For those of you who read this…
________________________________________
From: Kate Bradley
Sent: Friday, March 21, 2008 4:59 PM
To: ‘Bob Lefsetz’
Subject: RE: SXSW

Hey Bob, I just wanted to chime in here.

First, no one goes to sxsw to see bands like REM and Van Morrison… because eventually, they will come to a town near you and it will probably be a better show.  And REM was there on Wednesday this year, when most people hadn’t even arrived yet.  Those big acts are not the draw.  The draw, as you sort of mentioned is passion… sxsw is all about the fans.  And the bands that know that are the ones that benefit most.

Every time I’ve been, I’ve always come back with a new connection to a band that I didn’t know before or only barely knew.  And that connection is incredibly powerful… for me, it’s what made me find the record and play it on the radio, tell my friends about it, create buzz, etc…. everything in my power that I could do to spread the word came out of that connection.  And that connection happened not because I heard them online but because I went to a live show.  What could be better than that?  All the band has to do is connect with me and then I work for them, for free!  That’s what fans do.

In a nutshell, the “shared experience” of sxsw is through the roof.  And as an artist, what you want is to monetize [th]is shared experience.  You know this. I just can’t think of a better venue than sxsw that exemplifies this, really.

And my experience there that I’ve described above is not unique… the contagious emotion that sxsw in particular creates is undeniable.  It’s a wild, magical buzz that’s worth every bit of that hefty badge price for fans… one of the best things going, really.  The bands are amazing, the buzz is really fun and energetic… and chasing that buzz is all part of the weekend… the free microbrew, the great, cheap or free food, a killer town like Austin, top-notch sound systems, the surprises, all the great random conversations that you inevitably have with random people, and just an all-around five-star time.  The people I was zipping around with, bloggers, newspaper writers, booking agents, talent buyers, publicists, label reps, musicians, and regular old fans were all having the same experience.  That’s what’s especially nice.  Sxsw acts as a leveler… it doesn’t really matter what your music industry background is or if you have one at all. The point is, you are a fan and so is everyone else… and together, we agree to be taken on a journey by all these talented and interesting artists that the folks in Austin so lovingly gather up in one place, just for us.  God bless them.

So an “unsigned band” wants to get noticed, hell yes, by FANS.  That’s the point. Fans like me are what sxsw is for.  Fans are the new music business and you can bet your ass they are at sxsw. And if people don’t get that I’m not sure that they are fans… I’m not sure they even have a pulse… it’s pretty hard to miss.  Aren’t you a fan, Bob?  I know you are.  You, of all people would have an absolute blast.

As for the bands, what they get out of it is what they get out of every date on any tour… a chance to connect.  That’s where the money is.  Make me love you and I will come back, I will tell all my friends about you, I will buy your records.  They know that.  That’s why they go.  No one goes to get “signed.”  If they do, they are idiots.  Bands go to be heard, to create fans, to maximize the shared experience.  And sure, they can do this at any venue, not just sxsw.  But the draw to Austin is the brand.  And we all know that brand-labels work… and the reason they do is because they tap into lifestyle.  And sxsw embodies lifestyle, the lifestyle of a fan.  It’s a perfect storm.

And lastly, I mentioned radio, above, because that’s been my history but I was wondering why you even bothered to mention radio in this post or at all.  Radio is irrelevant.  Does it even exist anymore?  I just don’t even think it’s worth anyone’s breath.  Any musician that has a clue doesn’t give a shit about radio, and rightly so.  Of all things, sxsw is not about radio.  And I know some people try to make it so by rebroadcasting but really, all they are actually doing is saying “we were there and you weren’t, you sorry suckers.”  Brilliant.  Besides, so much of sxsw is visceral, not just about listening… so incredibly hard to translate over the radio.  In the same way when someone tells you “you have to see them live.”  It always sounds like a ploy until you actually do it.  But once you make that leap, you’re sold.  Priceless.

Rock ‘n roll,

Kate

© Outlandos Music^TM 2008

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Saturday night, March 15

6:16 p.m. (me to Walter) Downstairs-no rush
6:18 p.m. (Walter to me) Let me put on my shoes and I’ll be down
6:18 p.m. (me to Walter) Kay

Shoes, right. My feet really hurt…

6:20 p.m. (me to my massage therapist) Got anytime monday?

Dinner. The first actual sitdown meal I’ve had in three days.

7:48 p.m. (Stephen to me) We R at Stubbs for Duffy were R U
8:07 p.m. (me to Stephen) Now?
8:08 p.m. (Stephen to me) Duffy at Stubbs
8:09 p.m. (me to Stephen) Coming
8:10 p.m. (Stephen to me) Right in front of soundboard
8:10 p.m. (me to Stephen) K

The line is too long at Stubbs. Forget it… damn. Next.

