I’ve been listening exclusively to Nine Inch Nails since seeing them perform at Staples Center Friday night. It’s been a long time since a concert inspired me to do that. I’ve been listening to this band for more than 20 years and, even today, as I listen to Nine Inch Nails, I can hear new perspectives in the music. It’s dynamic and evolving. It’s the varying degrees of tension between the instruments and the space between the noise. If you step out of the literal and just listen to the music, you can hear something new every time.
There are back up singers in this line-up and when they sing, that’s one thing. When they scream, that’s another thing. These women – and everyone on that stage and associated with this production – are essential to the show. Everyone’s role is additive and complementary to the experience.
Rob Sheridan, Nine Inch Nails’ creative director, is brilliant. Trent Reznor has an amazing ability to recognize and embrace exceptionally talented people. The creative collaboration with Sheridan is signature to the Nine Inch Nails brand. You know what this music feels like as a result of the entire production; not just the sound.
And the sound is great, no matter where they play. Staples Center can be tricky with sound because it tends to bounce around the room. A Nine Inch Nails show – loud as it may be – will not send you home with ringing ears. There’s precision in the production.
If I could use one word to describe Nine Inch Nails, it would be “integrity”. Integrity of music, integrity of art, integrity of the relationship with their fans. This band keeps their promise every time. Even if you’re not a fan of the music, I recommend seeing Nine Inch Nails for the inspiration of the vision and the aspiration of being that committed to their art.
So yeah, the show was outstanding. Where the fuck were you??
Without knowing what shape, nor time, nor place it would happen, I’d been anticipating this night for four years. “I won’t let you down,” Trent Reznor assured everyone during Nine Inch Nails’ final show of the Wave Goodbye Tour, on September 10, 2009.
True to his word, Reznor has not disappointed. During the Nine Inch Nails “hiatus”, Reznor brilliantly scored 2 soundtracks, one of which landed him an Oscar. He also co-created How To Destroy Angels with his wife, Mariqueen Maandig, which included one of the most visually impressive productions I’ve witnessed. Rather than continuously churning out albums and tours as Nine Inch Nails, Reznor recognized he needed a break, focusing on other creative and personal endeavors. The creative freedom and perspective gained from his Nine Inch Nails “break” (arguably one of the most productive “breaks” on record), was evident during Tuesday night’s show.
For all in attendance, the Nine Inch Nails show at The Troubadour was a story of miracles.
Listening to the crowd prior to the show, provided hours of “how I got in” stories. One woman was determined to win tickets for her boyfriend, so he could see his favorite band on his birthday. Another woman described her meticulous strategy for winning tickets from radio stations, including the theory that land lines provide a better chance of winning than mobile phones. People described how they enlisted co-workers, friends, and relatives to help them pound the phones each time a KROQ DJ announced “one lucky caller” would win a pair of tickets.
Prior to the show, a man worked the line, offering people $800 a ticket. Perhaps he did eventually make his way in, but from what I saw, observing the first 100 people in line, he was met with one consistent response: silence and a definitive shake of the head, “no.” Money can buy a lot of things, but it can’t replace a once-in-a-lifetime Nine Inch Nails experience.
Everybody in attendance recognized and deeply appreciated the fact that they were seeing Nine Inch Nails at The Troubadour, an intimate venue, with rich history. The atmosphere prior to the show was gracious, celebratory, and invigorating. People didn’t wait until the show began to enjoy the experience. They’d been enjoying this night since the moment they knew they would be among a mere couple hundred people who would see Nine Inch Nails play The Troubadour.
A few minutes prior to 8:30pm, the energy inside the venue shifted. There was a collective understanding that this was the time to take care of any last minute needs or desires. People worked together, taking turns buying t-shirts, drinks, and making their final bathroom run of the evening.
When Nine Inch Nails hit the stage, it was explosive. Kicking the set off with “Somewhat Damaged”, the band and the crowd took the energy to otherworldly levels. The sound – despite its high volume – was crystal clear. There was no unintended distortion. The sound being as perfect as it was, I neglected to wear earplugs.
