Interviews: Going Global Music Summit 2023 - Hallie Anderson, Kodi McKinney, Jacob Daneman, Silke Westera

Going Global Music Summit 2023 returns to Tāmaki Makaurau's Roundhead Studios this week for two days of keynote speeches, panel discussions, workshops and networking opportunities, featuring a lineup of international and local industry experts. In advance of the info-packed get-together, guest speakers Hallie Anderson (Rareform, USA), Kodi McKinney (Marauder / Port Authority Music Export Program, USA), Jacob Daneman (Pitch Perfect PR, USA) and Silke Westera (FKP Scorpio, Germany) generously shared demystifying insights into their fields below.

Head along to goingglobal.co.nz for the full official programme, which includes conversations with Bret McKenzie, The Beths and keynote speaker Debbie Ball. Don't put off nabbing tickets to the all-star Going Global Presents 2023 Artist Showcase — full lineup details HERE, brought to you by Independent Music New Zealand (IMNZ) and the NZ Music Commission...

GOING GLOBAL MUSIC SUMMIT 2023
Friday 1st September and Saturday 2nd September - Roundhead Studios, Auckland
For more information about the event, including the full programme and registration details, please visit goingglobal.co.nz

GOING GLOBAL PRESENTS 2023 ARTIST SHOWCASE 
Friday 1st September and Saturday 2nd September - Whammy Bar, The Wine Cellar, Backroom, Auckland (doors 6.30pm / end time 10.30pm approx)
Tickets available HERE via UTR ($30 for both nights or $20 for each night)

Hallie Anderson — Rareform, USA

What are your favourite 'top tips' related to your area of expertise?

There is no silver bullet, it's important to grow step-by-step to build a strong fan base, while also being able to take advantage of any viral digital moments, syncs etc, that come your way.

When thinking about entering the US market you need to keep in mind that this is a very big country with many different markets that have their own radio, press, etc. and it can take multiple releases, multiple tours, and significant investment before you start seeing traction so be patient.

Focus on building a community and build an audience around you. Everyone is on their own path and some artists break off a single but most break off of five to ten years or more of hard work. When you do have that moment such as a sync or viral track you now have a fan base to rally around you to help take you to the next level.

Take advantage of trends and algorithms, check out TikTok’s page of trends for inspiration. But find what is authentic to you vs. trying to mirror what you see other people doing. With content and release consistency is most important to keep your audience engaged.

Most frequently asked question by artists:

"Who is the right partner to release my music with? Is it a label? Is it a distributor? And which one?"

There is no right answer to this. Before going into conversations with any partner it's important to think about what you need. Do you want to build and manage your own team; do you need financial investment or are you able to self-fund; where are you currently seeing traction on your project that could be amplified by the right partner: who is the most passionate about your artist's music, etc.? Once you have these answers you can see who checks the most boxes and is the right fit for you. There are more options out there for artists than ever before so it's about navigating conversations to pick the right one.

How do I get editorial playlisting at DSPs?

Editorial playlists are not a marketing plan but something that happens if you’re doing everything right. There are millions of artists that stream incredibly well with no visibility from editorial programming. It’s your responsibility to build your on platform community. This can be done by using free tools offered by partners and leaning into algorithmic playlisting through collaborations, release cadence etc.

With so many existing and new platforms what are ways to manage the increased workload of self promotion?

We first start by asking which platforms are you already using and how do you feel about each? Next we’ll discuss how you want to communicate with your fans. So we’ll try to determine what combination of platforms is the right combination for you. This could be Instagram + longform emails + Discord, or it could be TikTok + Youtube + Instagram, or it could be Patreon and Discord. We also ask what is a manageable amount of posts or content. Instead of working towards best practices we try to work towards a consistent output, if that's only two to three posts a week that's okay. We’d rather it be consistent than have an artist burn out. We’ll also look for opportunities to mirror content on a number of platforms so they don’t need to create unique content for each. And finally, it's important to remember that short form content is about discovery so instead of thinking about it as needing to be in chronological order think about it as funnels that are bringing people in.

Kodi McKinney — Marauder / Port Authority Music Export Program, USA

Three top tips on how to enter the US market:

1. Have a plan.
Over 300 million people live in the US. It’s more than twice the size of the European Union. Going to just New York or Los Angeles is not enough to break this market. You need to start strategically, pick teams that understand what you or your artists are trying to do, and be prepared to move to more aggressive second and third stages once initial awareness has been built.

2. Know the risk.
It can take years for a local US artist to build an audience, much less an artist from the outside, and promo companies here cost significant money. This market doesn’t know you until it does. An artist’s first tour in the US is not going to feel like the big rooms they’re playing at home. Be prepared to grab at support slots on established tours, and know that sometimes, playing a room for 10 people will allow you to develop a narrative that gets 200 people there when you come back.

3. Take the leap.
The US market has lots of people trying to hop in the pool. Many of them have the same fears as you. Don’t just dip a toe in. Strategically go a little further than the most conservative option you have, at minimum. It pays off, makes the market take you seriously, and helps you swim where others sink.

Most frequently asked question you get by artists:

"Can you help me find a booking agent?"

The short answer here is that, in the US, you don't find an agent — the agent finds you. It's a big country, there is a lot of competition, and agents want to know how many people you can draw each night. So, you have to put down some breadcrumbs for them to show you have it together. Press clippings, US streams, radio play, a good handle on your social media (even if you're not a TikTok sensation), and a willingness to take showcases where you can find them (even if that means getting on a plane with barely enough notice to sort out a visa) all add up to show you're serious, and also that the market can take you seriously enough for an agent to come into play.

Jacob Daneman — Pitch Perfect PR, USA

Most frequently asked question by artists:

"What does a publicist do?"

Seriously, this is the most frequently asked question or some variation along the lines of “how does press work?” My job is to work with the artist team to pitch writers, editors, and certain cases, TV bookers, on covering or booking my clients. This begins months before the release of the album, where we help put together a bio that accurately and compellingly tells the story of the artist and album. We then service these press materials and the album to various editors, writers, and tastemakers, and pitch them on reviews, interviews, and other forms of coverage. We engage with editorial outets’ social media managers occasionally as well, and sort things like AMAs (ask me anythings) or Instagram takeovers. We work to schedule the interviews, and try to pace them in a manner that best suits the campaign.

When the album is released we round-up all the coverage we’ve helped arrange and produce press reports highlighting all the coverage, and try to extend the campaign with additional post-release interviews, press centered around tour dates, etc. If an artist has developed a significant profile, both with the press and with retail and radio, or there are strong expectations that this will be the case, we will pitch late night TV performances as well. All this is, of course, predicated on the fact that these editors, writers, and bookers trust my taste and will listen to what I send them and respond with feedback. At the end of the day, coverage is never inevitable, but our goal is to always try to receive some sort of feedback from our contacts and do what we can where we can.

Silke Westera — FKP Scorpio (Germany)

Top tips + most frequently asked question by artists:

If you don’t have a well-connected team around you yet on an international level, try and find ways to connect with "key people". Ask fellow managers / agents / musicians for help to introduce you to these people if possible.

Do not use mass mail-outs to ask for opportunities / help. Ever.

If you are playing a certain capacity level in NZ / Australia, offer a support slot to a European band (playing a similar level at home) and swap it for a support slot on their EU run.

If financially possible tour Europe more frequently than every 5 years.

A great local promotion agency (radio, print) can make a huge difference (on tickets etc.)