8:12 p.m. (me to Merritt) Where r u
8:13 p.m. (Merritt to me) Emos for oppenheimer and joe lean! You?
8:14 p.m. (me to Merritt) Coming
8:15 p.m. (Nick to me) Sorry, just saw this. We are having an afterhours tonight at the suite tonight around 2. Swing by.
8:19 p.m. (me to Merritt) Im here where r u?

The “you’re okay to drink” stamp at Emo’s. Brilliant.

8:21 p.m. (Gabe to me) Going to stubbs at 9 for okerville river come
8:22 p.m. (me to Gabe) Emos jolean
8:58 p.m. (Hank to me) Im @ spiros for the eyeball records showcase. Where are you?
8:59 p.m. (me to Hank) Emos jolean!
9:03 p.m. (Hank to me) Ur right around the corner. Lets meet up in a bit. My buddy astronautalis is on in 30 min. Best emcee ever.
9:13 p.m. (Stephen to me) At Boubacar Diebate from Senegal - he is Just Amazing!
9:21 p.m. (me to Stephen) Got stuck n line@duffy.jolean blowing my mind @ the moment-emos

Joe Lean and the Jing Jang Jong
Think Freddie Mercury meets the Clash. Unreal.

9:24 p.m. (Stephen to me) Sorry I miised Jolesn -choices, choices!
9:25 p.m. (me to Stephen) I kno killn me

At some point around now, we killed time doing this. For some reason, our “confession” hasn’t been posted yet. Good thing.

9:54 p.m. (me to Gabe, Hank & Nick) Club deville darondo
9:56 p.m. (Gabe to me) Steve earl son red fly
10:02 p.m. (Nick to me) I will be there
10:04 p.m. (me to Nick) Awesome! hasnt started yet
10:05 p.m. (me to Walter) Just saw jolean-fucking killer!
10:15 p.m. (Walter to me) I was thinking about that one. Sorry I missed it.
10:20 p.m. (me to Walter) Blew my freakin mind
10:53 p.m. (Hank to me) U still there?
10:56 p.m. (me to Hank) Yes

Darondo, by the way is this guy.

11:00 p.m. (me to Hank) Just started
11:06 p.m. (Hank to me) Bethere in a min
11:11 p.m. (me to Hank) Im @ stage left sittin on ramp
11:23 p.m. (me to Merritt & Karl) Freakin rules my brite wite funkyass!
11:34 p.m. (Merritt to me) Whpped cream!

Mingering Mike is suddenly standing next to me… awesome.

11:35 p.m. (me to Merritt) Look @ me!

Mingering Mike & me

11:38 p.m. (Hank to me) Dont see u. This song is hilarious.
11:49 p.m. (Hank to me) See u up there. No idea how 2 get there.
11:50 p.m. (me to Hank) Yeh baby
12:32 a.m. (me to Gabe) Bed
12:34 a.m. (Stephen to me) Mick Jones of the Clash singing the Sopranos Theme Song!
12:35 a.m. (me to Stephen) Shut up! Youtube that shit
12:36 a.m. (Gabe to me) K. See you in morn. Xxx00000000

Approximately 1:30 a.m., Sleeping.

1:51 a.m. (Nick to me) Come to our afterhours at the suite.

Approximately 6:30 a.m., wake up and catch flight home. Zzzzzzzzzzz.

© Outlandos Music, 2008

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The power of relatable, transcendent music and its ability to create contagious emotion — the kind of emotion that people are willing to pay for — is undeniable. Just ask the folks at SXSW.

For a hefty $650 (slightly cheaper for early purchasers), an all-access badge gets you a wonderfully overwhelming onslaught of music, curated by one of the best festivals in the country. 1500+ artists, 70+ venues.

And that’s not all… the frenzied anticipation and planning… the Austin-destined airport travelers’ camaradarie… the friendly shared-taxicab introductions… the first mouth-watering BBQ sandwich of the weekend… the surprise discovery of that elusive, most-buzzed-about day party… the endless free micro-brew… the frantic meet-up text-messaging, somehow finding time to make the obligatory trip to Allens Boots or to pick up a “Keep Austin Weird” bumper sticker… and the random conversations with fellow enthusiastic concertgoers, all happily squeezed shoulder to shoulder throughout clubs and bars and coffee shops and record stores and art galleries — anywhere a band can find a stage.

Every year, both the music and this wildly, visceral connection to mostly strangers who share a love for music — this is what that $650 price tag is worth, every cent.