Yep, there were lights.
I wish I could describe what it felt like to be at The Troubadour when Nine Inch Nails played. We may have been inside a small venue, but from a production standpoint, this was no little show. One third of the balcony appeared to be taken over by the band’s equipment. When the show began, the neon “Troubadour” light behind the stage was dimmed. The audience was transported to a place they’d never been, even if they’d previously seen Nine Inch Nails a hundred times before.
That is among the reasons Nine Inch Nails is widely lauded as one of the best (if not the best) live bands in the world. No matter how many times you see them, every experience is unique, and the definition of “perfection” evolves.
For me, what stands out most is how much Trent Reznor cares and how apparent that is in everything he does. This is his life, his art, his passion. He cares about the experience as a whole, that people continually walk away, as I do, drenched in sweat and nearly speechless. Every show is unique, surprising, and absolutely mind, spirit, and energy altering.
Prior to the show, people speculated about the set list. The majority of fans suspected the band would play the new album, Hesitation Marks, straight through. Some elaborated that, following the new songs, Nine Inch Nails would certainly play some of their older material. This is what happens to music fans’ expectations when Nine Inch Nails leaves the scene. We become accustomed to, and expect that, every show is about pushing a new album or promoting something else entirely. That is how most bands would do it. That is how nearly every band I’ve seen this year has done it. That is the format we’ve grown accustomed to and accept.
This is how Nine Inch Nails did it at The Troubadour:
1. Somewhat Damaged
2. The Beginning of the End
3. Terrible Lie
4. March of the Pigs
6. The Line Begins to Blur
7. The Frail/ The Wretched
8. I’m Afraid of Americans (David Bowie cover)
9. Gave Up
12. The Warning
13. Find My Way
14. Came Back Haunted
18. The Hand That Feeds
19. Head Like a Hole
20. La Mer
For those who are less familiar with Nine Inch Nails’ discography, that’s a 21-song set list, including a mere three songs from the new album.
It almost seems as if Trent Reznor takes it as a personal responsibility to make people question – and raise – their expectations. Every time I see Nine Inch Nails I’m surprised, even though I shouldn’t be. They are my favorite band to see live. I know how good they are. I know what they’re capable of. Then, they remind me: no matter how much I think I know, no matter how high my expectations, Nine Inch Nails leaves me at a loss for words with their sheer brilliance and dedication.
Their energy never wanes. Likewise, there’s no ramp-up time. When the band first burst onto stage, I felt like I had been blown back twenty feet. There was a simultaneous sound and light explosion that removed the audience from whatever day it was, whatever they had been thinking about, wherever they were – physically and mentally – and transported them to another world.
Similarly, for Nine Inch Nails, the encore isn’t when they play their “biggest hits” or “fan favorites.” NIN takes the word “encore” literally – “another.” They return to the stage for more of what they’ve done – a mind-blowing level of making people lose their shit.
In addition to his integrity and dedication, Reznor exudes gratitude. With everything they do, Nine Inch Nails’ recognition of their fans is expressed. I walk away from each Nine Inch Nails show with an overwhelming feeling that the band truly appreciates each of us; not because Reznor says “thank you” numerous times, but because of the show itself.
Nine Inch Nails kicks off their U.S. tour later this month. See them if you’re able: http://tour.nin.com/
While you’re busy trying to figure out how to save your business, doing things like launching apps and having rooftop concerts, you’re losing sight of the basics. You are often your (and your artists’) own worst enemy.
Many examples of this have been documented over the years. I’m not here to give you shit or tell you that you suck. I love music. I love musicians. I want to help you.
Within 5 minutes of trying to get more familiar with an artist – including purchasing tickets to an upcoming show – I ran into several obstacles. Here’s what happened:
I’ve been hearing about The Weeknd for a while, so:
1. I went to Facebook
It’s important for you to understand how music fans are looking for music and information about artists. They are not going to your artist’s website as a first stop, and they’re probably not going to Google first either. They are going to sites like Facebook, YouTube, Spotify, and Soundtracking. That means you need to make sure your artist’s presence on those sites is easy to find and comprehensive.
