Thursday, November 15, 2018

The answers you really don't say

I don't know but people so many times don't get what they give away when they answer things. How the answer just gives away that this we shouldn't use.

Today it was an artist asking about that they need to seek out our festival through submit system. The argument was that the subsystem cost money to be on. The truth is that it dosen't, yes you need to start a subscription but the first month is free so you can start the subscription and the cancel it and you will have a totally free application.
So the artist thought it cost money, okey the cost is like 15 dollar or 15 euro for a whole year. Still the artist thought that was too much money for a indie artist.

Wait, so 15 euro is much money? If you want to apply to our festival, you still have to pay for the travel accommodation and food. I guess if you are from the south of Europe that sum will be so much larger then 15 euro. So if 15 euro is too much I can't see how on earth you are gonna manage to get to the festival if you were chosen?

The artist just gave away that yes they are really not want to invest any money in their career. Just that is a good reason not to take them into a showcase festival, they are not serious enough.

This year we also have this question:
We would like to know how you plan to tackle the music conference. Showcase festivals attracts music industry investors from across the globe, and, if selected, you will be in competition with the other selected showcasing artists who will also be trying to get the attention of the same industry reps. Our experience tells us that artists who make the most of the conference are the artists securing deals at the festival. So please tell us in a few words how you plan to make the most of the conference to ensure that you engage with and promote yourself direct to the industry reps, and ensure that you entice the industry along to your showcase?

Not an easy question but good to see what people answer. Some give really good answers to this question. Full plans and strategies and stuff, and those really impress me. then you have the ones that give it away in the answer. Look on these ones:

1. Quality!

2. We will play a great gig.

3. The power of our live show seeps through the audience in one intense blast.

4. We take the band and us very serious and have a business plan for the next 3 years.

5. Look awesome and play great music!

What I can read here is that they probably also believe in Santa Claus. If it was only depending on that you are good it wouldn't be that hard, all top chart would be topped by the philharmonic orchestra from any major city. These people are highly trained and really good. If it was just skilled to play. 
And if was just looks, hey Brad Pitt could have a great career as a guitarist. If it was just looks.

Now it's so much more. These are actually not even good components. It's all about hard work and that hard work gives the right skills (not just playing music) and a suitable image ( it's not all looking good). It's about meetings and taking opportunities.

The funny part is most of the artists that write like this is usually not even have a good live show to compete with or a good song. And the fault is that they believe that they are already there when the truth is that they are far away from what they think they are.

I also love that a serious band has a business plan, I wonder how that should help if your songs are not good enough?

Quilty, says who?

I wonder how they will do an intense blast if there is no audience, you still have to attract an audience, they are not just magically there.

Wednesday, November 14, 2018

You create the perfect storm it doesn't just happen!

- Then you just release the single without telling anyone, Beyonce did that and got a lot of attention.

After that quote of a PR agent on a panel on a showcase festival a couple weeks ago, I just stopped listening. Yes, you can release things by just put them out there if you are Beyonce. Since your fanbase is so big the single itself will get promoted by your superfans. Still, I haven't seen that single, and I doubt that Beyonce would go for that tactic if it was an important album she has to release. I guess that was some kind of b-side where she didn't want to spend that much PR money and with her position in the music world she can do that.

Since you are not Beyonce (if you are, send me a note I have some good collaborations for you) that advice is the most crappy ever given (thank god my friend that was on the panel said just that). Still, this is how many actually behave. They wait for the perfect moment to release a song or an album. You know what? That moment never exists, so if you want for that you will never release it and in the end, it will be released in the wrong moment anyway.

You will always read about people that in the biography released everything in the perfect way and created the perfect storm. Never happened, what they did was working things up so the perfect storm happened. And that is so many things that they really can't put it in a book. One reason is that they are so many but also that they really don't know them all.

Think of everything like a staircase, if you just stand there waiting to take a step you won't get up to the top. Yes sometimes you run back and forward on the same step and that is okay as long you, in the end, get one step ahead. Most of the time when that step happens it starts to get more and more steps to get on and in the end, you are running until you stop on a step and look on the staircase again.

Back to release something, yes you need to build it up. Not just make a Facebook post the same day as you release. Here must be so much more material and it has to start at least ten weeks before the release. And you have to be smart it can't be like an x-mas calender where you every day tells people that its' 8 days left until release then 7 days until release. You have to work on many different ways to remind people that are coming. Also, remind different people in different ways. In the end, you get the perfect storm, you build it, not step into it.

A picture with me and Matthew Knowles, well he did the perfect storm at some places.

Tuesday, November 13, 2018

Putting makeup on a pig!

I really got a writer's block for a couple of days. The topics that have come up has already been written about. And the topics have really not been at the grassroots level either.

So I took over the uploading section on our artist site. Yes, we also have a distribution system where we let DIY artists upload to get distribution. Mainly because most distributions really don't do a good job for the artists. In fact, many of them do a terrible job. At the same time, our staff is really tired of an artist thinking that they are so important when they upload something and can be quite rude against them.

Just for inspiration and also to help out I uploaded from the queue line that had piled up since yesterday. And yes self-roaming artists have no clue what so ever what they are doing sometimes.

I got this guy that in the subject line (we have a line where you can add something around the release) wrote like three times that the song has to be under his artist name on Spotify. Also, he wrote that someone from the staff already told him that if he used the same name the song will go under the same account. So what's the point of making that out?

In the end, it's actually Spotifys system that makes that decision, not us. If it goes wrong (you never know) it's something around Spotify, can be that easy that just that day they changed something and all new songs got a new account, it has happened. In this case, I'm 99% sure it will go under the same account since the name is very special. But if you use a name that several artists have, it can mess up.

So it was very important what it looked on Spotify. The artist is always vain, very vain, and vain not for their own good either. The funny part here is that the Spotify thing is very important. that he had uploaded the song without an ISRC code, with the wrong format on the picture, put the writer's name in the wrong format. That the release date was on a sunday and was uploaded a day before release. That he only choose some sites instead of all just to be chaep. Well, that doesn't seem to count.

In swedish we have an expression that says "It's like putting makeup on a pig", I guess English has around the same if you see my picture down below. In reality, it dosne't matter if you get under the same Spotify profile. And our team is making miracles that you are even getting out there. If people started to listen to the song your rights will be all over the place. I looked on the earlier songs on the profile, and they hadn't been over a 1000 listings so I guess in reality we are uploading stuff that actually would get more attention as a facebook post.

