Q&A With Music Publicist, Laura Goldfarb

Wisdom from the archives. This is an older interview, but, still filled with relevant and great tips.

She engages you in an earnest manner. Her style is steady, almost practiced, punctuated with few gesticulations, an even voice and body language to match.

Tousled brown hair bound casually in a loose ponytail, eyes alive with a deep seeded and unrelenting passion.

Her passion? Independent music and the musicians who create it. Her name? Laura Goldfarb, President and Music Publicist at Red Boot Publicity.

But Laura is no stranger to the music industry. Before Red Boot, she graduated from Boston University, with a degree in Communications, spent time at WFNX Radio, The East Coast's first alternative rock station. Next she worked with the global marketing agency TLC Marketing Group, before landing at the well-known, boutique music marketing company, The Planetary Group, as a Music Publicist. "I've always been a really huge fan of music," she says, which is clearly evidenced in her personal and professional life.

In 2006, she began writing, hosting and producing weekly radio programs, at Break Thru Radio. DJ Laura, as she is known to her listeners, scouts for talent in the independent Boston and Los Angeles music scenes, and global jam bands. Today she is a woman of many hats; proprietor of her own business, music publicist to some of the best artists on the indie scene, dj, and at the very least, an inspiration to everyone around her.

A few months ago, we sat down with the former Bostonian turned Californian, to ask a few questions and get some insight into the world of music PR.

The Noise Beneath the Apple®: Tell us a little your company’s area of expertise? Laura Goldfarb: When my time at Planetary ended, I decided to start up Red Boot and really create something that was a true reflection of how I felt and how I felt that PR should be done, which is a little bit different than the traditional attitudes that large firms adopt. We only work with a very select few artists at one time. Our areas of expertise include national record releases, tour support, and managing press to secure coverage, pitching artists and promoting their work, writing and editing press releases, and handling overall artist promotional materials for an artist. A smaller, boutique firm, is a really great way to get your indie band, singer/songwriter as well as a niche band into the mainstream. It's a great platform to cross over into the mainstream media world

TNBTA®: What is the role of a publicist in the career of an independent musician? LG: There exists a very traditional definition of what a publicist is. For me, I like to think outside the box. My first role is that of an advocate. I consider myself an advocate for the artist; somebody who is very loving and passionate and honest with them. And when I say advocate, I don’t just mean advocating the artists success, I mean for everyone who we work with. My whole thing is about inclusion; because the artist’s grandparents, partners, family and friends really do become their #1 fans; and I want them to feel a part of the journey as well. And I really do become part of that, their #1 fanbase. Every opportunity I can, I’m letting people know about them, constantly wearing their band t-shirt, talking about them.

Another big role for me as a publicist, is acting as the middle man (or) middle-woman; acting as a 'buffer'. And I use that word buffer, specifically, because so much of this industry and business is about relationships. Who they know, who you know, who you can introduce an artist’s music to, press who may like a particular style, etc... And a relationship includes the good, the bad and the ugly. A lot of it really is about getting the good news and the bad news, and then being the person who delivers it. I think that’s really important to mention, because the world of independent music PR is kind of a tough world. Most of the times we get really positive feedback about the artists and that’s so wonderful, but unfortunately there are times when you don’t get the nicest reviews or a writer might say; “this is just terrible. I don’t ever want to see this on my desk ever again.” And I’m not going to go back to my artist and say; “hey this is your work, this is your life and they hate it”. A big part of my job is to figure out the best way to let the artist know that somebody’s not interested in it right now, so how do we go about solving that? How do we reformat or repackage or present it in a different manner? I am seeking solutions, and at the same time, ‘buffer’ is a very important word for me. We can help with the shine and the sparkle of the product, the artist, the packaging and presentation; but it comes down to content, and that is up to the artist. And whatever moves a writer/reviewer/editor can vary day by day. And you have to be able to work with that.

TNBTA®: What items are necessary in a Press Kit and EPK? LG: The thing with press kits and EPK’s that is so fascinating to me is that they are always changing. I remember at SXSW last year; I sat in on a panel about the state of the union with music PR. What’s going on with reviewers? Editors? And the attitude was that some people absolutely want a hard copy of the record, because it presents a very professional image to them. It says you have your act together. It’s a complete project. It has artwork, liner notes; it’s obviously not a burned copy from home. It definitely gives this aura of professionalism. Then there are plenty of writers and editors, who will tell you, “please don’t ever send me a hard copy again. That’s what the MP3’s are for”. That was a year ago and I would say it still goes back and forth; it’s personal preference and that's where relationships come in again. A publicist will know that preference. I would say that for me, my top items for a press kit or an EPK are:

First is the music. Don’t inundate anyone with tons and tons of music. You don’t need to send your entire catalogue.

