2-minute guides for the indie musician or band from an industry PR pro:
Is the music of an independent musician enough to get noticed??
Nelson Wells, Publicist from Team Clermont based in Athens Georgia, sat down with Jay Coyle of the Berklee College of Music Online to answer this question and how the music business uses Public relations for Press and Radio, in a series of interviews for the modern role of PR, Press, and Radio for today’s independent recording artists in the industry.
Nelson Wells sold his first startup company at the age of 21. Now he is on his 5th venture facilitating the launch of other technology startups and consulting in fields as diverse as blockchain investing (Bitcoin) and tech startups marketing and music marketing.
Wells’ company, Team Clermont PR, now in its 20th year, was the first of its kind to accept cryptocurrencies like Bitcoin, Ethereum, and Litecoin for music or tech PR campaigns. He actively consults and still finds time for designing and prototyping his own inventions as a “toolshed” inventor while heading up Public Relations firm, Team Clermont.
Currently you may find Wells filling any one of the following roles: mentor & angel investor at FourAthens, the newest technology incubator in the Southeast, as President & CEO of tech & music PR firm #TeamClermont, speaking about PR & marketing at conferences like SXSW, Geekend, or CMJ, or surfing different waves in Nicaragua, Costa Rica or France.
As CEO of Team Clermont Wells lead the team through its first 20 years tripling its valuation in a niche market in less than three years. Team Clermont has since quickly become North America’s premier boutique music & tech PR firm specializing in National Publicity campaigns, independent Radio marketing, technology startup launches, blockchain investment consulting, & film sync licensing pr. Nelson began Team Clermont in 1997 as the independent radio promotion division of his PR firm, Wells & McLean, Inc with partner Jimmy McLean, artist manager for such successful Southern acts as Jason & The Scorchers, Five-Eight, and Allgood.
In 2001, as cofounder of Team Clermont with industry pro Bill Benson, Wells expanded the company to incorporate a full-service traditional media department and an online media and press department. In 2004 Wells & team were the first Music PR company to officially service a full list of blogs with their clients’ recordings making the team a household name with online press pitching to music blogs such as Gorilla vs Bear, Brooklyn Vegan and from the smallest blogs like Baby Sue Music Review to online forces like Pitchfork, MTV. com and Huffpost.
Now 20 years of successful music PR campaigns has catapulted Team Clermont to the top of their field. Clients include Warner Bros. Records, Mute Records, Astralwerks, Domino, R.E.M., Asthmatic Kitty, Merge Records, SubPop, SXSW, Forbes blockchain contributor and author George Howard and more.
As CEO of Team Clermont, Wells spends his time on tech & music PR, and on funding and advising small startup software ventures, surfing waves, crafting handy inventions that may change the world or may only improve his kitchen technique, and taking care of his twin daughters.
For consulting services contact Nelson Wells below. [Consulting services may include technology startup launch marketing, public relations for tech startups, public relations for record labels, pr and radio marketing for artists and musicians, startup consulting for those interested in investing in blockchain assets such as Bitcoin, Litecoin, Ethereum, Stellar.org’s XLM Lumens, IOTA, or any other cryptocurrency. Disclaimer: Nothing contained herein should be construed as investment advice.]
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The past five years has seen steady growth and change in the music industry In the United States, the UK, Germany, and many parts of the world.
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Nelson Wells offers top quality advice for Press, Radio, Technology startup launches, blockchain or bitcoin investing, or Public Relations.
Cofounder of Team Clermont
Publicist In Athens Georgia
Address: 174 Cleveland Ave, Athens, GA 30601
one of the things we talk about in these
courses is publicity and the concept of
an evergreen story and obviously it’s
something that’s very topical you know
when you’re working with a client or
maybe you’re talking to a client for the
first time or you’re in you’re figuring
out their kind of momentum in what you
want to bring to the project walk me
through a little bit about you know what
do you think is important in crafting of
a story or and I don’t want to use it in
such a way that says you’re you’re
making up something on this and I said
craft in it but you know crafting the
tale to bring to the marketplace to
basically separate this artist you know
walk me through a little bit about the
process that you do for that that’s good
because we can’t make up a story for an
artist we have to take what they give us
and and hope that there is a story there
that we can share because that’s all
we’re doing we’re sharing their story
whether it’s just the music doing the
talking or whether there really is
something there to talk about to gain
more exposure and that’s what separates
the artist without a story from those
width and so that’s it in a nutshell
like I can’t make up a story for an
artist I can say there is no story here
the music is enough to carry it will
that get the their package even open
interview sometimes it might not other
times you’ve got an amazing story that
just is elaborate and might involve
independent films or tour buses breaking
down in Europe and fistfights and all
kinds of stories we’ve heard but if they
don’t detract from the band and the
music that’s what’s important so we’re
so independent that we really looked the
artists to say you tell us what
distinguishes you from everyone else and
if we can sell that story and your music
is strong enough to back that up then we
can take it on but we really only take
on artists who we believe in and
sometimes that comes from a story that
just gets us to listen and we can use
that same story to get others to listen
whether they’re at a magazine or a
you know zine or at a radio station…
One thing we’ve tried to *gently* hit our TuneCore Artists over the heads with is the importance of marketing their music before and after they release it. It starts with telling your friends and family, continues with staying on top of your social media channels, and after you begin playing shows and building a network in your local scene, you can start focusing on getting your music into the hands of radio music directors and media professionals. It requires a lot of work, but hard work can pay off!