So here is the stupid error that I corrected. Still, when I correct them it won't be totally correct, I just fix it so it works, not that it looks good.

The picture was to small, that is a normal problem. Here though it was in totally wrong format, so I made the picture bigger and with that more pixilated. Also, need to change the size so now all are a bit distorted by that.

ISRC code, I put in my code. I guess it will end up in the pockets of IFPI, hope they can get extra champagne on their Grammy award for it.

The writer's name I just kept, well they won't find that on PRS so that money I don't know where it ends up.

Release date on a Sunday. All releases go on Fridays, that is the official day to release stuff. Sure you can release on a Sunday, but you will miss out all marketing you could have done.

Having just 24 hours for upload is also just making that you can't promote the song in the right way.

So what's the point of nagging that you should be on the same artist profile when you do mistakes like this? In reality, a pig can upload a song to Spotify (and probably do it better). This artist is just vain, cheap and stupid. The problem today is that these artists clog the system with their shit.

Monday, November 12, 2018

Fake numbers

I have been talking about numbers and that they really don't mean anything. Well here is a proof of both sides. I got this from a friend (no it has to do with ticket sales not that metal sucks).

In this case, people probably think of the clubs that they lose money, at the same time I'm more baffled that the booking person on the clubs really can't read numbers. Second that they care about numbers at all. It's a fact they went on numbers and never checked them.

On the same hand, this is nothing really new and the club people should know better. The numbers can be blown up, and most times are. When I worked around Major Lazer that was an issue. They were at the time the most streamed band in the world. And yet they could only sell 800 tickets in Stockholm ( this is at least 6 months after Lean On). Major Lazer though didn't lie about it, but I heard many bookers in a panic that they had guessed the band should sell out an arena for 16 000 people at least.

The next thing like that is Chainsmokers. Same here the organizers thought they would draw around 10 000 people, in reality, they just draw around 1000. A band that has 5 266 882969 streams and with a 3306 3633 monthly listeners on Spotify alone should do better. Of course, they cheat, or the record label does.

Let's make a comparison with Rammstein who plays in Stockholm next summer and sold out Stockholm stadium in one day 32 000 people in capacity. 441 882070 they have 33 10267 monthly listeners. That is 30 million less than Chainsmokers.
But when it comes to the real ticket sales Rammstein sold 31 000 more live tickets then Chainsmokers in Stockholm, and they sold out, Chainsmokers couldn't even do that.

The bigger booking agents I speak to have stopped looking into these numbers. Most record labels look at numbers but also understand how to read them (except for old people on certain labels that still think that the numbers count).
And yes when I get back from people that a certain artist doesn't have the numbers I usually just blacklist that person for being an idiot.

The real idiots here are the clubs, the artist yes but he has just used some of the stupid tactics that the industry in general use, but then did it a bit too big. Still, the clubs should have done their homework and just asked if the numbers could be even real. And second just check if these pre-sales are real. A good alarm clock would be 43 monthly listeners and most of the songs under a 1000 listings on an album released last year on Spotify should make you think twice. I guess greed is what it is.

I guess though that Threatin has their fifteen minutes of fame. The story is like a wildfire and people will check out his music. So in PR standpoint "All PR is good PR". I can tell that yesterday he had 43 monthly listeners on Spotify, today he has 1846 and the first song has jumped a thousand listings. And if the algorithms on Spotify is correct they will start to add him to playlists since the name is mention online so many times.

I was in meetings yesterday and numbers were discussed but in very broad forms. Right now is welcome to the digital side number two, leave the internet.

You will never break with numbers and don't ever try to boost them in a fake way.

Friday, November 9, 2018

Work hard is just not enough!

We work really hard! I get that from artists quite often, especially when they seek us out to work with us. Here is the same rule as in the numbers game it all depends on what you do as well as what kind of numbers you got.

Working hard seems for many artists be to rehearsal quite much. That is the number one answer when I ask back what are you working hard with. And yes rehearsal is good also writing songs which is usually the second answer. Still, if you write just mediocre songs and then rehearsal them a lot won't really take you any forward. I ask if they are actively seeking out other writers or go to writing camps or write songs for other artists? I can't remember if I ever got a yes on that follow up question.

Then they work hard on the style. That is also a trap, that style doesn't mean anything if you don't have the gigs. And when I ask how hard they work on gigs the answer usually is: It's hard to get gigs you know.
Yes that is why you need to work hard to get them and when you get them you need to prove that you are so good they want you back, and there comes the rehearsal in again and we are back if the songs are good.

Then it comes to social media where they don't treat social media as social it's just screaming come and listen to my new song or today we had a rehearsal.

In the end yes you can work hard but as long as you work hard on the wrong things it won't matter. And I would say that quite many are just doing that. They work hard on the things they things is fun to do when you should work on the things that actually is kind of boring and struggling.

I know that is hard, I too usually just jump the shit and goes for the fun ones, still, I start to think to get things going as well and keep things rolling.

Thursday, November 8, 2018

Is this the right opportunity or just a hype?

One of the bigger annoying things is the questioning of the value of an opportunity. I saw a band the other day that is very hyped. So hyped they already have got and put in diva manners to their roster.
They played on a bigger showcase earlier this year and I heard from the organizer they had been complaining about everything and being real divas thinking that they were the biggest act. Which of course was not true. Yes, they are semi-big in their home country. Now this country is pretty small and even as the biggest artist you are pretty small when you get out on the international festivals. Still, they were quite hyped.

Then my booking team wanted the band. I explained the situation, they still wanted to invite them. They did and got the answer that the band didn't believe in showcasing since it dosen't gave anything and they had stopped doing those shows.

Now suddenly I happen to see them on a normal little festival that was at the same time as a bigger showcase festival.

And as usual with the hyped bands. It was just a hype. The show was barely good. The songs mediocre. Sure I can see that they are local heroes in their country but far away from the things they thought they where.
And here is opportunity gone. By deselecting the showcases they will not evolve and will be placed on the crap pile of local hype bands.

Wednesday, November 7, 2018

The two diffrent industri people.

There are two types of music industry people. The ones that care about a particular artist and the ones that see the artist like a kettle.

They are both kinds of disgusting. The one that just cares about the particular artist could be pretty annoying for all the other artists that they just neglect. Of course, they are great if you are the artist they care about. The kettle person is just annoying since they just see big projects where The artist is just a brick in the wall.

I tend to see older people in the kettle category and younger in the care for a special artist.
And the ones that say they just care for all artists are the really crooked ones, they are usually the biggest liers and they work on the agenda of in secret jus care for some special artists.