Again, the shared experience. Yippee ki-yay.

If you are traveling to Austin, keep an eye out for me, I’d love to meet you! When I’m not running around with my head cut off, I’ll be here, emceeing all night.

© Outlandos Music^TM 2008

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I hate February — on a Leap Year, especially. Seasonal Affective Disorder, Cabin Fever, who knows? Let’s just say I’m ecstatic it’s officially March.

If, by chance your own February blues are still lingering, here’s a few songs that I had on replay last month which gave me solace:

There’s No Love in February by the Orion Experience
I actually found this in the catalog at Pump Audio last year. Talk about a hidden gem. Think Fountains of Wayne if they had a chick on co-lead vocals… in kind of a B-52s sort of way. Superfun! In fact, Cosmicandy is loaded with a ton of great songs and fully worth your dollars. I’m dying to see them live.

Somebody to Love by Jim Boggia
Anyone brave enough to cover Queen and do it this well is 5-stars in my book. You might know Jim from his other band, 4 Way Street (Jim Boggia, Ben Arnold, Joseph Parsons, and Scott Bricklin).

If You Were Here by Cary Brothers
I like to call Cary the “Lamb/Lion.” He’s got this romantic, tempered, passionate thing going that explodes into a one hell of a feral roar, exemplified in this Thompson Twins cover, as the song slowly builds from tender lullaby to all-out rocker. Pure genius. And a throwback to Sixteen Candles is always good. You’ll remember Cary from the Garden State soundtrack and if you haven’t yet seen his Hotel Cafe© Tour, you must, must, must.

Ragdoll by David Geraghty
Irish multi-instrumentalist for Bell X1, David’s solo work is stunning. This song reminds me of equal parts Nick Drake and Ray Lamontagne. March tour dates for Bell X1 are posted here and for added double bonus, try and catch them when The Submarines are scheduled as the opening act.

Save a Little Honey by Peter Himmelman
You know the lovely, legendary Peter. This is off his latest record, The Pigeons Couldn’t Sleep. This song in particular, I just can’t stop listening to it. It makes me happy :-).

© Outlandos Music^TM 2008

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I didn’t even watch the Grammys this year. I thought, screw it; worst case scenario, YouTube will fill me in.

By all accounts, lackluster bravado reigned. A boring, flesh-filled parade of uninspired, flash and pomp, “music’s biggest night” proved once again, irrelevant. I didn’t miss a thing.

But when songs from Atonement and Once were announced as Oscar-contenders this year, it was a different story. Apparently, Hollywood has taste.

Maybe the overwhelming lack of Grammy integrity is because there’s just so many freaking awards… roughly 400 (versus Oscars’ 30+/-). I mean, what’s the point of making varsity if virtually everyone gets a letter?

More likely, it’s simply the idea that great music has nothing on fame, i.e., record sales.  According to the NARAS, however, it’s all about “artistic achievement… without regard to album sales or chart position.” Um, bullshit.

Seriously, does Maroon 5 qualify as art? Nickelback? Michael Bubl©? Christina? Fergie? Not in my book.

Amy Winehouse?  Au contraire. However (and here’s an unpopular idea), even though I like it, her music just isn’t timeless; it’s not the Second Coming. And if receiving a Grammy actually held any weight, I’m not convinced she deserved 3.

The point is, as poignantly underscored by Glen Hansard (”Make art!”): when it comes to measuring musical artistic achievement against the merits of belly buttons and rehab stints, Oscar triumphs.

Dario Marianelli’s clever casting of Atonement’s typewriter in its sonic supporting role was the sneakiest of artistic brilliance. Throughout the score, its crushing power is magnified again and again, a constant reminder of all that was lost; the incessant click-clicking an indelible ananmesis to our ears; our connection to the screen musically forged.

In Once, music’s conspicuous role as lead character acts as our constant cue to both the unfolding plot and the evolving relationship between “Girl” and “Boy.  The on-screen collaboration of “Falling Slowly” not only translates their faith in each other and the music itself but also allows us the voyeuristic thrill of witnessing artistic creation in progress.  Warm, fuzzy, cool, captivating, and to some degree, real.  As Marketa Irglova put it: “this song was written from the perspective of hope, and hope at the end of the day connects us all.”  Exactly.

So, despite the fashionista frenzy, the paparazzi glitz, the ad nauseam acceptance speeches, and this year’s more-awkward-than-usual teleprompter delivery, the truth is, I trust the Academy of Motion Picture Arts and Sciences. 9 times out of 10, “Academy Award-Winning” generally translates into “worth my time.” “Grammy Award-Winning,” not so much.

