photo by Eric Sandler

A Letter to All Musicians–From Meghan Stabile

When I first met Meghan Stabile, I was amazed at how one seemingly reserved (emphasis on the seemingly), petite woman was behind one of the most massively growing, cutting edge, music cultures in NY. Founder of Revive Music Group, Meghan has been responsible for some of the ballsiest music mash-ups on stages all over the world as a show and festival curator. She’s known mostly for revisioning traditional Jazz and hip-hop idioms in tandem. In the beginning, her ideas were highly risky concepts with sometimes high stakes involved, but through relentless work, she’s one of the most reputable show producers in the city. That’s why live musicians flock to her in droves, eager to play truly challenging and exciting music, but also to learn how to survive in an otherwise grueling music industry. With the increased frequency of producing Revive shows, as well as the creative machine behind The Revivalist (Revive Music Group’s editorial arm), Meghan’s deepest passion remains being an ally to musicians. To her, being a true ally means being pragmatic and honest in the deepest sense of both words.

As evidence of that, I approached her to do this piece because of this post on her Facebook wall that completely blew up and went viral:

In the spirit of the Facebook conversation that impacted hundreds of musicians, Meghan breaks down her advice further:


There are less labels out there, which means that you must fill the void. 

I work with mostly “Jazz” artists. There are only a few jazz labels out there that are alive and signing artists. Traditionally–and still to this day–jazz departments have the lowest budgets, obviously compared to most other genres. Nowadays, budgets are even lower, and what used to entice artists to get signed to a labels, just isn’t happening anymore. If it is, it’s extremely rare. More artists are becoming independent, because they have to be.  More artists are putting out their own self-funded projects, just to get their names out there. It’s either Indie or DIY. Labels are becoming extinct.


The music industry has changed, and you need to adapt.

The biggest reality check that musicians need is that we are no longer operating under the music industry’s old model, where an artist would get signed to a label, and the label would supply you with artist development, a person working on your promotional campaign, someone on publicity, another handling marketing, an art design department, folks running the studio, an executive producer. That’s not the case anymore, so therefore artists need to adapt. The question is how, and what are we adapting too?


The myth of the manager—No, they will not do everything for you!

I get contacted all of the time by musicians asking for assistance and guidance. Some think the solution is getting a manager or agent. They don’t need a manager at stage one or even stage five. The thought process that having a manager means that they are going to do everything for you is simply not a reality anymore. Managers and agents opt in when they see a reason too, mostly beyond what they are hearing. Even if you get signed to a label, you still have to handle the majority of the business yourself. Some managers are really great at taking on the majority of the work, however, my point is, it’s a partnership that succeeds. Also, labels aren’t always the solution to help you handle all of your business. They don’t always have the capacity or resources to develop you every step of the way like they used to. Either way, you must be more involved with the work.


Have realistic expectations when working with a manager.

For some, they have so many steps that they have to do before a manager is even going to want to come in the picture. If a manager is going to start from stage one, That potential manager has got to be in love with you–in love with your music, in love with you from the jump. They have to want to go through that entire process with you, through thick and thin with you. With that being said, as an artist, you have to be prepared to be on the same page with them; if they go hard, you must go hard too. Most managers will not take on a new client from stage one. You have to build yourself up, to where they take notice.


You need to build your work to a certain level before others are going to be able to help you successfully. 

Artists/musicians have to build themselves up to a point where industry professionals are going to take them seriously. As an artist, you have to come already prepared and ready to work. It’s very rare that managers or agents will sign an artist without there being some kind of buzz already. The other factor that they look for is whether or not you’re going to be making them money at some point. If they love you, they will invest, but they are investing in your success, which is ultimately their success. Many managers are stretched thin in this business. For them to invest their time into you, they are going to want to know what they are going to get back in return–even if it’s eventually. That’s how managers and agents work. It is their livelihood to work on your behalf, and they have to see the value in your product. It sucks to even say it like that, but that’s the honest truth in how folks in the business think about it. Not all are machines, but again, when it comes to business, their are few that are in it for the art, the creative aspects, and the passion. For some, this is their JOB. Find the ones that love you first.


Creating the album is not enough.

Many artists think that after they put their work out on itunes, everyone’s going to want to buy it, and that everybody is going to know about you right away. Absolutely not. There is a level of promotion and marketing that artists need to be savvy to. Even artists signed to big labels come up with their own marketing campaigns that’s later carried out by the label team. The point is, don’t stop at the launch; be a part of the master plan.


Treat your music like it’s your business—because it is.

Many musicians think that all they have to do is create the music, and the audience will come. But to even be relevant in this fast pace, factory-like industry, where product is being pushed every second, treating your music like your own independent label has become more of a necessity.  Musicians have to understand that their music as a business. A lot of musicians don’t even want to think about that–they want to worry ONLY about their creativity, and that’s the biggest mistake they can’t afford.


Do your research—What business are you in?