So do where I belong? Totally in the category of people caring for a special artist.

It is a horribel business.

Tuesday, November 6, 2018


Had a great time here on Nouvelle Prague. Now I face the reality for next week.

How much I work on the phone when I'm out its never enough. Some things I can only fix from the home computer and yes they pile up after a long period of traveling.

So it will be to work this week from when I go up until I go to bed. And I guess I still won't recoupe to get to the status quo.

I really need a month where do The catch-up. And I need to get the time to through off the time killers that eat unnecessary time.

Monday, November 5, 2018

Don't let the artist choose single

The worst person to choose next single is the artist. They constantly wrong on what is good and what works.

How can I say that? The artist is the closest to the songs?

Yes and that is the reason. There is an expression called "kill your darlings". It comes from the movie industry. Here you can see many times that the final decision of a movie is done by the producer, not the director as should be closest to the actual making of the movie.
The reason for this is that the closest person has too many scenes or parts that are close to them, that it clouds their judgment of the whole picture. So to get a classic movie you kill some of the director's darlings. If you ever want to make a comparison they sometimes on DVD releases do directors cut where the darlings are there.
So why are the producers better to choose this? Mainly since they know how and where the movie will be market. One trick they use is to test screen it to a test audience. Out of the reaction of that audience, they make decisions.

In fact, the best persons to choose the single is the PR team. The hard part of that is they might be many of them. Still, they are the people who are gonna sell the song. If they feel its wrong or they know there is a better one out there, they won't do their best. They will do what is needed they won't go that extra mile. That extra mile is what makes a hit.

I meet on daily basis artists that throw away opportunities around the topic that they think they know best. Still like when you are a teenager in most cases later on in life you really get that your old folks were right. Not in all but in most of the picture.

Another proof that the artist is wrong is that they always think that the latest they did is the best and the direction they should go. The acts that live out of an old hit is just a proof how wrong they are. Just say the word Smokie.

This is a celebration to the people who got a stubborn artist to change their mind.

Rod Stewart thought "do ya think I'm sexy" wasn't a hit. He also rejected "Sailing" in the beginning.

Def Leppard never thought "pour some sugar" was a hit.

Depeche Mode tried to hide off "just can't get enough" later in their career.

Kiss still think they write hits.

The list can be very long...

Thursday, November 1, 2018

The damager/shark mold into the grey mass.

They are like a hybrid between a shark (read more about them here and here) and a damager (here is the episode on that). I wonder what I should put a name on this hybrid that I see a lot now.

A shark is more the people that sell unrealistic things to artists. These do that, but only to certain extent, usually Pr stuff that is legit, or producer stuff that is also legit, but they forget to tell the artist that their story is not strong enough to pull it off. In the producer case that the artist doesn't really have the talent or that the producing is up to date (well the person think themselves it is)
They are acting like a Damager (read about Damager here and here) but they are not the damager on paper, they just act like a damager anyway.

So what I encounter is generally older people that used to be something in the industry that now is more or less laid off. Suddenly they get in the business again and apply all old rules they know on the industry today.

Of course, it doesn't work and they get very confused why their strategy doesn't work. Or that what they are doing is really not the latest trend. Then they come to me and nagging that I should get them opportunities since they are something to count on.

I don't have the heart to explain that their time is over, so they can be quite annoying.
In contrast to the shark and the damager these people can provide small things in the whole equation. Still, it's like having an old Volvo 240 and think you can race against the latest Ferrari.

Also, the lack of knowledge is really annoying. They tend to think that a record deal is the highest price to win. Radio is still they way get somewhere. You have a hit if get 50 000 streams on Spotify.
They are constantly name-dropping people that worked in radio thirty years ago or producers that actually was the middle age when they recorded Fleetwood Mac and thinks that this would impress you. 

Worst of all is their clients are beyond help, mainly since they fall for the shit talk, second that they are not good enough from the beginning.

Then when you explain how it really works they become mad that the whole industry has changed and it's so darn hard to do things (well duh it has always been that way). Then you think they got the point but one week later they call you up that they dug up the producer to Prince and might get their client to record with the producer. Now they just need a record deal.
Well I guess this one will have the name grey mass. They are like the dust under your bed. They are there but annoying when they get out.

Wednesday, October 31, 2018

The record deal make it go backwards.

We should get a record deal! Said the band. Oboy here we go again was my first thought.
I usually ask back what should the record labels do? So far I really never got a good answer. The myth is strong in this case. The record label mythical will fix your career and you get more fans can tour etc. It would take you forward.

And it was true, twenty years ago when they controlled the gateways. Yes, there was a structure then and you needed them to get your music out. Today to get your music out you can upload it yourself with the same effect as them.

Today the gateways are free. You have the same power as a record label to reach people. They are up against the same hard work as you do. So how do they solve that? Money!

Yes, you need Pr money in this new world. And if you are a world artist like Kate Perry the record labels would put a lot of money on your career and do a lot of jobs. 

But you are not Kate Perry so that will not happen. Instead, you are more trapped than ever.
Since you are so small what most labels provide nowadays is problems. Suddenly a bunch of people wants to have their say around your songs, your look, your career. On top of that they don't contribute to anything it's mainly just talking. And all this talk and thinking will slow you down.

Most of the time is a record deal a step backward, not a step forward.

So should we just don't work with labels?

No, you need them, but you are on them too early just because you think they build your career. You need to build your career yourself until they approach you with a deal. When they approach they will have things to contribute with, and then it's a step forward.
I guess the error is that when and where you seek them out. Before you seek them out to develop you. No, you develop and they come around when you reached a certain level.
Then comes the problem. When you reached that level do you really need them? Or would it be a step backward?

Tuesday, October 30, 2018

Genre shitmusic. We are not a genre, we play what we like!

Well, when people say that I put in them in the undefined shit genre. There you have the artists that are just artsy fartsy and think it's a good reason to be in their own genre.

In fact, when you listen to these band they usually fit in a specific genre better than a band that says they fit pop. They are afraid that the genre would lock them up. Instead, it's this thought of freedom that locks them up in the genre shitmusic
You are free to play a folk song on a metal concert. One of Sweden’s most famous punk bands did that and was very successful. Still, you are mainly metal so the genre would be that anyway.
If you change the style on every song you play you are in the vaudeville genre, so you are still in a genre.

You will be placed in a box whatever you like it or not. No point of fighting it. It's a way for people to describe what you sound like, it's not stopping you to play what you want to play.
So pick one of the main genres is probably gonna get you more freedom then saying that you don't fit in any genre.