© Outlandos Music^TM2008

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At the risk of committing watercooler-suicide, the truth is, I hate football. But that didn’t stop me from joining 97.5 million Super Bowl XLII viewers in feverish anticipation. 

There is, after all, something fascinating about hitching your identity onto the fate of 11 virtual strangers, thereby declaring their actions as somehow an extension of yours. It’s as if by association, for those few hours, you too are “super.”

And allegiance is everything. Giants? Patriots? Either way, you’re making a “super” statement. “I don’t know” is not an option.

So when asked the obligatory: “who are you rooting for?”  My answer was easy: Tom Petty.

Dude.

IT WAS SO FREAKING AWESOME!!!

Undeterred by the slew of on-screen nubiles who’d stormed the stage, I too had my rock horns up and out for the entire, truly super 12+ minutes. Right there in the living room. I’m not kidding.

The spectacularly gianormous, neon heart/flying v logo… the Guitar Hero-esque lighted backdrop… the Free Fallin’ fireworks… Tom’s schoolboy grins… Jesus.

“Runnin’ Down a Dream” blew the freaking roof off.

Mike Campbell was on fire! 

Post-show, delirious music-high still pumping, I went straight to the Tom Petty and the Heartbreakers website. I wasn’t alone… the site was so jammed with hits, you couldn’t get on.

They connected.

Now that’s shared experience for you.  Supersized.

And then, on the eve of Super Tuesday, like so many others, I was torn between two candidates. Somehow, “I don’t know” became a perfectly viable option. Until I saw this. 

At first, I merely read the subject line and dismissed it as yet another thing to fuel my indecision. It sat in my inbox for days. The Black Eyed Peas? Oy. That wasn’t helping.

Finally, I opened it. And it hit me.  Shared experience. Politics aside, it was truly a magical thing to witness the power of contagious emotion communicated by music — in action. The choice was clear: yes we can.

Suddenly, I felt super-connected.

Which brings us to the holiday at hand.

Someone once quipped that Valentine’s Day is sort of like the Super Bowl for women, what with all the hype, the anticipation, etc. Maybe. But whether you are pro or con, the desire to feel connected, to feel loved, to feel, essentially, “super” is universal. And while chocolate and flowers can’t hurt, nothing conveys emotion quite like music.

Hence, my valentine to you is a Bowie cover I’ve recently fallen in love with: “Modern Love” by The Last Town Chorus. Not exactly a love song in the romantic sense but nonetheless, stunningly superb.

xo

© Outlandos Music^TM2008

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Dear Paul,

Don’t you get it? Music is meant to be shared. Not a new concept but apparently, a forgotten one.

Let’s examine the basics. Acclaimed neuroscientist Daniel Levitin writes that “the goal of the… musical composition is [to convey] an aspect of universal truth that if successful, will continue to move and to touch people even as contexts, societies, and cultures change.”

Translation: great music is not only transcendent but highly emotional and, as I’ve mentioned before, is much more than just something that goes on between your ears.

Remember hearing, for the first time, a mind-blower-of-a-song and then… that mad, feverish rush to play it for someone else — subpar, recorded-off-the-radio-onto-cassette-sound-quality be-damned?

Remember emphatically dragging a pal out to see a band that they’d never heard of before — in a dank and dirty little club neither of you would normally set foot in — undeterred by the fetid smells and the sparse (at best) turnout?

What you wanted was for that music to make someone else feel the same way it made you feel.

It’s all about the shared experience.

When Mr. Guinness says, “… it’s about the whole relationship between the music and the technology business” and “access” and “ownership,” I say: um, no Paul, it’s about the relationship between the music and the fan (a.k.a. “the thief,” in your words).

It’s about maximizing the shared experience between fans and fans and artists and fans.

It’s about creating contagious emotion; the kind of emotion that people are willing to pay for.

And in your case Paul, at the moment, it’s about embracing the technology.  Kind of like that “Vertigo” iPod commercial which made nearly everyone feel impossibly cool/sexy/hip just watching it? Talk about contagious.

Which makes me wonder why on earth Mr. Guinness would even ask, “Shouldn’t we be catering to people who want to hear music through big speakers rather than earbuds?” Maybe… audiophiles are always a worthwhile target… but dissing the iPod?  Is he OUT OF HIS MIND? Those little white earbuds were largely responsible for U2’s success with what was widely critiqued as not their best effort.

Anyways.  Earbuds, schmearbuds.  The point is that at the very root of things, it’s not about the speakers, it’s not about the ISPs, and it’s not even about the money… it’s all about HOW FANS CONNECT WITH THE MUSIC itself and, consequently, the talent behind it.

