymore, the music supervisor will likely move on to someone else.
should make instrumental mixes of all songs.
should have a relationship with a performing rights organization and register their material with that organization.

The panel said that the common deal terms for licensing for an unsigned band, dependent on the length of the song, the nature of the placement, and the profile of the band, varies from $ 500 to $ 5,000, with bands being paid on the back end for public performances by performance rights organizations.

PERFORMANCE SUMMARIES: (one line)

Southeast Engine – Sounded like Ryan Adams meets Wilco.
The Webb Sisters – Acoustic duo with guitar and harp. Excellent harmonies.
Dignan – Xylophone + accordion + keys + pop hooks = nice.
Peter Mulvey – effortless skilled acoustic guitar playing, great songs.
Girl In Coma – very punk, but great stage presence and the crowd loved them.
Ten out of Tenn – awesome concept for 10 established songwriters, sounded great!

Getting Songs on TV

I got an email from a friend of mine today. I won't say his name because I didn't ask his permission to use it. (I think he'd be cool with it anyway, but why risk it.) I had emailed him before asking him what the secret is for getting film/tv placements. This guy has made an entire career off of them. His answer was "Don't put the cart before the horse."

In order for to get a song licensed for use in a movie/tv show, you have to know someone on the inside who is making decisions. A lot of people spend years trying to send press kits to people who either 1) never open them, or 2) open them, but lose track of the artist even if they liked the song but couldn't use it. My friend said that almost all of his placements have come from people who were fans that he met early in his career and then, as they achieved more decision making authority in their jobs, he was the beneficiary.

One TV show theme song that he authored was from a fan who he spoke with briefly only once. She remained a fan and asked him to write the song for the TV show when it was picked up by the network. This artist just did what any artist should do. He established his career by touring and building relationships with fans first. Then, he started getting placements. Not the other way around!

The moral of the story is that all artists need to value their fans. This means you need to respond individually to myspace and facebook comments. Don't use a bot. That is patronizing. Fans know that a bot is a bot. The more that you love your fans, the more they will love you. When you aren't a huge star with millions of fans, you need your hundreds (hopefully) of fans to be dedicated.