Most artists that still claim to be so special that no genre applies to them usually sound the same so many that work in the industry knows what I mean by the shitgenre.
Here they play every song as different as possible. The strange part is that that make them sound like the others who do the same. In fact, they are so many that it is a genre to say you're not fitting a genre.

Monday, October 29, 2018

Don't make it harder then it is.

I got a call from an artist friend the other day.
- Hey, Peter, I was thinking of something. You never hear any longer songs on the radio. The longest song I have heard was around 4:30. I have recorded a new single that is 8 minutes. That should stand out for the listening team on the radio!

- Sorry to say that radio has an unofficial rule that not to play songs over five minutes. And there is your reason why you don't hear longer songs. Also, the reason why it's called radio edit on songs.

- Still, if it is that way, not many send in long songs and I would stand out?

- No, they probably get long songs all the time but it's an easy decision to just take them off. In reality, they would probably sort out your song just to see the length.

- But my song is really great so if they hear it, they would do an exemption.

- They hardly did exemptions even for the Beatles so even if they played it they would fade it out around 4 min in.

- But the best part is around 6 min. Maybe I can tell them to start around 2:30 in the song?

- Or do a radio edit with the good part?

- No that destroy my artistic feeling of the whole song.

- Well if people hear the radio edit they might look up the longer version online.

- Still, I don't like the idea. Isn't better to just tell them in the letter?

- They get over 200 songs a week and your song doesn't fit the format and you demand them to do special things to play it? You just make it hard for them.

- I want my artistic freedom.

- You have that. Is just that you need to know what rules are there and when and where you can break them. I just say that in this case, you break them in the wrong way.

- I still feel they should give my song a chance.

- The rule is there since they know that length kills the listeners and won't fit the rest of the program. To play your song they have to move a section in the show.

- They should listen to all music that comes in.

- They do but you breaking rules will give them a easy decision to say no. But go ahead and send it in.

- It feels like they are not giving it the chance it deserves.

- No you are not giving you music the chance it deserves. You know the rules, just adapt to them and do awesome things inside the rule system. Yes it's harder but when you do it right it will be noticed. Just break the rules just because is just rude and not artistic.

Friday, October 26, 2018

The small details

The small details that give it all away. So many think they have the perfect show when these things give it away on a showcase that you aren't ready.

First, you think you would have the perfect sound and keep line check on your gig time and the audience has to listen to half a song. The pro-ready just keep on going and starts the show and keep going, and fix the errors during the gig.

Second, between the songs the whole band stops and start doing things with their amplifier, guitars and god knows. Then an awkward silence is there and the entertainment stops. The pro let the show go on. One entertains while the other do their shit.

Three, the talk between the songs sucks. This is one of the easiest things to notice when an artist is not ready. They do things like present the band, or say "how are you tonight" or "this is our latest written song and it's about..."  worst is when they start to excuse the song because they have never played it live. Excuse yourself or your music is never ok.

Then also leave the damn guitar ringing in feedback when they go off is so damn amateurish.

Thursday, October 25, 2018

The rules of export.

So you gonna export your music? Here are some things to have in mind when you calculate a export success.
First of all export is about coming back. Doing a trip once to a country is like thinking your career should only be one gig.  Unfortunately many see the trip as a exciting adventure and some vacation. Adventurous it can be but you are here to work and network to get your second opportunity in the country you export to.
There is really no time to sightseeing,  and if it is well you should promote by taking new promo pictures or even shoot a simpler video.

There is also a timelimit for it, if you haven't been back in a year the thing was not that successful. Same here it's like calculate that you should do a gig every third year in your homecountry.

A good start is to go to the country and check with out any concerts first so you have a small network to invite when you get your first promo gig. Then when you do your gig you expand. On top of that you expand. This is why you really can't do all in once. You need to be focused on certain territorys at different times.

Don't forget also to update the contacts you got during your visits during the rest of the year.

Tuesday, October 23, 2018

Reise, Reise...

I'm on a plane to Japan, yesterday I was in Canada a week before that in the USA. It's my third year with heavy traveling. My third year of heavy investment to build a network to be able to promote and bring artists to the world.

Many still think that a record label is a way to get out there. Or a booker or just a manager. To tell the truth, if you had all these three lined up and all very excited and put all their resources on you, yes you can make it.

The problem is that is a bigger chance that you win 40 million on a lottery (which would make it possible to do it more easily).

Over the years when I have been working these things I have seen so many of these companies not be able to do a shit, even though they have names and are important. Most of the time is that they can do stuff in their territories. Still, you need the bigger coordinator.

So all this work all these years is to build up a very strong coordinator that no one has seen before. A coordinator that can reach the whole world.

Usually, my projects run for three to five years. So I'm at the end of the system and is now in the making of the first case. It's exciting.

Monday, October 22, 2018

The export offices are usually not export ready

A thing that usually is true is that real export successes never had anything with that country's export office. I have done quite many follow-ups on bands that had success versus bands that have been hard promoted by export offices and the results are striking.

Is it that the offices are bad on picking artists? No, the artist can be ok, usually not export ready though, but the real problem the artists are handled by a company that is not export ready.

Yes here is the problem. Only a company (manager, record label, Publisher) that is not export ready would go to an export office. The other companies are already out there on the right level exporting.

I can see that clearly. Usually, when I invite companies that used a country export we get trouble that the company is too amateurish to bring in. I cut off at least three of these on Live at Heart this year.

Also they the export offices is very keen on doing things to set up people at the wrong level. There is no point in setting up meetings with the biggest booking agencies with the smallest newcome manager. It never works out. And sending totally rookies to the world's largest showcase festival is not smart either.
And most of the events they hold is more quantity than quality.

One big problem is the following up. You often hear that someone got signed. Well, that is good, still, it has to get somewhere that it became an export.

So should we just get rid of these offices? No, they have a function but it needs to be more precise and they have to learn how real export is done it's not just about selling. It's also about importing.

Also, the festivals have to be better to not just take their money and teach them to be able to match on the level they are on, which is so many times lower then they and their customers think.

Friday, October 19, 2018

Don't do surgery on yourself.

If you buy a new car would you learn all about it? I mean I hardly read the manual (witch just prove I'm a damn stupid stubborn white guy).
Or if you buy a brand new Nord keyboard would the first thing be to pick it apart to understand how it works?