Facebook recently launched Graph Search. For the record, I hate it, but unfortunately 1.1 billion people on Facebook are stuck with it, including your artists.
When looking at search, you need to think about how people will search. Account for user error. The conversation goes:
“Have you heard of The Weekend?” or “I love The Weekend!” or “Are you going to see The Weekend at The Greek Theatre?”
Or, a radio DJ or blogger on Sirius XM’s Blog Radio will say something like, “That was the latest from The Weekend.”
What are people going to search for? Will they know it’s spelled “The Weeknd”? This is about artist discovery and during the discovery phase, fans will be less likely to know the unusual spelling of your band’s name. If you have an artist with a name like The Weeknd or CHVRCHES, then you need to look at how people will actually search for them. Do search optimization for the incorrect spelling as well, so people can easily find your artist. Have a way to direct people from the incorrect spelling to the correct spelling.
Here’s what happens now when you search for “The Weekend” (as someone just discovering the artist would search) on Facebook:
This is a new development. Before Graph Search launched, a first-time search for “The Weekend” on Facebook went like this: the artist’s official page is the FIRST result, after typing in only the first few letters (before the potential spelling error would ever take place).
You may say this is a Facebook problem – a flaw with their search. I agree. There are numerous flaws with Facebook – here’s one more we can add to the list. Unfortunately, as evidenced above, this is your problem as well.
Solution: Facebook and numerous media outlets issue alerts about new product developments and features well in advance of their launch. When this happens, your “digital person” should get on the phone with Facebook or fly to one of their offices and explore how this will impact your business.
The product is Search. That’s pretty important to your business and how people will find your artists on Facebook. You should have these conversations early and do everything you can to help avoid what’s happened in the case of The Weeknd.
As a larger business lesson: make sure you have strong relationships at every key social media site. Maintain these relationships. Have dinners and regular meetings. Don’t just call when you need something. Look to these businesses as partners and work with them consistently.
Since I couldn’t find The Weeknd on Facebook by doing a simple Facebook search, I went to a company that actually knows how to do search, Google. As expected, Google (even with an incorrect spelling) directed me to The Weeknd’s Facebook page. Once I got there, I saw they had a “Video” tab, so:
2. I tried to watch The Weeknd’s videos posted on Facebook
Here’s what happened:
Solution #1: If you aren’t actually going to make the videos available for viewing on Facebook, then don’t include a YouTube tab on your Facebook page.
Solution #2: Pull your head out of your ass.
Ok, as it turns out now – I am giving you shit. Few things piss me off as much as this. This is your artist, right? And these have been deemed as official videos/streams? I’m assuming so because they’re on your artist’s Facebook page (even though that’s fucking useless) and YouTube channel.
Why on earth would you make it so difficult for people who actually want to hear your artist’s music to listen to it through the official, LEGAL, channels? Stop bitching about file sharing sites until you stop doing shit like this.
3. I went to YouTube:
No problems here. A Google company, YouTube has efficient, easy, and effective search.
Why am I showing you a good example? So that you can maximize it. Understanding that you want people to be able to find your artists, put your money where search is most effective. Run ads on Google and YouTube, as Atlantic Records is doing for Portugal. The Man in the example above.
In the case of artists who have unique names, like The Weeknd or CHVRCHES, you should probably run ads on Facebook as well. This will help get your artists in front of fans who couldn’t find them through a simple search.
4. After YouTube, I went to Ticketmaster:
After all this, I was considering going to the show.
Ticketmaster has similar search issues to Facebook:
As it turns out, Ticketmaster’s search is better than Facebook’s though. If a user types in “The Week”, the appropriate artist will come up. Nonetheless, there is an even better solution.
Solution: On Ticketmaster, whether I search for “NIN” or “Nine Inch Nails”, I get the correct results for that artist. This leads me to believe it’s possible to optimize search for artists like The Weeknd and CHVRCHES on Ticketmaster as well.
