A&R Flashcards
Labels are gonna be “more convinced” by a talent whose project(s) and/or material are impressing someone else, especially if said person is someone whose opinion they trust. This is why most A&Rs will not reply to you if you send them music directly, with exceptions.
It’s important to remember that there are far more musicians reaching out to them and sending music than they can logistically keep up with; that’s just the reality of it.
And that’s why they have trusted sources for music whom they prefer to deal with, because these sources have already “pre-screened” the music for them a bit — which helps them narrow down their final selections that they end up signing.
That’s, again, not to say that A&Rs don’t scour the internet and keep their eyes and ears open to what’s poppin’ in the indie world; they definitely do.
If you’re doing sufficiently big things on your own, the labels will eventually reach out to you themselves.
But in those cases, they will be the one to reach out to you, and it’s not common for it to work the other way around, unless you’re connected with one of their trusted sources.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
Shameless self-promotion is kinda frowned-upon in most industry circles. It’s a thing. In fact, many people in the business find self-promotion straight up annoying.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
Having great press coverage is not a mandatory prerequisite to attract major record labels, per se’. One of the major label subsidiaries we consult has actually stated that they “don’t care about that stuff,” that they just care about the music.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
We live in a world where an unusual look is sometimes actually preferred by certain A&Rs and labels.
For example, it’s been proven that androgyny sells. Not every artist is androgynous — like Prince, David Bowie, Annie Lennox, etc. — and therefore this is one example of an “it” factor that can make an artist stand out. But there are many factors that can do that. Again, just one example.
Now, for songwriters, producers, composers and DJs, and even artists alike, the “it” factor looks like having that je ne sais quoi quality, or an air of mystery or intrigue. That something different in the vibe of the records you send in.
While you don’t want to be totally out of “left field” necessarily, because that can turn off a label… you also don’t want to be a carbon copy of a talent the label has already signed, or a musician that is already big in the scene currently.
I once had a label say something like, “This artist is awesome but we already have an Usher.” (It wasn’t Usher, specifically, but you get the idea here.)
Mind you, having some influences from known musicians and songs is fine and totally cool — and throwback vibes are sometimes dope, depending — but labels don’t want to release the same music over and over. They want each new signing to have an edge over what’s already out, ideally.
And yes, it’s possible the label would sign such a song. But there’s also a chance — in my opinion, an even greater chance — that the label will pass on such a song, no matter how good it is, and may even cite their rationale as being, “This sounds too similar to what this artist has put out; we want something different to break the mold a bit.”
(FYI: The aforementioned is almost verbatim what we’ve sometimes heard from some of the top major A&Rs we consult.)
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
Artists are constantly evolving and reinventing. That’s how they stay relevant. A good goal is to stay super updated not only on what music is out, hot and “currently working” in mainstream (Billboard hit records and heavy streamers on music platforms), but also listen to what music is “bubbling under” in the underground.
Producers and songwriters should be evolving, too, to stay relevant. Usually, the biggest indie music sounds “futuristic” or “post-modern” in terms of prod, and ahead of the curve versus what’s currently trending at the top.
You can absolutely generate your own “it” factor. It’s all in the mind. But just know labels will be looking for it, especially when it comes to artists and DJs.
Sometimes being more raw and honest — perhaps being brave enough to show your face without makeup or filters once in a while, just for one example — can go a long way.
Talking openly about your story, your struggles with mental health, self-reflection, childhood, love, loss, loneliness and so on can also help people feel related-to.
Labels, industry professionals and fans alike love a great backstory. It gives them a glimpse into your creative process, and offers an opportunity for human connection that transcends — but also seamlessly blends — with the music itself.
We would argue that everyone is born with some “it” factor, but those who use it to their advantage are those who push the boundaries and put themselves out there, unabashedly.
When it comes to producers, songwriters and composers, vibe in your music is a huge part of your “it factor.” But so is how you interact with people in the business.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
Record labels are looking to sign artists that have staying power, aka longevity. They don’t want an artist who is going to have one or two hits and then disappear. That’s a poor investment.
That’s not to say that having a couple great songs right now, ready to go, can’t get you a deal.
Sure, it can.
The more consistent you are at having songs with true hit potential in your arsenal, the more likely you are to pique and keep the industry’s attention.
On multiple occasions, we’ve had situations where we received a song from a band or artist that we thought was a no-brainer hit, but they had no follow-up.
This may sound cold and may surprise you, but: We usually won’t forward and pitch to a label an artist, DJ or band project that only has one potential hit, because labels want someone who can keep the hits comin’.
Major publishers, in particular, are typically going to be looking for consistency in songwriters, too. The pressure is even stronger, in this respect, if you’re looking to get a publishing deal.
