You don't do it through publicity, you do it through the work.
In the old days, print publicity was the introduction, now there's so much in the pipeline that even if it's seen, it's not acted upon, and that is the ultimate goal, consumption of the music, that's where a career begins.
You're best getting publicity after you get traction. Then you have a story to tell.
I know this sounds counterintuitive to many, who will ask how you get started, but it's literally just like building a fire, you start with kindling, and then you blow on said kindling to make it white hot and do your best to ignite larger and larger wood. And the hardest part is getting the fire started. Once you've got it started, maintaining it is a different issue. If you get big enough, it's impossible to blow the fire out all at once. We no longer live in the days of Billy Squier and MTV, nothing you do can destroy your career overnight, people are still listening to R. Kelly tunes. Collective consciousness is passé.
But getting started...
People think it's with social media. But unless social media posts include the music, it's nearly worthless. Once you've gained the aforementioned traction you employ social media to keep your career aflame, but when it comes to starting, it all comes down to the music.
And the best way to start is by doing it completely different from everybody else. If you're just following in the footsteps of hitmakers, chances are the flame won't ignite. Your music has to be different, innovative. One of the best ways to make it is with innovative lyrics. Hell, isn't that why Noah Kahan blew up, with lyrics about his emotions, his inner life in a world where everybody is playing to the last row?
And think about your audience. Your audience is not everybody, no one's is. Who is prone to listening to your music. Go where they are.
And don't dun people into submission. If you keep e-mailing them, hounding them to listen, they're not only not going to listen, they're going to talk sh*t about you.
Although you need no CV, music is one of the hardest verticals to have success in. Just because you can play and sing and your parents and friends like you...that's meaningless, unless they start spreading the word because they truly believe in the music.
How do you get people talking about you?
You wander in the wilderness. Which is anathema to today's young players who want instant success. Sure, you may have the tools of promotion at your fingertips, but so does everybody else.
Quick, did you listen to the new Taylor Swift album yet?
Either you did or you didn't, you're either a fan or you're not, and chances are if you're not a fan you're never going to check it out, and she's the biggest act in the world! We no longer live in the days of controlled radio and MTV, in a monoculture, you're appealing to a very small cadre of people, who hopefully will spread the word.
And when your Spotify numbers are anemic... Well, at least somebody is listening. Don't think about getting paid, but the ability to make that direct connection with listeners without a heavy lift. In the old days radio had to play your record or people had to buy it to hear it, it's much easier today, it's just that you're competing with everybody else.
I know this all sounds incredibly negative, like I'm raining on your parade, but everybody else is taking your money and giving you false hope. Now, more than ever in the past two decades, it comes down to the music. You start your career with the music. Which means if you've got a mediocre voice, you'd better be the best lyricist. You have to excel. And your music must contain something that hooks people and makes them want to hear it again. What is special about your track? An incredible chorus, guitar lick, vocal machinations? You've got to deliver a ten on at least one criterion or you're dead in the water.
This is no different from the old days. Don't forget, the Beatles woodshedded for years before they got a recording contract, never mind broke through.
And garage bands in the sixties and seventies... You put them together via the best elements. You found the best singer and the best guitar player, and if someone wasn't good enough, didn't excel, you looked for a replacement. Rush didn't really succeed until it got rid of the old drummer and replaced him with Neil Peart, who wrote lyrics to boot.
It's about fundamentals. Believe me, if you continue to do it you'll be stunned at how bad your early work is. Better to focus on lessons than promotion. Life is long. Just because you can put it up on YouTube doesn't mean anyone is going to watch it, never mind talk about it.
We don't need everybody, we just need a few good men and women. The public is hungry for music, but it doesn't need your music. And you must be dedicated and NEED IT! If you don't need success, if it's not the most important thing in the world, if you're not willing to sacrifice everything to get it, you're never going to make it.
As for the vaunted record deal... Even the major labels can't break new artists. Then again, they're repeating the formula. Innovation always comes from independents, outside.
But you must be unique and special. People need to see or hear you once and not be able to stop talking about you. If you have to convince someone you're great, you're not. Your greatness should emanate from you and your music.
Don't listen to the scuttlebutt, mainly it's wankers angry they're not successful who don't deserve to be successful.
You've got to be special. One listen, one look special.
That's what sells you today, no amount of publicity can compensate for substandard work, for average work, for great work. Look at it this way, the majors get tons of publicity for their acts and still most of them don't make it.
You've got the tools at your fingertips. But what you put through the pipeline is the most important thing.
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