Surviving London’s late night blues

From the archives....

Observations of a music journalist

A battleground for thousands of musicians pursuing their dream, London’s bustling music scene similarly provides a fiercely competitive environment for its many music journalists.

Few experiences can match the buzz of a live music gig. For the music journalist, the adrenaline-fuelled backstage vibe accentuates the passion-driven motivation and provides some unique challenges.

Music journalists are viewed with envious eyes in the bright lights of London’s competitive and diverse entertainment industry. Attending gigs, hanging about with the stars and their eclectic entourages, and privy to the rock n’ roll lifestyle is the appeal.

To the casual observer it is a glamorous never-ending party, but in reality there is much to consider in making music journalism a rewarding pastime or career.

Experience is the music journalist’s greatest ally; and none better than that earned by countless late nights and early mornings spent in the dark underbelly of London’s frenetic music scene.

As manners make man, so they make journalists. Avoid the embarrassing “I should be on the guest list” scenario prior to covering a gig, and ensure that you have the necessary permission, whether from promoters, management, the venue, or the artist.

Always identify yourself and who you represent, even if you meet the same people again. This sets those in charge at ease regarding your presence and in the noise of a bar or club, first introductions are easily lost.

Backstage is a guaranteed melee of artists, management, public relations people, promoters and technical crew, often with inflated egos in tow. Know your place; a challenging attitude will make your job even harder.

Entertainment industry folk are notoriously temperamental, and for good reason. This is their livelihood, and there exists inevitable tension when one is judged by the last performance.

Respect their wishes and demands, even if you may not agree. After all, arguing will only get you escorted out by predictably humourless minders and worse, left facing an editor crankier than ever without a story.

If an artist is not forthcoming, do not take it personally. Unless requested to move with them on their rounds, avoid chasing artists around paparazzi-style waving cameras or voice recorders about. Move on to the next opportunity. Experience knows there are many stories lurking in this environment.

Keep backstage interviews short and to the point. Stick to the facts and stay in the heat of the moment. A gig revolves around the present.

Patient determination guarantees you will soon find yourself in one-on-one situations with artists. Remember the task at hand, and realise the human aspect. These people, despite their external persona, have the same hopes, fears and interests as you and your readers. Avoid the absolute obvious questions, and similarly the pointlessly obscure.

A gig is an exclusive relationship between the artist and the audience. Never get between the two. When it comes to photographers, this is the ire of many a musician in performance.

Focus your attention all around. Know what is happening on and off stage. Crowd reactions, body language and off-stage incidents are gold in terms of your story. Many artists have their families and friends backstage making introductions and verbal exchanges a potential cornucopia of information.

When vantage points on stage are permitted, take note of the set-up, and those working around you. A stage is a dangerous place. Stage managers designate specific areas where guests and journalists may stand. Stay there. Electrical cables are evil, and have embarrassed many an incognizant journalist and muso. Unplugging the lead guitarist mid-solo will likely leave you more beaten than a bass drum.

Leave your prejudices and expectations at home. Report the facts and proceedings at hand. These often contradict what has been said or written about an artist. This applies in both a positive and negative sense, so be prepared.

Do your homework. Familiarise yourself with the artist you are covering, and understand their motivations and methods. People can be driven by many factors. Knowing this can be vital to your story.

Take in music at every opportunity. Stay abreast of trends and know who is doing the rounds musically. Do not ignore the thousands of artists paying their dues in dark, smoky, half-empty clubs each night. The “next big thing” is usually discovered by being in the right place at the right time.

Be open-minded. There is little room for those that pigeon-hole music into exclusive genres. Most artists don’t care how you classify their music, but be objective and offer the coverage it deserves.

A press pass is no free lunch; it is a responsibility. Abuse it, and it not only reflects badly on you, but also discredits your fellow professionals.

Artists and management know they need you in terms of PR and exposure, but if you mess up, there are many waiting to take your place.

Effective working relationships with artists and their management teams are built through networking. Covering a gig is often a culmination of weeks and months of work and communication.

Where artist information, interviews and music previews are offered, make use of them. This is the most valuable tool you have to establish firm bonds with artists to prove, that like them, you are committed.

Record companies spend millions promoting artists and expect suitable and timely responses from journalists. Promotional events and copies of albums, singles or DVDs are often a first introduction to new music. Requests for feedback met with professionalism cement lasting relationships with record labels and PR agencies.

A privilege of the job is receiving new music before commercial release. However, this is not a signal to set your CD burner into overdrive and cash in on favours from your mates. Unauthorised distribution is taken seriously by record companies and could give “jailhouse rock” new meaning.

Music is a high-value commodity, and yours is a position of trust. Protect it at all costs.

When approached for opinions, be honest. Stick by your principles; believe in yourself and not the hype. Nobody respects a sycophant.

Candour commands much respect in an industry where public perception is paramount.

Most importantly, never forget that it is all about the music.

Published reporter.co.za