I often write it's better to do things then just sit around. At the same time in some cases it just goes into a frenzy. Yes you need to understand how to use the car or they Nord Keyboard and it functions. Same with most of the systems in the musicindustry. You understand how to use them not pick them apart.

In the quest for the independent artist some goes to long and try to pick the whole system apart. The other day it was and artist that wanted to know witch databases and servers their song passed to get to Spotify. Or how the different payment system works on Itunes.

In many of these cases they overdo the quest and in that process destroy vital functions. In a way when you have picked the keyboard to pieces and put it back together som functions stopped working so you now have a broken keyboard.

I'm reality you have to choose. Either you work with music, compose, record and be an artist. Or you want to pick all apart be a industry professional. Being both is like to try to do surgery on your self, you can do it, but not good.

Thursday, October 18, 2018

Unlikable cunts

One of the memes I saw a couple a days ago was:
I think a lot of folks assume they are hated for their sexuality/race/gender when they, in reality, is just unlikable cunts.

You can easily translate this to the music industry:
I think a lot of folks assume they lack of success is because of men/hidden power structures/lack of channels to be heard/ when they, in reality, is just writing and producing crappy songs.

I just get approached so many times with people just assuming that the product is perfect just because they think that, their friends or their mom. When in reality the reason you won't get that festival booking, radio rotation or following and music don't pay off is that the song is crap.

Here is my dilemma. Should I tell them that the song is pure crap? In reality, it's only my opinion. On the other hand in most of these cases, it would be the majority of the industry that agrees with me since when it's really crap it's kind of easy to distinguish.
It's pretty obvious the cases when people try really hard and still fail in kind of easy takeouts like being booked or getting the bigger chances that it's down to the product.

Second is also that they are either surrounded by yes sayers or just don't listen to people that tell them that the song sucks so my tip-off would just get me in the line of people who don't get the music/are old/is part of the hidden structure agenda.

Also, we have created a society where things like this are not ok to say. We should all be winners.

Another thing is that they usually have a kind of weak mental health. Nothing wrong with that. But definitely, you don't want to be the jerk to send this person in a deep depression by crushing their work. At the same time, you just prolong the agony. It's a fact the person is doing crap songs.

I meet these people in panels when you give advice that builds on that you have a good product. Just there the advice just becomes useless since the criteria are not there. If you then try to go back you get the attitude that yes the product is perfect your advice is not good enough.

Wednesday, October 17, 2018

Don't trust old people.

And here we go again. Some old dude that worked on a record label during early 2000 finds a totally hopeless case and can't stop nagging about it.

What is it with these people? It seems they missed a lot of a information these years they were off from the industry working for the government or a school since they were chosen not good enough to stay in the business, but now are back.

You can hear me say, don't trust anyone over 40 in the music industry, they are too old.

In too many cases it is so damn correct. In too many cases they just come dragging with something that the cat puked up. The rest of the industry has already seen this band and just don't want to deal with them.

Then the jack ass starts to get the hopeless case favors that will just prolong the ultimate end.

We need some kind of diploma system. Just because you worked in the industry you really don't know it today.

Tuesday, October 16, 2018

It's a job not a tourist trip!

I wanna go out party! The warrior cry of any band going on tour to a big city.
Suddenly the thing that you are there to work is just out of the window.
If you pay a lot to get to a place your there to work not do touristy stuff, still that is what many do as a mistake.

The band comes in and get shit drunk and won't get up to get meetings. And are still hangover when they should play their gig.

In a way, the rock n roll myth comes in. People actually think that the stars that become stars do this kind of things. In reality, no, the new industry is so much harder and stars that would do that won't survive.

Same as just miss things for shopping or other things. You're there on a job and if you aren't able to squeeze the fun stuff in, well then it will have to happen on your own vacation.

Monday, October 15, 2018

The new useless industry people.

I was seeking out a girl from the industry. She is involved in several boards inside some of the music industry. Also, she is in a government program where she gets paid to get to several festivals around Europe to promote female producers.
I wanted a meeting with her to get some female producers into a project we have. For three festivals during the past four months, I have sought her to get a meeting. At all three times, she hasn't been able to attend the festivals. Her name is there but she never visits the actual event.

This last event I also bumped into another person that is on the same board as her. This person just sighed and said that this woman had only been on one meeting out of ten. And when she is there she leaves early for something else. Then I meet another that was involved in one of her other projects. Same here, she was very little there and also contribute with very little.

Then the person dropped the bomb. This girl was voted in just because she was a woman. In the wave of meetoo, they got her in since she claimed to be part of the movement. She was mainly voted in just as a woman, not for her knowledge. Now she was mainly taking up space in boards really not making any use for anyone.

I got back and did some research on certain projects. She voted in her friends bands in most of the government sponsored things she was part of. Still you can easily see that they hadn't participated in any of the events. In reality they took up space for someone else that might could have benefitted this. They voted in women that later didn't use the opportunity.

These things really make me angry. And I seem to bump into them more and more. People with an agenda to get space and power but when they got it has no interest do something with it. Just stay there with the title.

I don't know if it is incompetence and when they get higher in the organizations realise that they don't have the knowledge or if it is that they just doesn't care.

In early days people like that was kicked out naturally. Now they get to stay because of gender.

Friday, October 12, 2018

You release your songs to early.

In an interesting interview with Steve Van Zandt. Much right as well one of the big issues with streaming and that you can release something almost instantly is that most of the releases are not finished. They are on the stadium of the demo, not in the quality of recording more about the development of the song.

In the Beatles era, they had the chance to test songs on audience live over and over. After that producers and record label people also said their stuff, then they recorded.
Right now many use the release as a testing ground where they almost never go back and finish the product.

I see what Steve sees that we are heading back to the live stage. A ground where you can see directly in the eyes of the audience what is going on. My guess is that we soon will have more bootleg live recordings that will be classical in the future.

It is a new world we are adapting to.

Thursday, October 11, 2018

When are you what you say?

When are you what you say? My friend Boyan hit on the spot for this post.
Today anyone can just print a business card and become a manager, booker, record label. Still, you are just a manager, managing your own band or a booker that just done two gigs or a record label just giving out two songs on SoundCloud.

So we all know success is part of the equation. At the same time, you must start somewhere.

I remember when I had my record label and was very nervous to meet the big established labels. Today I see the same labels as quite amateurish and most laugh at their attempt to build up stuff.
But I bet my ass they still see me still like the small label guy.

I the beginning I felt I hadn't had enough experience to call my company a record label. But after my first cd, it was a milestone. And back then it was, today it's so easy to give out something that giving out is not counting.

