Music careers

MUSIC PR

Music PR’s work for PR companies, or in-house PR departments within record companies, to gain publicity for artists - features, interviews, reviews - in magazines, newspapers, as well as online and on radio. A PR will write a press release and biography, mail these with the album concerned to targeted publications, make follow-up calls, organise interview schedules and locations for journalists to meet the artist, and attend to the needs of the artist throughout the process. A ‘campaign’ will last through an albums related singles and tour dates, where the PR is also responsible for organising guest lists, and liasing between journalists and band. PR’s need bags of energy to work in an office all day, and when needed, attend gigs, industry functions or travel to foreign ‘interview days’ outside of ‘normal’ hours. It’s a hard slog, but PR’s meet interesting people, and sometimes have expense accounts to buy journalists drinks. Patience, good organisation and networking skills are a must.
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LABEL MANAGER

The term ‘Label Manager’ refers to those who manage small, independent record companies, often set up by people involved in a scene, such as the breakbeat artist and DJ Rennie Pilgrem who founded the TCR label. However, it can also refer to the manager of a genre specific sub-division of a larger record company. Polydor’s Verve label for example, has released jazz and experimental music. Larger record companies naturally try to make their acts more distinctive in the marketplace by releasing them on specific labels. Whilst the label manager of a small operation may have to be the A&R, PR, accountant and tour organiser all in one, bigger labels delegate such tasks to either individuals within the company, or to outside companies. Either way, a label manager listens to A&R suggestions, gives directives to PR folk, and steers the ship, deciding upon overall direction and strategy. Organised and motivated individuals with good business AND creative skills need only apply.
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A&R

Though A&R stands for the antiquated sounding ‘artist and repertoire’, these are the folk who try to find ‘the next big thing’ for labels. It’s a demanding role. A&R’s must know what’s happening at a grassroots level, attend numerous gigs in a night – even after a full day at the office - and occasionally dip into the ever-growing mountain of forgotten demos in the corner. Then, when the act of the label’s dreams is secured and the competition beat off, they’ll oversee the signing process, and plan the various stages needed to record and release an album. They’ll be the person the band – or usually the band’s manager – deal with at the label. A good A&R will work to secure support from their label, and to get their act prioritised. This is why it is so crucial for bands to have A&R people behind them who believe in what they do, and who are unlikely to move to another label.
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ARTIST MANAGER

Although their role is primarily about business dealings, some managers - like the Sex Pistols’ infamous Malcolm McLaren – may appoint themselves as band spokesperson, organise press stunts and gigs, and oversee/interfere (delete as applicable!) with ideas, clothes and artwork. When a manager has ‘discovered’ their dream act, they’ll pitch it to record labels, and play a leading role in record contract negotiations. Then, he/she will represent the bands interests in dealings with lawyers, accountants, the label, booking agents, tour managers, press etc. The manager will argue the bands corner, press for more action, or alternatively, more free time in a hectic schedule. In return, he/she will take a cut of the bands royalties, often as if a fifth member of the band. Managers need to be resilient, calm, wise to business and music law, and able to keep their charges in a fit state to perform. In the early days, they may also post demo’s and chase payments from dodgy gig venues.
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STYLIST

Though the word ‘stylist’ may conjure images of manufactured bands, stylists also work for bands like U2, Placebo and Coldplay, who have a clearer idea of how they want to be perceived. A stylist will be a fashion junkie who understands of how styles have evolved, how they can be combined, and the associations they suggest. A practical knowledge of how to source material, garments and accessories is also needed. This means building good relations with fashion PR’s, manufacturers and retailers. Very often stylists work to a brief to help music video producers, fashion photographers, magazines or advertising agencies realise their creative vision, working in conjunction with designers, lighting technicians and set builders. Record companies understand the importance image has in making their acts stand out to the media and public alike, and so use the stylists’ expertise to either create an image where there isn’t one, revamp a tired image, or as stated, help bands realise their own vision.
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