Leo Walton & Leo Greenslade - Music PR
In music, PR activity is split into two distinct parts.
First there are the PRs or publicists, whose job is to get print media, reviewers and news journalists writing about artists and releases.
Second there are the pluggers, or promotions people, whose job is to get DJs, radio presenters, producers and heads of music in TV and radio playing and playlisting new songs.
In large record companies these two parts of PR will be handled by completely separate departments, and many music PR agencies will concentrate on one or the other. Some agencies, however, work in both areas. One of those agencies is Darling Department.
To give you an idea of what it is like to work in both PR and plugging – and how to go about getting a job in these areas – we spoke to two guys at Darling Department, one doing PR, the other plugging. As it happens, they are both called Leo!
By Unicorn Jobs
The Publicist
Leo Walton is a music PR, or publicist, and promotes artists and releases to print media and journalists, his aim is to persuade journalists and editors to feature and review the artists he represents.
What does your job entail on a day-to-day basis?
Emailing, lots of emailing… listening and talking about music, organising interviews and photoshoots, writing press and news releases, speaking to journalists and sending them music. I also have at least a few meetings every week where we plan the campaigns and release schedules for specific artists.
What do PR companies provide that bands and record labels cannot provide for themselves?
I’ve only ever worked at Darling – speaking from that point of view we offer structure, experience and deep knowledge of how to run a successful press campaign. It’s very hard for a band to PR themselves when they get to a certain level as its too personal and, unless you really know what you’re doing and have great contacts, it’s not going to have a real impact. If a label has an in-house PR then, of course, they can do the press, but PR is a skill and unless you know how to do it properly you won’t get the most out of the press.
When should a band start thinking about hiring a PR company?
As soon as they’re ready to take it to the next step: they need to have the songs, be able to play those songs properly on stage, and, I would say, already have at least interest from somebody in the music industry. Once you have that then it’s worth making links with a PR. More often than not it is a record label that organises a PR, rather than an artist themselves, which means most bands are ‘signed’ before having a PR working for them. If nothing else, the press agency will need something to ‘do press on’ – and in music that normally means some kind of single or album release.
How do you utilise sites such as MySpace, Facebook, and YouTube?
Well, everyone has a MySpace, and out of those three websites that is still the most relevant for music as you can see photos, read biogs, get links, see who they’re associated with, and listen to music, all in one place, so it’s ideal. Facebook is a great tool to see the interest in an event or artist. YouTube, obviously, is great for music videos being seen, and from our point of view for monitoring the global effect a track or band is having.
What do you think about the idea of the internet allowing small artists to promote themselves without a label or PR machine – the ‘bottom-up’ approach?
I think it’s great to have the option to be heard for unsigned bands, especially if you’re talented but live in the middle of nowhere and don’t have the luxury of contacts in the music industry. Because everyone can access these web tools, and with no quality control, it does mean that there is a lot more average music out there. But it makes perfect sense for bottom-up talent to be utilising these sites.
How did you get involved in music PR?
I did an internship at [jeans company] Diesel’s head office when I was 18 and was able to work on the diesel-u-music project, which i really got into. After I completed my internship at Diesel, i was recommended to Ed and Dan [the directors of Darling] by Debbie, who was the head of pr at diesel – and is also Ed’s wife! I guess it was just a case of working hard at Diesel, having the chance to impress and a bit of luck. I started at darling as an assistant for club promotions at 18 and nearly five years later Ii am a PR with my own client roster.
What would you say are some of the best ‘perks’ involved with a job like yours?
Free music, free gigs/gueslists and travelling the world on press trips – but just being able to earn a living working on music you care about is the biggest perk.
What are some of the ‘cons’ of working in music promotion?
Losing a bit of the romance of music and thinking about every album/artist in ‘work mode’. Also, there has been pretty hard times in the music business over recent years – it can be challenging working in it when everyone’s budgets are tightening. In my particular role, it can also be very tricky to speak to or build rapport with certain journalists when you know they’d like something if only they would listen!
What sort of personality ideally fits this job in your opinion?
Someone who is confident and enthusiastic, has very good social skills and is genuinely interested in music and culture, as you need to be bringing stuff to the table and having your own voice. You need to enjoy late nights and spending a lot of time out and about too.
What sort of advice would you give to individuals interested in working in music promotion?
Work hard and impress your employers, go the extra mile and do everything you can to make yourself indispensable. A lot of people want to work in music PR and you need to take your chance.
Is there such a thing as bad press in the music business?
Yes there is. Bad press is good as it raises awareness and people tend to remember bad press more than the good stuff, but it can definitely have a negative effect and people aren’t going to support people that they don’t like or agree with.
The plugger
Leo Greenslade works in promotions – his job is to persuade key people in TV and radio to play or playlist the music of artists he represents.
What does your job entail on a day-to-day basis?
Chasing results. Plugging is a results based business.
What do plugging companies provide that bands and record labels cannot provide for themselves?
A reliable hand and a good relationship [with radio and TV people] for starters. I have been doing this for a while now and producers and DJs know what I am about and come to me as a music man. Reputation is everything.
When should a band start thinking about hiring a plugger?
When they have some music that needs exposure.
Is there any different between being a TV, radio and club plugger?
The principles are the same in places but the format and industries are different.
How did you get involved in music promotions?
A thirst for music of course. When I graduated I skipped the ceremony for ibiza (my Mum has never forgiven me!) and for two years worked for the people who run Manumission. I started at the very bottom – and I mean the bottom – showed the industry I was up for the challenge and the rest is history. Someone called Caroline Prothero gave me my first job in promotions when I arrived back in the UK which went very well. I cut my teeth in club promotions [plugging music to club DJs], then did some work in A&R and artists management, and then moved back into promo.
Why did you choose to work for a plugging agency rather than in house – would you consider doing your job in a label?
I have worked in both set ups – for a label and promo company, and in the music industry opportunities present themselves and you decide what’s right or wrong for you at the time – job wise and lifestyle wise. I have developed in an independent music environment which was always very important to me from a young age. Label set ups are based on a few select acts. Here at Darling I work on a lot more projects which keeps things moving.
What would you say are some of the best ‘perks’ involved with a job like yours?
Satisfaction when you get a Record Of The Week on a key radio station, or a single added to playlist, that is a high for sure – though that’s not really a perk I guess! Perks – do radio pluggers get Perks?!! I am very lucky. My bosses take us away every year – this year we went to Berlin as a group which was fantastic. I also get to see a lot of live music and recieve a lot of promo material [CDs before they are released].
What are some of the ‘cons’ of working in music promotion?
As I said before, plugging is a results based business – you do the math!
What sort of personality ideally fits this job in your opinion?
THICK SKINNED – no shrinking violets in this business
What sort of advice would you give to individuals interested in working in music promotion?
Be prepared to start at the bottom. Have a genuine passion for it. Do your research.
Has the growth of online radio and music services made radio plugging harder or easier?
Good online radio has presented me with new targets [ie new DJs and producers to plug music to] in key areas, which is positive for me. Some may not bother with it, but digital radio is the future. You snooze you lose…
This article is part of the unicornjobs.com guide to Working In The Music Business. Click here to go to the guide index.