So I have some hold points to measure, not if you are what you are, more witch level.
You live on your work as a label, manager or booker. That is a very pro level.
You are focused. Over a period of time you have given the project 100%. That is prospect level.

Everything under is mainly hobby. And boy do I see so many people with no focus at all. Today's problem it's very hard to see this on just one meeting.

Wednesday, October 10, 2018

Stay focused

I saw a post of an artist I know. The third project he starts up this month. Okay, he seems to have fun but on a meeting with me two months ago he told that all the focus was on one of the band.

Here I can easily see that he is overall the place and more or less open up new projects. A restless soul like that has trouble to be focused. Of course then if one project goes some better he will focus a bit more on that.

Projects go up and down so that focus won't last that long. And as I usually write it's a marathon race, not a sprinter race. Being this not focused is a good indication to not waste time on any of these projects.
By the way, this is not just for artists, it's for all in the industry.

Tuesday, October 9, 2018

You can't run from your past.

I got a call from an artist on the distro side, I know I don't work there anymore. Still the artist had my number and I can help.

- I want to take down my first album.
- Sure we can do that. Is there a special reason?
- I come with a new album in two months and I feel the first album is really not me. The new stuff is so much better.

This feeling is very dangerous. Of course the artist always feel that the last thing they did is the best. Unfortunately it's very rare that it is the best. In fact the audience are in charge of judging that.

So take everything old down every time you release new is just asking to crash your career.

I mean your life is full of things that maybe you are not so proud of. And yes it would be really nice to just be able to go back and erase them. At the same time these are the things that is you and it will not work to erase them.

And so many of your favorite songs that would be erased by artist if it was possible in the real industry to do this. Many classical hits is probably hated by the artist themselves. They can't be taken off because in the real industry to many other is involved in the process and owning.

So try to take things off is the most stupid thing you can do. Also if you succeed they will reappear and then you can't control them. Also it's impossible to control what the audience should think.

Monday, October 8, 2018

The artist worst enemy, is the artist themselves.

I don't get why people stop come back to me after I have giving them a new price?
The quote is from an artist on Facebook. An artist that the whole business have learnt is a pain in the ass to work with, she needs a haggle longer the guy at the bazaar to book her. Of course now the most experienced people have stopped booking her because they know and don't have time for it.

Someone said "the artists worst enemy is the artist themselves". In so many cases it's true. You can see many very talented people just walking around having different collaborations all the time but never keep them. After a while you get a feeling around these people to stay away.

The main problem is that they seek people out people to solve a problem, for example booking. When the new person starts to book they start to interfere. The booking are not cool enough. They should be paid more. Why can't the person not book to the biggest festival in Sweden? And when it comes to the easy obvious ones the artist take themselves and brag that they are better.

Of course people then leave. And the artist seek out a new one. In the end practically everybody knows and the artist has a hard time to find new victims. Also even if the new victim try the rumor has spread even to the people they are approaching.

To ruin your own career like this is more common than you think.

Friday, October 5, 2018

Advice or confirmation?

People seek me out quite often to get some sort of advice. Suddenly you are feeling that they are trying to take the advice and fit it in to their confirmation.

What they want is confirmation of something they think work in a certain way but when my advice goes in a totally wrong direction it becomes lika a argumentation.

In the end they will do the thing they thought instead of following the advice I gave.

By the years I have become better to read what they want so when I notice it's just a confirmation I just go along. I know they will come back later when their plan didn't work out. My hope then is that they will have a more open mind.

Thursday, October 4, 2018


I meet my international friends more then my friends at home. In some cases I meet the same person three weeks in a row on different places around the globe.

I guess with my special interest to just a small part of the business I can really indulge in all the talk around just that topic. I can get how people that build model railroad feels when they go to conventions and meet other and just go deep in the subject.

So will I have a overdose of musicindustry. Or even grow tired of it?

It's one of the fears I have, still I enjoy every minute of it.

Wednesday, October 3, 2018

The Michelin Guide to showcase festivals!

I should set up a Michelin Guide for showcase festivals. I guess though that I would have trouble to judge the one I work for.
Still if I just keept it to certain criteria like size, number of artists and so on. But I would still miss the interesting part how much business is done. And that part is the thing people wants to know.

There is always something on a showcase festival. Even if it's very small. Actually my best things has been on really small ones. I guess it's always what you need for the moment as well your attitude.

Still let me think about it. It would be fun to just do the guide. Just what kind of criteria that is needed.

Tuesday, October 2, 2018

The manager graveyard.

You can spot them for miles. The enthusiastic manager that just got into the game and has signed its first band and now promoting the shit out that in every way they can. Of course, you don't want to take off their happiness but running around like a headless chicken won't really take you anywhere. It's all a long long game it's not a sprinter race it's a marathon.

These people just last in 2 to 3 years then they are burnt out. The rule is that the first project you work on will not succeed. It's very rare, and the same with bands. Check with any famous artist and ask if it was their first band. I only know two that said done that and that is the bass player in Weezer and Topper in The Clash.

There is too much to learn to make it on the first one. The obstacles are too high but with knowledge, you can get over them and in the end but that never happens with the first round of artist (yes these managers usually have like three artists they sign, witch none is up to actually make it).

The problem is that they didn't get that chance to learn properly and don't hang in. In the end, they need money and get to work on the government programs (in sweden you have this massive graveyard of these careers). In some cases they just pass down all the error they did in these programs.

In this case yes, I write about you, I know many of these people read the blog. And yes you didn't keep the work going and tried a quick way and now a government lackey.

Also, many of them become bitter tastemakers in different variations.

Monday, October 1, 2018

Motivation Speakers

I don't know I'm in a split here between if motivation speakers are good or not. Of course, a really good motivational speech can really deliver some reactions and get the audience in a good spirit. at the same time, most of the people doing these speeches actually don't have that kind of success. I had quite many getting to me to get on my festival conferences and in most cases, they failed in the normal way but got something else.

And that is like most of the people that work in the music industry. Almost anyone is a failed musician. You played in a band and then happened to stay and do work for the record label/booker/publisher etc and that is also a way to stay to work with music.

Also, motivation is just not all. in the end, it has to be good for people to consume it. Even with the most positive drive and enthusiasm you can't get to the bigger things if you're not good. So when the speaker is like "you can do it" and there is mainly people in the room whos product really is not up to date, well I don't know if that is so good.

So I try to see these inspirations speakers before I book them. The hard part is that no one is actually booking any of them to their conferences.

