7 Things You Should Do When You Meet an Entertainment Industry Professional

Lately I’ve been having increasingly positive interactions with professionals who are in a position to help me grow my audience and my earning potential from my music. It wasn’t luck and it wasn’t handed to me. I started completely from scratch and patiently, steadily went about the business of developing relationships.

Concert crowd

If you’re an artist and you share your art publicly, sooner or later you will come across people who have clout in your industry, people who are in a position to help your career along. The most common complaint I hear among those who work in the industry as booking agents, radio hosts, reviewers and journalists is that they are objectified by those who could use a boost. Think for a moment about how you would feel if you were treated only as a career opportunity, not as a person.

Now, let’s return to our interactions with that industry professional.

Be a good listener. Make a habit of really reading a person’s social media posts and responding kindly and in a way that’s relevant to the post. If you meet face-to-face, really, actively listen instead of rehearsing your responses. Get to know the needs of the person you think can help you. What that person probably doesn’t need is pressure from you to put their good name behind an unproven artist. Your demo track doesn’t prove what an industry professional needs proven.

Be helpful. What you can prove is how willing you are to make an event successful by jumping in and helping with an event even if it’s not your event or not the glamorous event you had in mind. You can help by recommending artists that are further along than yourself.

Get over yourself. How awesome your new song may or may not be is in the eye of the beholder. Nobody owes you an opportunity because you believe you made an amazing recording. Take a few deep breaths and let them go. If you can think for a moment like someone who hasn’t heard you and has little to distinguish whether she click your link or the 20 others on her inbox, you can think of a more relevant way to establish a human connection.

Ask for a critique. Instead of trying to sell an industry professional on how awesome your creation is and how ready it is for the opportunities you’re trying to get, you might ask for a critique of a new song before professionally recording it.  It depends on where you are in the relationship with this particular person. When you incorporate at least those suggestions that are genuinely in alignment with you as an artist, you can really demonstrate that you’re listening to that person in order to fulfill a need for the kinds of creations they can use. When an industry professional has invested time in your improving your craft and gets a satisfying result, the relationship grows.

Know where you are; don’t skip steps. The “American Idol” syndrome has a huge swath of the public convinced that you can be singing in the shower one day, auditioning the next day, and then it’s off to Hollywood! This may partially explain your instinct to ask a concert promoter you just found on Facebook if your garage band can open for the Foo Fighters next month when they come to town. If you’re a new band, you need a following that goes beyond family and friends. Concentrate on playing venues appropriately sized for your audience. Do not let pay or lack thereof stop you from performing. You need to keep improving your craft in front of an audience as you grow your audience. You need new names for your e-mail list. If you keep growing your following, you’ll be able to choose the higher paying venue over the lower paying venue when they both want you on the same day. Know which venues attract people with tastes that would match your creations. Strive to work each level of your career to its full potential before demanding to be carried to the next level. While you’re at it, enjoy the level you’re on. Embrace it with gusto. Be patient. If it takes years for the timing to be right to partner with an industry professional you’ve met, it’s well worth the time, effort and patience, as long as you’re actively working each level and not waiting to be discovered. This means practicing, playing writing, recording and growing your fan base by playing whatever appropriate venues you can and forming relationships with potential fans.

Be consistently positive and friendly. You can’t always control your mood, but you can sure control what you post publicly about your mood and the people involved in it. Bashing your competition or artists on a higher level than you advertises your insecurity about your own career. Even worse is bad-mouthing an industry professional who didn’t give you what you wanted. If you do that online, you will create a permanent record of your unprofessionalism and a neon advertisement as to why industry professionals should not work with you. Keep your interactions positive. Remember things that this industry professional shares, either publicly that you’ve seen, or in a face-to-face moment with you. If a concert promoter posts pictures with his puppy Roscoe, ask him one day “How’s Roscoe?”

Look for conversational hooks. Especially on Twitter, if an industry professional posts “Good morning, how is everyone today?”, he/she is hoping for a reply. Grab on that hook and engage this person in a little conversation.

By making these seven changes to your interactions with industry leaders you come across, and with potential fans, you will probably not get immediate financial reward, but you will feel a difference first in the quality of your interactions and the communication you get coming back to you. Industry professionals may not seek you out right away, but they’ll be much more welcome to your communication if you engage their humanity and not your idea of how they can instantly catapult you to superstardom.



3 thoughts on “7 Things You Should Do When You Meet an Entertainment Industry Professional

  1. Newman

    This is a load of BS. This “be nice to me and I’ll help you get your big break” attitude is self serving. The truth is that the industry is dependent on having new product to release every week. If every musician stopped writing, recording and performing for a full year (which won’t happen) these “industry professionals” would be sweating bullets wondering how they were going to earn a living with no talent to exploit.

    1. junglegymjamsite Post author

      Much respect Troy for your opinion. You hit the nail on the head in your parentheses – the unlikelihood that every good musician will stop making music for a year because they don’t like the state of the industry. But I also think there’s a disconnect between what I wrote and how you responded (“load of BS” is an overgeneralization that serves no one and assumes things I didn’t even write). I mentioned being a good listener with a positive attitude and helpful to someone who can help you down the road, perhaps even making the most of an “unglamorous” first booking, but I didn’t mention accepting exploitive deals. I don’t think an artist should allow a profit-driven organization to use his/her music for free (ad or film placement or performance at a venue where everyone gets a guarantee but the artist). An artist should only accept a deal that is valuable to the artist. That could mean guaranteed payment for a gig, percentage of ticket sales, appropriate licensing fee, etc. I routinely say in blog posts that “playing for exposure” is not enough. You need to know what benefit you stand to gain from playing a show, whether or not a paycheck is involved.

      For a new artist who is not yet drawing a crowd, it could be the opportunity to beef up that mailing list and increase turnout for future shows. If a venue owner is risking a loss by booking a band that might not draw, it’s appropriate for that band to meet the owner part-way in sharing the risk. Demonstrating to the owner how you’re promoting the show is a good start. If you’re going to ask an industry professional to crank up the hype for your band, they need to see that you’ve done the work and gotten the results to build a following before they stake their reputation on you. That’s what I meant when I say “know what level you’re on and work each level to its full potential.”

      Another thing I didn’t mention was “a big break.” Today’s indie music scene is about building momentum on multiple “small breaks” – a positive review in a blog, someone who will consistently retweet your tweets, a contributor to a direct-to-fan campaign, a licensing deal to place your song in an ad or independent film.

      I agree wholeheartedly that music is valuable to society and worth being paid for. The fact that listeners can stream entire albums without buying them is something that the entire industry is wrestling with. The fact that any artist can create a professional (or not-so-professional) sounding record in their basement and share it with the world minutes later creates a longer list of music to sift through than a listener will ever get through. As an artist, I invest some time and effort into relationships I think could be constructive toward having my music recommended to a compatible audience so it cuts through all the unsolicited “noise” out there.

      What’s working for you, Troy? What are your specific successes and frustrations with your encounters with music industry workers?


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