You made your music. What now? That’s where Jane Apple came from. She conceives and conducts campaigns that promote new releases, tours and any updates for her artists to share with their audience. Without him, all the work they did could be another drop in the bucket. In this Q + A of our last Co-Lab event in Los Angeles, he assures our preacher that you have heard.
Spotify for Artists: What is your role in Grandstand? And what were the career pressures that brought you here?
Jane Apple: Projects vary day by day depending on what and if there is a problem to be solved immediately. One of the things I like most about this job is that it’s a new adventure every day, and you’re rarely stuck on a hamster wheel of repetition and monotony.
The career arc that brought me here was just a music fan – I was actually interested in music journalism, but I had the opportunity to do an internship at a music PR firm between a high school junior and senior year that gave me an incredible, more artistic vision on the media process. I liked it immediately.
What is the full potential of what a preacher can touch when working with a musician?
We rely on anything the public faces, depending on the needs of the artist – we conduct interviews, photo shoots, album reviews, TV bookings, any PR opportunities, and so on. These may include social media, imaging কিছু something that helps them develop their aesthetic world.
How do you think your role is appropriate in a wide group?
My job is to work seamlessly with managers, agents, labels and artists to achieve numerous goals. Each department wants to achieve something different. I can clearly see my role in supporting the efforts of other team members with myself, to make the artist appear to the public in a way that feels most authentic to who they are and what they have created.
On a practical level, what do you find the best way for an artist to communicate with their team? Does this involve frequent meetings? Group thread?
It ultimately depends on the artist and how they like to communicate. One of my artists uses only text, another sends long emails, another just wants to make phone calls. I personally find the calls most useful because they create real dialogue, but not every artist wants to communicate that way.
What kind of qualities and features do artists recommend looking for potential partners?
The most important thing any team member should look for is trust in who you are and what you have created. If a person doesn’t connect to your music on a larger scale and refuses to go on the mat for it, then why would you want that person in your group? Legitimate care goes a very long way. Obviously good organization and being solution-oriented are also helpful qualities.
What advice do you have for a newcomer musician to promote their initial efforts?
Timeliness is everything. You can only get certain pieces at certain points in your career, so bringing a preacher on board at the right time is just as important as who you are bringing. Also, many of the artists I’ve worked with have made biological connections with local media before, and it clearly helped them feel like they were part of a real place or moment in a city music scene.
Is there any way to express someone’s work against which you actually recommend?
I recommend against feeling something inconsistent with the artist’s core values, aesthetics and heart. It can take a variety of shapes and forms, but it really ends up being an artist’s remorse – something they didn’t really think matched.
-Spotify for artists