Friday, September 28, 2018

Numbers that dosen't matter.

Numbers, numbers, and numbers. People still think numbers matters. In some cases yes, but in many cases no.

Like a successful showcase is a filled gig room? I get that a lot. It was a great gig, it was packed with people. That is good but in this case, it depends on witch people. If it just a bunch of new fans and the room takes 150 people, hey not that good.
Is it 150 people that will affect your career? Supergood. But usually, that packed gig can be the reason that person that change your career never got in and missed the whole thing. So filled showcase, numbers not needed.

People interested in something. This you hear a lot, we have several record labels interested in us.
Good but no one has taken action. If you have one million people interested but no one to act on it the number is useless.  It's enough with one and they take big action to be much better.

Followers on social media. If you have a million followers but no one cares about your posts, they are useless. Actually, ten thousand followers that care about all your posts is tremendous much better.
So having 64 million passive listings on Spotify is not good. It's better with a million active listeners.

The point is many of the numbers people are bragging about mostly empty useless numbers if you look closer.

Thursday, September 27, 2018

The problem is in the song most of the time.

It's not hard to find someone to do the radio plugging and take the money. The hard part is to find the plugger that actually get it on the playlist, said the artist.

I bump into this quite often. The error of no success is someone else's. I would rather think here that it's the song that doesn't hold quality enough for radio to play. In 98% of the cases that is where the error is.

Or that the story is not strong so the song can compete with songs in the same level. Well, it's the same problem that it's not good enough, just good to compete but failing in execution.
In all cases, it's not the Pr firms error. You can probably give an unreleased unknown great hit by Elvis Presley to any PR firm and they will get the song on rotation on most radio stations.

The problem is the attitude here. The artist is never wrong. All that they create are great. They are just misunderstood genius all of them.

I can prove that wrong also. Over time most artists get tired of their old masterpieces and the last record is now a piece of crap in comparison with the new they just wrote.

Wednesday, September 26, 2018

The change of release schedule.

We are writing a new album now. And we will tour again in March 2019.

Artists that write like that I guess doesn't have a cell phone just a pager. Since the touring cycle that they are talking about is from 1985.

Okay, let's be clear about it. It's not writing time, recording time, Pr time release time and tour with that album time. That is as normal as having a phone stuck with a cord to the wall.
Today you write all the time. You need more material so everything happens at the same time. Somethings are on hold some are ongoing. Still, it's all the time. If you only can focus on one thing at the time, you out of the game.

So forget the myth of sitting and write songs to next album sipping wine. Or a fully booked schedule for three months and then it's done.
No, we are here working full time all the time.

Tuesday, September 25, 2018


Oh, we are back to the sharks again. They pop up a bit here and there. This time it was one of my bands that just sent out a good single. Suddenly it came a mail from some dude that said that he could break them a record deal. They just had to pay the shark 2000 dollars upfront.

First, why do you need a record company? Well, a good one you can use, but anyone?
Here is the point the band is so good so it's not hard to get a record deal, the problem is to get a deal that put a lot of money into PR. And like I wrote around yesterday they don't have any numbers or things that are close to bringing in that kind of money. In the end, this shark maybe will find a label that just signs a paper release some songs and waits for things to happen? Worth 2000 dollar, don't think so.

So I look up this shark, and yes he has worked in the music industry. Yes he has worked with some big names. But nothing before 2010, to be honest, nothing big since 1995. that's before the internet, cell phones, and everything. I would easily question this guy knowledge of today's industry. he is old an has not done that much in the new world.

The festivals he also mentioned to visit to get the record deal, are the ones that are just totally out and just used by old people from the industry. Just here it smells fishy.

So I went to my secret weapon Linkedin. Yes if you searched him you had some mutual friends, still all that was mutual is old dudes that I know from the 90:s. No one of these is important today, yes they are names but not in the new economy that is building up now.

Ohh I really want to out these sharks and one day I will.

Here is more post about sharks.

Monday, September 24, 2018

Here is the secret to sucess in the music industry!

Yes, the secret to success is to understand that it works like any other financial market! I don't get how people think that someone would put in thousands of dollars in a project that clearly only will generate 100 dollars.

In their head s they will be signed to a record label that should put in a hell of alot of marketing (since that is what they are doing with Kate Perry) to their next release. Never crossed your mind that they can easily see that your past 10 releases never went over 500 000 streams which would mean that you have got in around 1000 dollars.

For that money, you can't even hire a good PR agent to send it out. Why do you think a record label would get on with such a lousy deal?

In reality, if the deal is shitty they won't do it. The laws of the finical things are here also. That we are dealing with art won't change anything. A famous auction house won't handle the shitty painting that some unknown painted. But a much uglier painting painted by Winston Churchill they would go for. Is it a newly discovered masterpiece of michalangelo , well they they really would go for it.

It's all that we expect what should come in. To get that deal with anyone you need to creat a plan a momentum so we people are ready to invest in you. Are you still just a couple of thousand followers on Facebook and just 10000 streams on Spotify and a couple of hundred streams on youtube. That tells us all that we shouldn't spend that much on you at this time.

would you buy these?

Friday, September 21, 2018

Are you really put everyting on your career? Obstacle

Right now I feel I have this communication with several people in several layers. No, the post is not about you even though it touches the subject. This week I just dedicate the blog to the most common things that are pretty good sign that you are not putting everything on your career.

I get so many times that people are really serious about their careers. They are doing everything to get a spot with the stars. They are really putting everything on it. They want to know how to get to "the next step".
At least that is what they say.

One thing to see if they really are putting in the time in careers is to see how they look on obstacles. So you won't write perfect songs! Are you ready to move forward to co-write with others? Or even worse get songs for songwriters just to perform?

If you find the right solution to move forward you are putting the time in your career. Too many are just stubborn to try to keep a broken thing to work. I seen so many careers go to hell because they artist couldn't get into their head that tehy wouldn't write good enough songs, or just need to change the style.

You maybe need to kick out that producer that you are best friend with? Yes, the one that is going for a career is willing to get around the obstacles instead of getting stuck there. In retrospective, you hear a lot of these stories how the artist that failed blame someone else. In reality, if you look closer it's usually because they didn't want to get around an obstacle.

Thursday, September 20, 2018

Are you really put everyting on your career? Boring things..

Right now I feel I have this communication with several people in several layers. No, the post is not about you even though it touches the subject. This week I just dedicate the blog to the most common things that are pretty good sign that you are not putting everything on your career.

