I’ve been thinking a lot about Scott’s treatise “Empowerment.
Entitlement. Partnership” – and want to throw down some of my thoughts:

There are many great bands who’ve come from the indie ranks, touched every wrung on the ladder (twice, three times, probably) and are the better for it. The business that Scott and Flaming Lips have built over the past 20 years is a shining example of this. People should study the Flaming Lips’ story – find out how they built their business before, during and after the band’s success at radio with “She Don’t Use Jelly.” How did that set them up for the kind of artistic freedom at Reprise that allowed them to – gasp – take more chances creatively, and garner more success at radio, retail, touring, etc.?

In my world, I constantly talk to the artists and producers I work with about the idea that we are building a business - the same as the guy who has the coffee shop on the corner, or the entrepreneurs who started YouTube. Hell, just getting everyone into the head space that what you are doing is a BUSINESS, and that a band is an entrepreneurial enterprise, is a HUGE step. And that can empower everyone on the team. I recommend books to bands (more on that later)….

We have to see what we do as a partnership with our bands, managers, publicists, distributors, agencies - everyone pitching in to work toward the common goal - or we will falter. It’s imperative that artists see their team as an actual team, and that they, too, find a way to pitch in, communicate with everyone and keep everyone on point. The information superhighway has made this a lot easier for bands - “pitching in” can mean writing and sending an email blast to announce a tour, or just getting back to the agent about the support act for the tour, or approving artwork in an hour instead of a week.

A lot of people who have immense musical talent can’t shake the fantasy that “someone else” will handle all the heavy lifting. It’s easy to understand this. You never read a rock bio in which the hero (Robert Plant, Jim Morrison, HR from Bad Brains) lined up the meet and greet backstage, or hustled extra money out of the label for special foil print packaging. Indeed, we have been taught - hypnotized into thinking - that the people who write all deep lyrics, wicked guitar solos and insane drum turnarounds should be able to F off all day, turn up drunk to the show and “just play, man.”

I have a feeling that in 20 years when the rock bios of today’s giant bands (Arcade Fire, The Killers, Fall Out Boy, Panic At The Disco) come out, there will be plenty of talk about hands-on band activity. From what I know of these bands, they are all heavily involved in the daily operation of their enterprise. The personal touch is recognized by their fans and appreciated by their partners at the label, booking agency, etc.