Keep in mind that many substantial publishers may be looking for writers and producers who have a strong network and are already getting cuts on their own. Publishers, independent A&Rs like us and managers can make some alignments and set you up with great co-write sessions, but the ideal is for them not to have to do so, on their own.
Your hustle in this sense matters, obviously. We recommend you build your network, even if it’s small and strong. We may be able help with that, too, by making introductions with other talented and/or successful musicians, setting up collab sessions for you, and letting you take it from there to hopefully “make magic” together with other creatives you have powerful chemistry with.
Remember that the best networking includes making real friends and mingling with people on a human level. Most people don’t wanna feel like someone is “just networking” with them (although, this depends on the person, of course).
“Right place, right time” theory still persists. But being on the right social media platform and meeting the right people online is just as good, these days.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
A great song with a great story can be very powerful and engaging for its niche audience. But if you wanna reach the masses and garner the attention of people in the major record industry, your music will need to be catchy and memorable.
Record executives — especially those at major labels and publishers — not only want music they personally love, but music they think will resonate with a mass audience and ideally will have a lasting, major impact in the mainstream.
A&Rs are gonna be listening for songs that everyone is gonna be singin’ in the shower. If it sticks in their head after the first listen, there’s a greater likelihood that that will also be the reaction of listeners.
A&R representatives at record labels are hand-selected and vetted carefully, based on their ability to identify catchy and memorable music.
If your music falls flat in any way, A&Rs are gonna be bored and they may ignore everything else you ever send them. Don’t be paranoid or intimidated about this; many of them are good human beings who are patient. But they are insanely busy, too. Respect that.
The catchy and memorable characteristics of your songs are one of the most crucial, if not perhaps the most crucial aspect of your potential for a major record deal and/or publishing deal.
Your chorus hooks are perhaps the most important parts of your songs. You need to get to the first hook by the :45 second mark at the latest.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
Max Martin — the third most-successful songwriter in recorded music history, behind only The Beatles’ Paul McCartney and John Lennon, respectively, and entirely eclipsing MJ in terms of #1 songs — has been known to say:
“Anyone can write a hit on accident once in a while;
DO IT ON PURPOSE.”
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
You only get one chance at a first impression, as they say.
So approaching labels when you’re not sure you’re “bringing the goods,” so to speak, can be a huge mistake.
One of the biggest problems we see is musicians who want the success and accolades, but don’t wanna put in the work and refine their talent and material.
Just bring the goods. Just deliver.
Let how good you are speak for itself. Don’t get ahead of yourself or have a big head. This is bound to bite you in the a**.
Sure, it’s a mistake you can recover from, but if you wanna build a relationship with a label and maximize your chances of a deal, don’t waste their time with underdeveloped material or projects, if you can help it.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
“How do I know if my material
is ready for the masses?”
One key way to determine this is to have people with experience around you, who are advising you.
You may not always agree with their opinions, and sometimes your instincts will be right on and theirs will be totally off (it happens; no opinion is the end-all be-all, no matter whose it is).
But when there’s a consensus among experienced advisers and mentors around you that you’re on-point and bringing your A game, as we say… then — and only then, ideally — is the best time to start approaching labels.
If you think you’re the sh**, you probably aren’t. Most people who are truly at the peak of talent and viability have eaten their fair share of “humble pie,” so to speak. If you’re full of yourself, you probably need a few slices.
A friend and colleague of mine who is crazy successful and has worked with nearly every A-List artist under the sun once said, “You’ll never convince anyone of how good you are. Only your music and success can do that. Period.” And he was right on the money, both figuratively and literally.
One of my pet peeves in A&R is receiving music from unsigned artists who tell me all about their releases and how great their music is, before I even hear it. About 9 or 10 times out of 10, it’s not quite “there” yet, to my ears. And the fact that they assumed I would be in love with it irks me. I also find it insulting, because as an A&R, it’s my job to identify whether something is good to go, or not.
Never settle or “rest in your laurels.” You should always be growing, evolving and developing — and this is especially true in the early stages of your career.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
Putting in the time and work on your own is obviously a critical step, but it’s typically not enough to stand up to the competition among those who are vying for labels’ attention.
That competition is beyond fierce. You may be amazing, but there’s always gonna be someone who might be more amazing that the same A&R is hearing and seeing.
And if this sounds like a lot of pressure, if not borderline intimidating, get used to it. That’s the rule and not the exception in the upper levels of this industry.
We’re in a new era where there are more opportunities than ever for musicians, but don’t underestimate how competitive the major music industry still is.
