Jan/Feb '17 Issue Of BRASH! Magazine Available Now!

Jan/Feb BRASH! Magazine Featuring Cover Artists The Last Living

You’ve waited patiently and now its finally here! The Jan/Feb ’17 issue of BRASH! Magazine ft. music group, The Last Living. We are making even more noise in the Indie Scene bringing you more music features, artist spotlights, and BRASHION! segment featuring editorials and style stories.

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Indie Music = REAL Music?

Where can we find quality music today?

It’s a no-brainer that the music industry has DRASTICALLY changed since some of our favorite mainstream artists began. These changes have created a domino effect on how music is made, distributed, marketed, and handled business wise. A lot of our beloved artists who were once signed to major labels have now started their own or joined independent labels. On the other hand, technology changes have had a grand effect on new indie artists who have hopes on getting picked up/signed by major labels OR continue their growth on the independent route

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6 Things You Can Do With $100 That Will Change Your Music Career

Money. Let’s face it: most artists aren’t very good with it. Most of us don’t have much to invest into our music career (relatively speaking), and when we do, we tend to throw it at some random opportunities without a larger strategy in mind.

Take, for instance, submission fees to music festivals. Each year, thousands of artists spend over $100 in application fees or subscription costs to EPK sites, in hopes of getting a show at SXSW, CMJ, Bumbershoot, or other large festivals. Personally, I think festivals are overrated in terms of importance for your career, but if you really want to get in, try reading this guide: How to Get Into SXSW.

You can easily spend $100 on strings, picks, or sticks. You could even buy a cheap electric guitar. Or, if you were riding in my tour bus, $100 almost covers the gas from Portland, OR to Seattle, WA.

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MuzicNotez Management & PR

The internet has opened doors to promotional opportunities for artists worldwide. The problem with that is it’s created a much more competitive market, and you need to stand out from the crowd. Ultimately your music sells itself, and without the talent you won’t succeed. But even the most talented musicians don’t necesarily succeed in the industry today (or in the past). That’s where management comes in, however most managers charge a fortune and take a cut of your money. A lot of indie artists just manage themselves today, which is a full time job if you want to succeed. When you have another full time job, your band, and managing your band, that can be extremely diffecult. Plus it takes away from your true passion, the music. As musicians ourselves, and with years in the industry, this is why we offer management unlike any other.

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Need help winning Joe Bonamassa's Blues Masters Competition

Hello my name is Hollaman Lindsay and I am asking all of you to see if you can possibly aid me in my attempt to win Joe Bonamassa’s Blues Masters Competition. The first round for this contest is based off of viral popularity and how many views and shares your audition video gets, now I aint sayin that I cant generate that many views and shares because I dont have the talent, Its just that I live in Hiram Georgia and we got more stock in rakes then we do computers so its hard for me to find many people around me to support it. So I am inquiring you to see if you can help me get my name out there and get my audition video views and shares because if I can get past this first round and make it to guitar duals I think I got it made in the shade.

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From Payola to Blogola to Pandola?

Montgomery and Moe showed that it would be efficient for labels to pay for airplay (Montgomery & Moe, 2002). This is not surprising given the impact airplay can have on sales, at least in the old music industry (Dertouzos, 2008). However, direct undisclosed payments to influence radio programming (called Payola, a combination of pay and Victrola) are prohibited by law. Hence, labels developed strategies to circumvent the law by using independent promoters or naming payments “consultant fees”.

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Pitching Your Band

If you were presented with the opportunity to pitch your band directly to the Chief A&R representative for Capital Records, what would you say? If there was a venture capitalist looking to invest into the dreams of one band, how would you convince them to choose you? If your favorite band was in town and looking for an opener, what would you tell the promoter about your act?

Being able to pitch your band is one of the most important steps in being able to book shows, secure sponsorships, get a booking agent/manager, receive press, and even to getting on a label. It’s also one of the areas that I see independent musicians struggling with the most. Even though I have a disclaimer on LastStopBooking.com that we are not accepting submissions, I still receive about 50-100 EPK submissions and query letters per week. 90% of these sound the same: the band describes themselves as having “great music,” and they almost always say they are different than other artists because they are “hardworking.”

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