You have to think ahead of the game, and not just make decisions because you assume a certain outcome will happen, based on what you think you’ve seen happen for others. You first have to know what business you are in. You have to reflect on the things that you’re doing in that business, and if they are going to make you successful based on YOUR situation, and not anyone elses. There are multiple ways, many scenarios, and more roads than one to achieve success.


Be your own director: Take your work more seriously than everyone else. 

You have to direct your own path. You’re the only one who is going to care 100% about your music and your craft. You may not know 100% how, when, who, or what–but you have to try. If you start at square one, or stage one–whatever you want to call it–then you’re already on your way. No one is going to care about you more then you.  That being said, you have to oversee everything on your project. Even if you are on a label and you have a manager, the reality of the industry is that everyone is stretched thin, and every project is important. Unfortunately, your project is not the only project out there that they’re going to be dealing with. You have to push some buttons to make sure people are on point, but you also must be on point. The key to that is knowing at every level what is going on. Even if you have a team of people working with you, you have to be at the center of the decisions being made to ensure that the decisions are in your best interest. However, always be open to suggestions.


Get people to flock to you.

Once you have your shit together, other people will start to come in and want to work with you because they will see the value of what you’ve created. You don’t have to chase people down. If you know your music will speak–then let it speak, and they will come to you. If this sounds like a contradiction from everything else I’ve said, it’s not. You still have to do all of the work.


Be open to criticism, but also be aware of who you are dealing with. 

It’s valuable for artists to seek advice and feedback, but more importantly, artists need to be open to the truth of both their limitations, and the realities of their environment. I once brought in a record to a label  years ago. It ended up being a very successful record. At the time, this label didn’t think so, then it blew up. Sometimes, that’s the name of the game when you work with certain labels. On a label level, there are a few people who are the gatekeepers, and well–if they don’t get it–you may not get put on. Try a different way. Don’t rely on a label as your end all and be all.


Find a balance between vouching for yourself and stepping back. 

Musicians sometimes say, “I got the gig, I got the gig.” That means they’ve gotten a gig that A) puts them on the road for a while and B) is their intro to the game. Often these gigs pay musicians shit money and for long periods gigging with the same artists. Most of these big gigs underpay musicians. Most musicians just starting out don’t know or realize it until they’ve already signed on for the tour. Part of it is because they didn’t know what they should be getting paid. There was nobody they could go to for advice, and they just wanted the gig. I’m not saying that if you are getting offered to play for huge artists, not to play. It’s a great opportunity. You can’t go in there with unreasonable demands either or you definitely won’t get the gig, but at some point, don’t feel you need to compromise what you deserve. You are making them sound amazing on stage and on their records. Your artistry is invaluable. They can always hire someone else that will accept the cheap check, but know that you don’t have to do that. You must value your art, do the research on what’s fair pay, and negotiate when you can. It’s about finding that balance. The real gigs will demand real cats and you’ll be happy in the end for not settling for anything less then what you deserve.


Business brainstorming is creative brainstorming.

I remember when my good friends Raydar, Jared, Lee and I used to sit down and come up with concepts for shows. We were in creative mode–using that other side of our brains. When it came down to business, it was a whole other story. Musicians especially need to be taught that you can do both, and through the act of doing it, you will start to deal with the business side much more comfortably. I think it would benefit musicians if they had more creative brainstorming sessions related to business strategies, like marketing. Musicians are naturally inclined to creatively problem solve, they have all types of crazy good ideas—and that can be applied to businesses. The key is to start seeing business in a creative light, because it is.


Things that you can start doing for yourself.

Musicians should  learn how to create strategic partnerships, and how to build a label around themselves. The tactical advice about acting as your own label is what artists need to put forth time and energy in learning. Again, that means understanding all departments, all divisions, all challenges you are dealt with, so you’re able to not only understand what each thing is, but that you know how to engage each one separately, and together when needed. The time of becoming an entrepreneurial artist is NOW.


Be honest with yourself. 

I know many musicians who would never take any of this advice. They are left field–creative geniuses who won’t do any of this stuff. It’s just not part of their thought process. I wish I could say there are many managers, agents, and label people who will be there for you from stage one, from just hearing your demo, and who will want to go hard and fight for you. I hate to say it, but they’re not out there. If if they are, there are very few, and they are stretched thin! This is a calling for more people that are willing to take risks, follow their passion, and not just the pay check. Sounds unrealistic, but I’ve lived it. Be honest with what you want at the end of the day. Who are you? What is your purpose and what do you want? How do you want to effect people with your music? What are you trying to accomplish. Once you have answered that for yourself, then all else falls into place with the work ahead.

Meghan with the community of musicians that she frequently works with

To learn more about Meghan’s work, visit The Revivalist, and follow Revive Music Group on Facebook and Twitter.

By Meghan Stabile, Compiled by Boyuan Gao

Feature photo by Eric Sandler 


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boyuanA Letter to All Musicians–From Meghan Stabile