And look, don’t let it get to you; just try to grow a “thick skin” and stay in forward motion. They say a “thick skin” is requirement to survive in this crazy business, and I concur.
FYI — We at AvrConsultancy™ care about mental health, for sure! So don’t let my bluntness scare you. Just tryna keep it real, up in here! This is part of helping you get fully ready to hold your own more, and take on your most powerful mindset possible.
A good mentor always challenges his or her proteges. But there’s no way around it: You need to be super developed.
Development is key and should not be overlooked.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
Surround yourself with great “mirrors.”
“Mirrors” mean people like us and others in the business, who can give you an experienced outside perspective and provide detailed feedback on what we’re seeing and hearing.
The idea of having great mirrors in your circle is something we picked up from our respected and distinguished colleague, Judy Stakee, who is a legendary music publisher, songwriting mentor, author and speaker.
Best known for her work as Sr. VP of Creative at Warner Chappell Music, Judy is responsible for signing and developing many of today’s most acclaimed artists and songwriters: Sheryl Crow, Katy Perry, Michelle Branch, Joy Williams, Jewel, Gavin DeGraw, Julian Bunetta, John Shanks — among many legendary artists and other creatives she’s directly worked with throughout her tenure in the music business.
Judy Stakee is a great “mirror” and teacher.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
Trying to attract labels when you’re not ready, vetted and verified is highly not recommended. That can quickly get you a reputation as a pest who doesn’t know what they’re doing. Don’t be that person.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
Career traction is one of your most powerful “weapons” in the music business. We are now in an era where independent musicians can wield this power more readily than ever, if they work smart.
Traction can include things like:
– Generating notable revenue from your recordings, songs and/or performances;
– Collaborating or sharing a stage with a well-known artist, writer or producer;
– Being sponsored by and/or co-branding with major companies;
– Generating a substantial, targeted and engaged fan base;
– Building a strong, recognizable brand;
– Notable coverage in major press outlets;
– Selling a ton of merch;
– Massive ticket sales;
– Being a powerful digital influencer on social platforms;
– Top positions on well-known charts (such as Billboard, iTunes, etc.);
– High streaming numbers and/or record sales;
– Support from well-known DJs, Spotify Playlisters and/or YouTube Channels;
– Honorable Mentions by Prominent Social Influencers
– Major Licensing & Sync Placements (in TV/Film, Ads and/or Video Games);
– TV coverage and/or celebrity mentions/endorsements;
– Any form of major publicity.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
How important is traction to A&Rs?
In the dating scene, most people are looking for someone that they need more than the other person needs them. It’s human nature. It’s “the game.”
The music business is much like that. (This is why it’s important not to come off needy or desperate, too.)
Record labels and publishers are looking for talent that is already running a well-oiled machine, has their team ready to go and/or is an absolute master of their given craft.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
They say, “the numbers don’t lie.” Unfortunately, in the 2020s that’s no longer true. Nowadays, some unscrupulous musicians and/or their marketing companies of choice are “faking traffic” by generating fake plays or fake fans.
The labels can generally see fake traffic a mile away, and they won’t be interested, so don’t bother.
That’s not to mention the fact that social media and streaming platforms also have artificial intelligence that will most-likely eventually detect fake traffic and penalize you for it — at best, by removing the fake fans/plays; at worst, by deleting your account entirely and banning your permanently from the given platform. Ouch!
The truth is, the more actual money you can legitimately generate on your own from your work (as an artist or DJ) — and/or the more cuts you can score independently, which do well (as a producer or songwriter) — the more interested a label or publisher is likely to be, in our experience.
Labels look for smart investment opportunities.
Labels must invest their own revenue back into artist projects they believe in. And there’s always risk involved in such investments.
When artist projects don’t perform as successfully as anticipated, this is a financial loss for the label. This is something major labels know can happen, but their infrastructure is structured to minimize loss. That’s why they’re major.
They know there will be some losses, but they want to make wise investments, as much as possible. Your role, in this respect, is ideally to be as low-risk as possible, in terms of their investment dollar.
The more your accomplish on your own, the “lower risk” you are for the label, investement-wise. That’s good for both of you, at the end of the day.
As a bonus, the more you’ve accomplished on your own, the better your leverage position is when negotiating a deal. If you’re savvy and can pull this off prior to signing a deal with a major, your manager and lawyer will thank you for that, trust me.
But, in all honesty, not every talented musician and their team have the time, energy and wherewithal it takes to build such noteworthy initial momentum.
And it’s worth saying that what may you think is “noteworthy” may seem like straight up peanuts to a label, who sees indie artists getting millions of plays and having hundreds of thousands of fans on a daily basis.
Source: Jake Niemi
https://avriality.com/what-labels-look-for/