Call Ticketmaster. Explore the option of having the correct results show up, whether somebody types “The Weeknd” or “The Weekend”; “CHVRCHES” or “Churches”.
In closing:Please pay attention – you CAN fix things like this, which will ultimately help you reach your objectives:
Increase an artist’s fan base
Generate advertising revenue (your YouTube video views will increase if you allow video embedding)
Perhaps even, sell music
I apologize for coming across angry, but this is important to me too. I’m tired of hearing about how the music business is failing. I want musicians to succeed and if you’re doing a good job supporting them, I want you to succeed as well.
Don’t lose sight of the basics:
Make sure people can quickly and easily find your artists on the sites that matter most.
Make your artist’s official content (videos, music) accessible. It’s a bit unfair to be going after fans on file sharing sites when you’re not allowing them to access the music legally, through your artist’s official channels.
Furthermore, be happy people are interested in your artists at all. We’re not on opposite sides of this. The people listening to your artist’s music – whether they’re paying for it or not – are the people you want on your team. Stop punishing people for caring about your bands. If you make music accessible, you will win.
July 8, 2013
Red Bull Sound Space
KROQ, Los Angeles
What better way to kick off the Monday following a long holiday weekend than with a free show by an amazing band.
Having been to several “radio shows” before, I was a bit skeptical – not of Portugal. The Man‘s performance (I have complete confidence in that), but of the venue and format of the show. Any concerns I had were eliminated instantly upon arriving at the Red Bull Sound Space at KROQ. Representatives from KROQ, as well as Red Bull, were friendly, inviting, and engaging. Rather than emitting the vibe “You’re so lucky to be here,” the team’s message to all who were there was: “We’re so happy you came. Thank you.”
Nobody has to tell you that you’re lucky to be at a show like this. The moment you enter Red Bull Sound Space, you feel it. The space is intimate, accommodating approximately 150 fans. The backdrop of the stage is like a music time capsule – it’s constructed of speakers, turntables, boomboxes, receivers, and an assortment of other equipment. Rather than being covered in corporate branding or advertising, there is only one element of the backdrop that is branded, and its view is sometimes obstructed by the band. We see the branding, we know it’s Red Bull and KROQ, but when the band walks on stage, it’s about music and nothing else. This is very refreshing.
The show began with a brief, informed, and entertaining interview. It became clear that KROQ’s Nicole Alvarez is truly a fan of the band. She was very familiar with Portugal. The Man’s vast catalog, spoke about her personal connection to the music, and asked relevant questions. I know all of this seems like it should be a given, but it’s not to be taken for granted. This is not something all interviewers do well.
The band’s sense of humor and wit contributed greatly to the interview, as did the way they chose to answer – or not answer – the questions. Not to be confused with selective hearing – John Gourley has an impressive skill: selective responding. Clearly listening to each multi-part question, Gourley zeroed in on aspects where he could provide enough insight, while maintaining some mystery.
When asked about the meaning of their latest album, Evil Friends, or whether or not there’s a theme when they record, Gourley focused on the writing and recording process. He described how the band comes together to write and record in a way that makes you feel like you’re there, in the studio, with them. He left the meaning of the album up to the listeners.
Zach Carothers took on answering some of the questions, as well as chiming in during Gourley’s stories. Each time Carothers answered, he infused humor, often leading to a burst of conversation and laughter among the entire band. During these moments the dynamic personalities, quick wit, and friendship among Portugal. The Man members was undeniable.
My favorite moment during the interview came when Alvarez noted that Portugal. The Man puts out a new album nearly every year. Alvarez added that it seems as though the band is always either touring or releasing an album; they don’t stop. “That’s what we set out to do,” Gourley responded, adding that the band’s chosen goal is to make and play music as much as possible.
Portugal. The Man is a band that understands what it truly means to be musicians – just keep playing music. It’s a simple concept, but it takes constant discipline and dedication, which is what makes it hard for many to achieve. In addition to their music, it’s easy to appreciate and admire Portugal. The Man’s work ethic and commitment.