I get so many times that people are really serious about their careers. They are doing everything to get a spot with the stars. They are really putting everything on it. They want to know how to get to "the next step".
At least that is what they say.

Yes, your career will be full of boring things! And you will be the one who is doing them. So many artists talk how much they work but as soon you get to the boring stuff like updating the homepage, going through email lists and getting gigs suddenly there is no time for that.

Too many are just prioritizing the fun stuff. What that differs, but sitting in the studio recording music is usually one of the more fun stuff. Promote that music later is not that fun, but essential.

If you really are putting all on your career you will even do the boring things with a smile. You will be so interested in the whole process that you sit up all night just working on it. I know myself I was on the tip to burned out just because I loved the whole process so much that it was no stop to all the stuff I wanted to do.

Still, it's a very big problem that you just want to focus on parts of the career. One of the most common things is that the cool stuff is alright like shooting a video, photo shoots and hanging in the studio is the most favorited ones. In the end, they are the small parts of what is needed to put everything on your career.

Wednesday, September 19, 2018

Are you really put everyting on your career? Relationships...

Right now I feel I have this communication with several people in several layers. No, the post is not about you even though it touches the subject. This week I just dedicate the blog to the most common things that are pretty good sign that you are not putting everything on your career.

I get so many times that people are really serious about their careers. They are doing everything to get a spot with the stars. They are really putting everything on it. They want to know how to get to "the next step".
At least that is what they say.

This problem comes a bit down the road. In the beginning, you can put your relationships aside. But in the end, it will be strained. You will be that person who misses all parties. The one that comes on any birthdays. In the end, your old friends will not call you anymore when they re doing something, they know you will just answer you can't be there.

In the end, it will come to a bigger event. That birthday when your best friend turns even and a party where everyone will be at. You are in a shotty club in a city you never have heard of.

Here are the ones that put their careers will do it. the other ones will suddenly start to say no to these gigs because it's more fun on the other thing. Yes, I have seen people in bands cry on tours when tehy call home and miss their child's birthday. Hey, I even pushed my mothers funeral for this career. Yes, you will be selfish but it's in the reality you have to be.

The worst is partners, girlfriends, boyfriends that are left behind and are making your life miserable. I usually tell people that I can't count all the relationships I have burned over the years of my career, and i'm not even touring. You need a very understandable partner.
No, you can't bring them on tour every time. Not even the bigger stars can do that. If you put your relationship before your career, you are not putting things on your career. You are going for a home life with a secure job, and it will crash along the way. You can't joggle this one.
Kids, no you won't see them. You have to choose, be with your kids or do a career. Yes, 99% will choose the kids. Still, we are looking for that 1%.

Tuesday, September 18, 2018

Are you really put everyting on your career? Work...

Right now I feel I have this communication with several people in several layers. No, the post is not about you even though it touches the subject. This week I just dedicate the blog to the most common things that are pretty good sign that you are not putting everything on your career.

I get so many times that people are really serious about their careers. They are doing everything to get a spot with the stars. They are really putting everything on it. They want to know how to get to "the next step".
At least that is what they say.

Work! This is where many fail in the beginning. You manage to get a gig in another town. It's not the hottest gig but ok. The payment is ok but is not pay any rent or anything. But any gig is needed, also the artist has been nagging about getting more gigs and be able to been seen in front of more people. Also, all gig is part of a story around the artist. You present that for the artist.

Suddenly that gig is not that important. They have trouble to get off work. It's fast away and not cool enough. They could take it another week or if it was closer.

When your work is going before your opportunities, your career is not first, it's your job that is first. This I meet a lot. Artist gets a pretty nice well paying job and the opportunities are sorted around the job.

You know what, I always took my jobs in second hand to be in my position that I'm in today. Yes, I have burnt many bridges and many of my old bosses would not recommend me in any way. Just because I put everything in my career in the music industry. Not as an artist but behind the scene. I can't count all the times I have said no to things or called in myself sick just to be on that festival or that showcase that propelled me forward. And Yes I expect the artist to do the same if they are serious with their career.

You just have to make things work and put your career first. that is the only thing that is the right. You cant be a hard-working artist and have a nice job on the side. Not even if it is a job with music connections for the government. You won't be able to combine the both you have to choose.

When you hear that their regular job is in the way for an opportunity you know they are not putting their career first. This is mostly shown when they can get time off for something they think is cool but not for the regular stuff.

Monday, September 17, 2018

Are you really put everyting on your career? Showcase...

Right now I feel I have this communication with several people in several layers. No, the post is not about you even though it touches the subject. This week I just dedicate the blog to the most common things that are pretty good sign that you are not putting everything on your career.

I get so many times that people are really serious about their careers. They are doing everything to get a spot with the stars. They are really putting everything on it. They want to know how to get to "the next step".
At least that is what they say.

The problem is that people don't get how much you have to spend on your project to succeed. It's not about finding the right people to involve. It's all about how you work and how hard you really want it.
The answer will still be that yes they really want this and it's the only thing that occupies their mind.

Still just with a couple of small tests they fail at the first step.

The first is usually not take the chances. You give them an opportunity to play at a showcase somewhere on the other side of the world. Actually, they have been nagging for a while that they are ready for the big leap and playing abroad would be a cool thing. Of course, this is not the easiest task so it could take some months before the opportunity arise. You spend a lot of work to get them on and in the end, you get a small favor and the last spot is open for your new coming band to play.
You get back to the artist and get the great news that they are on.

You just expect that they will be happy and just get the things going. Instead, you get a barrage of different excuses.
-Will they pay for our airfare and hotels?
- Of course not, you are just lucky to get a spot. You wanted to get a break, so take care of the airfares and get an Airbnb.
- What is the backline, did we get a "good" place to play and is it at a good time?
- Probably not, but what is a good spot? You are small so I guess you should just be lucky to start to take the first step. The Backline we have to check later.
-Well, I don't know. It's a lot of money to get over to this festival, is it the right thing to do?
- If I was a fortune teller I might be able to say. But if you don't play you won't win.
- Since it's important maybe we should bring people to quire behind us?
- No make it as simple as possible to save cost, you just told me that you thought it was a lot of money.
- Yes but we sound much better with a drummer and a quire behind us!

Then it just goes on and on and everything is scrutinized in minutes detail. Of course, you lose interest, instead of doing your job you answer questions and clam them down. Every second question is if we are meeting the right people, getting the right stuff. In the end, they will pull off since tehy are uncertain that is the right thing.

People that are doing a career and need a safety belt to do are in reality not put everything on their career.