Second are hi-res photos, where we can see your face. Please don’t go the route of sending really artsy photos, where it’s really dark, your head is down and we can’t see what you look like. That doesn’t work for anybody. The press wants to feel that connection and know who you are.

Third is to have plenty of contact information; make sure it is all laid out and very clear. Contact information for press, for booking, all clear and concise.

The biggest thing, which I think is the most challenging and commonly flawed item of the press kit, the EPK or anything that is online is the bio. The bio is a challenging item and there’s a reason why there are plenty of writers and freelancers who specialize in writing bios. The thing with writing a bio for an EPK or a press kit is making sure that it is press friendly. And part of what that means, is understanding what that press wants.

A really great example of this is one of our new clients, Senayit, who is just an incredible talent, an incredible singer/songwriter, with this really cool background. Her father is Ethiopian. She grew up in New York City, and she’s got this melting pot of New York sound and music behind her. She’s a hippie and we just love her. She’s amazing. The thing that she did when she approached me, is the same thing I see over and over again, and that is that she had this bio that was so beautiful and so touching, about how when you listen to her music, you’re really transported on this transcendental awakening and full journey experience. And it was so beautifully written and so wonderful and it was so perfect for a fan, because they could really read that and connect and identify with the perfect description and know ‘that’s why we love Senayit’.

The problem with that bio though, is if you’re going to give it to press; let’s call the press Bob. Bob could be, “Ok this album is supposed to take me on some transcendental journey of awakening”. And when Bob listens to the CD and is not taken away on any journey; we have immediately given him something to critique. “I don’t know about anybody else, but, I wasn’t on any journey here,” he might say. So we are setting ourselves up for failure. However, if we let Bob know about all of the influences Senayit has and paint a picture and be honest about what the music is; laymen’s terms, here you go and allow him to say, “Wow, I don’t know about anyone else, but this was a real journey for me.” That’s really the key thing when it comes to a bio, and creating one is an art form. Giving a press friendly bio, not the poetic fan bio keeping it really simple, really honest, describing who you are and what you do.

TNBTA®: What social media should every indie artist use and why? LG: Much like the EPK, which is contstantly changing, so is social medial. So today, Facebook, YouTube, Twitter—absolutely. But really, I think anything and everything else. You can never be in too many places; too many social spaces. Getting yourself out there is imperative. Go all out. As much as you can.

TNBTA®:What do you look for in an artist, when they approach you and you are considering working with them?

LG: At Red Boot, we are very much about integrity. To me, that integrity is hugely based on the quality of the music and honesty. We look at how active are they? Are they releasing new videos? Do they have updated photos? Are they touring? Playing? Are they on FB, Twitter, YouTube? Above all, at the end of the day, it also comes down to, are we able to communicate? Share a vision? Red Boot is about family. I treat my clients as though they were a brother or sister. We might be texting at 3a.m. to do a little interview prep. I want to make sure that we understand; this is their art, this is my art, and we are in this together. That there is some good hippie loving vibe going on.

TNBTA®: Any final words of wisdom, parting advice for indie artists? LG: For me, the biggest thing to know, is that if you’re going to hire somebody for PR, please, please,please trust them to do their job and to be the expert that you hired. It is a relationship that is based on mutual respect. We’re all in it to help each other. For me, I’m not doing this to make a million bucks, I do it to help amazing artists who deserve the attention and notice and support them as they move to the next level. Trust in the process. know the people you hire and be open minded.

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If you are an indie artist, and have any questions about music publicity or PR services, feel free to connect with Laura at Red Boot Publicity via one of the following online platforms:

Red Boot Publicity or email: Laura@redbootpr.com

Visit her on Facebook Page, Red Boot Publicity

Twitter: @RedBootPR

Or phone: 617.407.7284

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As always, hiring a publicist and launching a record release or tour press campaign is a big commitment. Maybe you’re not quite there yet and need help getting closer, or maybe you’re just looking for a tune-up between albums and/or tours. For these and any other music PR related questions, remember to just ask.

Additionally, Laura writes a column on the “Flying Solo” concert experience for Relix Magazine, as well as contributes to theSonicbids blog for their “Ask A Publicist” section. She owns four pairs of red boots, and if you’re wearing a pair of your own when you see her, she’ll buy you a beer. Laura is often on the road, but presently calls Los Angeles home.

#Turntable