Hell, even Bono gets this, seemingly contradicting Mr. Guinness by proclaiming, “I’ve not been famously profit-oriented…. I believe… that brilliance rings a better bottom line. Always.”

Absolutely. And, while we certainly can’t ignore profit, the inherent bottom line is brilliant talent.  Brilliant talent connects.  Connection is power.  Power begets profit.

So Paul, I’m thinking that as the tables have turned, the more prudent thing is to call upon that very powerful talent.  Here goes.

Calling all artists…

It’s up to you to harness the power of your music and to evoke emotion among your fans.

It’s up to you to create brilliant, transcendent, relatable, emotional songs and to then think of the imminent death of the music industry as a little gift: it’s a new world where one-on-one connection is everything and middlemen are virtually obsolete.

Because the truth is, you no longer need a label-driven machine behind you to get your music heard and, more importantly, sold. The key is to remember, first and foremost, that you are, inherently, the CEO of your own business, the business of your music.

It’s up to you to protect yourself from the “shoddy, careless, and downright dishonest” treatment of musicians that Mr. Guinness (misguidedly accusing the “digital age”) points out; the very treatment which, ironically, seems to sum up the music industry’s historical MO — an MO that, in spite of all the buzz of a new paradigm, 360 deals, etc. — remains constant.

With love,

A Fan

PS If you happen to have a manager who doesn’t get this, I suggest firing them.

© Outlandos Music^TM2008

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Last night, I finally managed to drag our dry, drooping, and now mostly needleless Christmas tree out to the lonely sidewalk for city pickup. A sad affair. Even sadder are all those year-end stats touting Noel as 2007’s bestseller. $2.77 million spent on utter schmaltz. Seriously. What happened to rockin‘ around the Christmas tree?

If you weren’t someone who bought one of those 669,000 records, hallelujah.

If, like me, you require a little more flare in your holiday soundtrack, earmark It’s a Rock Salt Christmas for your Santa list next year. 20 brilliantly wild, jingly-jangly rockers flecked with a few appropriately subdued lullabies. Self-proclaimed “soft-talker” & “rocker” Ashton Allen and Devin Moore have crafted a dreamy, super-group mash-up of Beach Boys, Beatles, Elliott Smith, Fountains of Wayne, the Connells, and more; a true Christmas rock-miracle. I’m not kidding.

The 10 originals are nothing short of smart lyric-ed, jingle bell-laden pop tunes (I didn’t know bells and chimes could be so very rock), with the Ramones-y “You Ruined Christmas” among my favorites… a perfect kick-in-the-teeth for that special heartbreaking someone on your list. Also: “Sunset Christmas,” which has a sweet n’ glittery, bouncy, Jack Johnson-thing going on. Think of it as the new “Christmas Island.”

Of the 10 classics, stand-out arrangements include “Jolly Old St. Nick,” “Ding Dong Merrily on High” (which, in an unfettered stroke of genius, borrows a lick from Sinead O’Connor’s “Emperor’s…”), and “O Holy Night” (the Bohemian Rhapsody-esque showstopper).

I’m telling you, this is $15 worth of absolute holiday bliss. Even for people who hate Christmas music.

© Outlandos Music^TM2008

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As countless artists know, to be a successful musician requires not only talent and skill but also out-and-out daring, courage, tenacity and a healthy dose of blind faith. Thanks to the music industry’s historically greed-driven and frankly, artist-unfriendly paradigm, as a musician, you are the measure of your mettle more than your actual music. Luckily, that paradigm is changing.

These days, you don’t have to sign the next 10 or 20 years of your youth away, clinging to that dim promise of recouping… you don’t have to tirelessly zigzag across the country, subsisting on fast food and coffee, bleary-eyed and cramped inside a tour van.  You have other options. But still, it’s undoubtedly a labor of love and even just to pay the bills, you’ve got to work your ass off.

One thing to keep in mind is that when it comes to fans — no matter what your age — music remains essential. So why not target your music to an audience that’s most receptive? Whose experienced ears allow them to experiment, to discover, to connect, and, yes, to invest in your sound? I’m talking about lifelong music fans unabashedly dedicated to great music… an audience of loyal, educated, adult music-freaks who are dang psyched to spread the great-music word. These are listeners who don’t expect music to be free.

For many artists, exposure to this largely untapped, grown-up group of album-buying, concert-attending, long-term fans is pretty hard to come by. With the launch of Outlandos Music, my goal is to link these fans with your music and by doing so, to help musicians work a little less hard on the marketing part so there’s more time for life — and making music.

That’s the love, baby.

Let me know if you like the sound of that.

© Outlandos Music^TM2008

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