Playing songs from their latest album, Evil Friends, Portugal. The Man took us on a journey. This is the most stripped-down I’ve seen the band. Even when they played The Troubadour several years ago, Portugal. The Man brought in some of their own “lights” (in quotes because it’s nowhere near the setup they have now). The absence of lights and fog allowed me to appreciate the show on an even deeper level.
It was fun to watch the band build the songs – all the layers, the harmonies, the bass, guitar, keys, percussion, and the timing. When you hear the music, it sounds great. When you see what it takes to create the sound live – the precision of it all – it allows you to appreciate it that much more.
I feel that way each time I see Portugal. The Man. No matter the venue, the lighting, the stage, or the setlist, I take away something new at every show. Their shows are expansive and dynamic. There’s always more to discover when Portugal. The Man plays. They are one of very few bands I see every time they’re in town.
After playing Creep In A T-Shirt, Evil Friends, Modern Jesus, and Sea of Air, Portugal. The Man announced the next song would be the last of this concise radio set. The audience let out a sigh of “Noooooooo….” that was audible until the band launched into “Purple, Yellow, Red, and Blue.” At that moment, the sighs became cheers.
When reviewing my pictures from this show, I was surprised to find this. It appears my camera captured “Purple. Yellow, Red, and Blue” in the midst of the show. That’s one hell of a photo bomb, PtM.
Portugal. The Man is on tour now. Get tickets before they sell out.
You will see there are several ways you can enterand you can get additional entries for each thing you choose to do. You can follow us, tweet about us, like us on Facebook, and more. ENTER NOW
Winner (1) will be selected by random.org and notified via email on July 18, 2013. Winner will have 24 hours to respond before a new winner is selected
Your tickets will be available for pick up at Will Call at The Greek Theatre on the evening of the show
Transportation and accommodations not included
About The Postal Service:
The Postal Service 2013 anniversary tour is quite possibly the single most hotly anticipated reunion of the year, selling out theaters, clubs, amphitheaters and arenas the world over, including the Greek Theater in Berkeley and New York’s Barclays Center where second dates have been added by popular demand. Other upcoming dates that have completely sold out in advance now include Red Rocks Amphitheater in Denver, London, Manchester, Detroit, Atlanta, Boise, Orlando, Kansas City, Columbus, and more sure to come.
The 10th anniversary dates reunite Postal Service principals Ben Gibbard and Jimmy Tamborello with Jenny Lewis, who appeared on the original 2003 album and tour. Lewis also sings on the two new songs on Give Up (Deluxe 10th Anniversary Edition). Laura Burhenn (Mynabirds, Bright Eyes) rounds out the 2013 touring lineup. Give Up was certified platinum last year just shy of 10 years from its original February 9, 2003 release. Led by the single ”Such Great Heights,” the landmark album is, after Nirvana’s Bleach, the second-biggest selling album in Sub Pop’s 25-year history.
For “official” information about The Greek Theatre, you can check out their website, but here’s my take: The Greek Theatre is one of my all-time favorite music venues. Start to finish, The Greek Theatre is an EXPERIENCE! You can get there early, picnic, and drink wine. If you don’t mind a walk, you can park on Vermont and enjoy the walk to and from the venue. If you’re reading Rock Is A Girl’s Best Friend, chances are you’re not the type to leave the show early, so you can take the easy route and commit to the stacked parking option. The venue is beautiful, outdoors, surrounded by trees. The sound is impeccable. I’ve seen some of my favorite shows at The Greek and I’m very excited to share these opportunities with you.
I didn’t pay to download Cloud Control‘s album, Bliss Release. I received a newsletter from The Bootleg Theater that the band from Australia would be playing there in August, which reminded me I wanted to check them out.
I went to Cloud Control’s website and was pleased to see they have full streams of their songs available so we can listen to them. I listened for about as long as I could stand to be indoors, on the computer, during a beautiful summer day. Then, I reached out to a friend of mine who also writes about music to ask if he had heard of Cloud Control and find out whether he had any of their music.
