OurStage

1. What are the most important things to pay attention with considering signing with a label?
Much like a relationship, you’ll never really really know until you get past the brochure, which is what all the talks and meetings amount to. Hopefully, as you meet more and more people interested in your music, you get better at distinguishing between those who can genuinely do something for you and those who can’t, and those who genuinely like what you do and those who don’t. It can take a lot of patience to find the person who is both good things. If you can’t find that person or that company, I think you’re better off with someone who genuinely likes the music, even if they’re new at what they’re trying to do or if they don’t have a lot of resources. Being in a band and running a label or working at one can both be pretty thankless until they’re not. Without love for the music, there’s not much point.

2. What should a new artist expect from a Manager? How can you tell a good one from a bad one?
A manager really has to wear a lot of hats. Planner, cheerleader, honest critic, listener, representative, networker. A great manager is someone savvy, observant and experienced enough to have a working knowledge of the various landscapes that make up the whole: concert venues, the concert experience, audiences, promoters, agents, labels, producers, college radio, commercial radio, fanzines, magazines, publicists, word of mouth, etc. We were lucky enough to know our manager as a friend for years before we started working together. Even if you don’t have that opportunity, I can’t stress enough how important character and trust is. It’s a very close relationship, you each have an effect on how easy or difficult it will be for the other person to pay their rent.

3. While coming up, what artists/band did you seek to emulate and why?
Hmm.... I'm not sure there were any bands we were specifically trying to emulate. It was closer to the opposite. After hearing The Pixies for the first time in 1989 or whenever it was, I had the problem of wanting to sound so much like them that I couldn't tell what was original in my mind and what wasn't. So I had to make a conscious effort to retreat into my own musical world, perceived shortcomings included, and build from there.

4. What is the most important to consider when interacting with fans of your music?
Be nice to them. You owe them so much. Remember what it would have been like for you to meet a band you were really into.

5. How important is having a lawyer in the music business and if you have one where did you find them?
Well, it's way crucial when looking at a deal. We found ours through our record company. Probably not such a good idea. Luckily, she turned out to be amazing, and we've been with her still, long after having parted ways with the label that referred us to her.

6. Is it possible to make it big without a major label?
Of course. Most major labels were independent at one time, and were transformed by a big success at that level.

7. What's the best things to spend money on (recording, publicity, tour, managers, lawyers, etc.)?
Recording, when the time is right. Everything follows from a good record. Or a great live show if that's your strength. It's good to have decent equipment that sounds good.

8. What's the biggest waste of money?
Zillions of 8x10's, fancy demo packaging, showcase shows, etc....I think it's best to ignore the music business completely until they come knocking. Just write, practice, record yourself/yourselves, figure out what makes your favorite records tick, play shows. Those are all the best parts anyway.