At this point you’ve likely learned that getting your music heard on commercial radio stations isn’t an easy process. Why not change your route a bit and zero in on the often undervalued college and independent radio stations?! Here to explain the values of these types of stations and other ways DIY promotion can pay off is Nelson Wells – founder and CEO of indie PR and radio promotion powerhouse Team Clermont!
When an independent artist is releasing their first album or single, what do you consider to be some of the first and foremost basic avenues of self-promotion?
Nelson Wells: Number one, get your list of contacts together, both industry and fan and begin to reach out to see who else they could add to the inner circle. Number two, use the age old industry formula that says for every dollar you spend recording and pressing an album, be prepared to spend $4 to promote it. Many a great album have been written, recorded and produced only to sit and fill a warehouse or someone’s closet simply because no one explained the need (and cost) of getting it out. Even with personal social media and digital file sharing there is so much more that can be done on a much larger and broader scale.
Number three, get your social media (and file sharing) in line and begin the build up and smart tactful accumulation of fans and industry types. Number four, prepare and launch a well thought out funding campaign, whether it’s having family and friends fund your release, attracting a label, or executing a crowd funding campaign with any of the well known funding sites or the newer more hands-on type sites like MusicRaiser that focus just on musicians. Number five, research publicists and national radio promoters to partner with you on your release months before you actually release it. You can walk a copy down to your local college radio station or the weekly zine yourself, but it’s a really good idea to have a short list of 2-3 professionals who have reviewed your material and are ready to schedule you in their release calendar if you’ve raised your funds and can afford them.
What do you feel are few of the most common misconceptions from artists when it comes to getting heard on the radio?
“If we send it out they’ll play it.” The truth is radio stations still get so many releases that this myth just isn’t true; it’s physically impossible. Also, if you haven’t done your homework as to whether your style music fits the genre of each station you are sending to then you further decrease your chances of being heard and reviewed at those stations because your style simply doesn’t fit. Do your homework or hire people who do it for a living and who have relationships with the music director at each station whether that’s college MD’s or programmers from A3, or Americana, or modern rock radio.
What do you consider to be some wise DIY tactics for brand new indie artists pushing their first releases to different radio formats?
Other than what I stated above, if an indie artist does not raise funding or cannot afford an indie radio promoter then a handful of the indie promoters actually sell DIY packets that allow you to set up and manage a radio campaign on your own for a fraction of the cost of hiring the firm. You just have to remember that while you may have all the correct addresses and contacts and some solid pointers for doing your own radio promotion, the real value to a radio promotion company is their relationships. They can utilize these relationships weekly, yet you’re just getting started building these relationships most likely just by sending out your first release.
How important is college radio when it comes to influence and trendsetting?
There is a key element to this question as well as to the value of college radio in general, and that is the value of tastemakers. College radio stations are made up almost exclusively of tastemakers, or people who influence and set trends. In other words those music directors, program directors and DJ’s are the first ones whose friends listen to them when it comes to what the newest releases are that are landing a radio stations. These radio people leave campus after class and their DJ hours and go work in the local venues, the local music magazine or the record store on the corner.
So in the big picture even if your record is getting a few spins on the local college station that may or may not mean that potential fans are hearing it, but if the workers surrounding the station like it, you can be sure that others are hearing it.
Given that college stations are typically staffed with students/directors used to dealing with labels, firms & DIY pitches alike, do you have any advice for follow-up?
Some of the best follow up is simply researching email addresses of the music directors at each station ahead of time. Many are posted publicly online or on the station’s own website. Of course you may include your email, facebook and twitter accounts, but don’t assume that radio station people have the time to reach out and contact you; that’s your job. Another old school form of getting stations to contact you with information about your record at their station is by sending a self-addressed stamped envelope that is easy for them to send back after they check off √yes, we are spinning your record, or Sorry, we passed on your release…
Other ideas for that card: “Is there a venue you think we should play?___” “Would you like extra CD’s for your DJ’s or to give away on air?”
As the radio industry has gone through conglomeration over the past couple of decades, how has the way independent firms pitch to commercial stations?
I don’t know. We mostly service non-commercial radio, but I’d guess it involves a LOT more money, and more “consultants.”
What roles do public and community radio play when it comes to promoting independent music?
To me these play the largest role for up and coming artists, new artists, and those without a mainstream sound or a major label deal. Public, community (and college) stations are Team Clermont’s bread and butter. These are the stations and the people who “get” the indie artist and the Team Clermont client.
How can indie artists be better utilizing radio promotion when it comes to embarking on their initial regional and national tours?
The most important thing in music PR is simply getting word out and making it a continual practice each day of your career, and yes, you can make a career out of your music. This means doing it yourself whether you are hiring an indie radio promotion company like ours or not. In fact I’ll tell most touring artists to save their money by not hiring us for a tour but to rather wait until a full length release is a few months away. Then use that money to just survive on the road. It’s tough out there,
And you’ll be glad you have enough money for PB&J’s and for buying fans some beers for allowing you to crash on their couches.
Learn more about Team Clermont and their services for indie artists here!
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Contact Nelson Wells for more information.
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