Within an hour, the album awaited me in the cloud. I imported it into my iTunes, transferred it to my iPod, and took a walk down to the beach. It felt good to be discovering music again and Cloud Control’s upbeat vibe reinforced that feeling.
I was really enjoying the album, so I Tweeted about it to my 32,000+ followers, who share my passion for music.
I also emailed, called, and texted some other friends I thought would appreciate Cloud Control. Then, I sent the band a Tweet, letting them know their album was contributing to the enjoyment of my day.
That began a conversation with the band. Which alerted me that they have at least one person on their team who is adept at building relationships.
That led to a Direct Message from Jeremy, who plays bass and sings in the band. We transitioned from Direct Message to email and now I’m hooked. I like the music, I care about the band personally, I’m going to see their shows, and I will purchase whatever merchandise they have available on the road – vinyl, a hoodie… something that will put more money in the band’s pocket than an album download.
Jeremy took the time to see who I am, what I write about, what part of the world I’m in, before he responded to me. “You’re LA, yeah?” he confirmed, as he invited me to the band’s LA shows. That’s more than 97% of publicists who reach out to me, on behalf of bands that are paying them, do.
He then went on to talk about the evolution of Cloud Control’s music from their previous album to their forthcoming one. “It’ll be interesting to hear your take on it,” he wrote. Well, I haven’t heard it yet, but I’m predisposed to like it simply based on the current experience I’m having with this band and their music.
Jeremy gave me contact info for the label, so that I can request an advance copy of the new album. Dear VOTIV: you’re lucky – you’ve got a smart band that’s really working for it and doesn’t take for granted that anyone else is going to do it for them.
If they’d like the $7.99 for the album I didn’t pay for, I’ll give it to them. I’ll buy a copy and gift it to a friend. Now that they’ve engaged me, artistically, personally, and professionally, I’ll spend money on Cloud Control, no problem. During the course of any given band’s career, I have easily spent upwards of $1,000 on tickets, merchandise, and music. I’ll also make sure everyone I know knows about the band.
It doesn’t happen often, but when I do tap into the cloud for new music, it’s to achieve one of two objectives: to truly listen to – and hopefully discover – new music I enjoy; or to get an album I’d purchase anyway, 8-10 weeks prior to its scheduled release. In the case of music discovery, if I like the music, if I connect with the band, I’ll spend a significant amount of money supporting them, throughout their career.
In the case of early access to music, I’d pay for early access to new music. Which, actually would be real-time access. I’d pay to download a song or an album when it’s complete, but that’s not how it typically works. Instead, an album is completed and sits on desks, shelves, hard drives, and inboxes, while all the teams coordinate and execute some semblance of a “launch plan”.
This year, among others, I had the new albums from The National, Sigur Ros, and Atoms For Peace, well in advance of their advance release. I listened to them in the car, during my morning runs, while working, and falling asleep. I spent a lot of time with the albums and recommended people purchase them when they were released. I’ve since bought tickets to see each of those bands two or more times during their tours this year.
Why should we have to wait for music while the label gets their marketing plan together? Marketing is nothing without engagement. You should have been talking to us all along. That’s what Cloud Control is doing. They’re doing whatever it takes, and as much as they’re able.
If you’re putting out quality music, something people can truly connect with, file sharing could be your greatest asset. Your “marketing team” is then comprised of your fans and they know how to promote your music and your shows better than anyone.
If, on the other hand, you’re afraid once people hear the music, they wouldn’t find it worth $7.99 or $9.99, then you have a bigger problem – you don’t have a product nor experience you can stand behind. That is what you should be worried about.
Cloud Control: I wish you all the best. I’ve been listening to the album a lot (my neighbors can attest to that) and enjoying it. Thank you for making your art and yourselves accessible. I can’t wait to see you play in August and look forward to the new album. If there’s anything else I can do, let me know.
Listen to “Ghost Story” from Cloud Control’s album Bliss Release:
Their new album will be out September 17 in the U.S.