Thank you for subscribing! I'm Shannon, the co-founder of Adult Decisions Management and a freelance writer. The below insights and opinions are my own. If you like it, please share it with someone. Paid folks - scroll to the bottom for the interview with Katie Garcia, VP of A&R at Capitol Records and Co-founder of Bayonet Records !
I’m a big proponent of emerging acts doing what they have to do to get their early music out there, even if it means a DIY release that won’t make a huge splash, or even a light mist. Everyone wants a record label deal, and that’s fair, it’s a lot of work and many moving parts to release an album, whether digital-only or with physical assets like records or tapes. It can be especially taxing when you’ve already put your blood, sweat, tears, and funds into making the body of work.
You likely already know this, but just to be safe: it is very competitive to get a record deal, and what labels decide to release won’t always make sense to you. These days, even many - though definitely not all - of the tiny indie labels are looking at streaming, sales, and social media numbers before they sign an act.
(Note: If you truly can’t imagine self-releasing, look into cool tiny tape labels, especially ones in your region. This is where the bigger “indie” labels are snatching up emerging bands from anyway.)
Whether or not the “numbers are there”, a label, booking agent, or manager will want to know “how hard you’re willing to work”. They’ll look at how much and where you’ve toured, your touring plans, if you have an agent, if you’ll do press interviews, radio spots, social media content, etc. The hard truth is…the artist’s part of the bargain extends beyond creating the art. They’re expected to create and share content to promote it, to sleep on floors while driving a 17-year-old Subaru across the country, and to hawk their wares (t-shirts! tote bags! hats!) on tour. Ideal or not, that’s the reality of today for most emerging artists - in indie land, at least.
All that said, when walking with a friend yesterday, I was reminded that sometimes an artist/act hesitates to release because they’ve been sitting on the project/album too long. They don’t feel a connection to it anymore, or they’ve shifted to an entirely different direction. In this case, my opinion or advice is to put it out quietly but still put it out. You know, as long as it’s decent, and I’m assuming it is, I bet it is decent or even great! Yes, it won’t generate super impressive stats this way, but you still have music that people can discover you by. You can still create a conversation about it, and you can tell the story of how your sound has shapeshifted and why. You just never know who’ll grab onto it and follow you into the gleeful abyss.
I try, and mostly succeed, not to make management decisions based on these factors (numbers, willingness to work, etc.), but it’s tough. I worked for free a lot over the past 2.5 years on the merit of the music and/or how much I liked a person/people, and I still do a moderate amount of work for free. That’s simply not sustainable for me if I want to pay bills and eat. I’m no martyr, I also believed in these projects, and the music, and did/do see a sustainable future for them. In some cases, the issue lay in that the future might not afford an entire band, a booking agent, and me for another 5-10 years. We’re just getting started building Adult Decisions in a real way - we don’t have 5-10 years to invest before seeing a return quite yet. We hope to one day!
In the year of our lord 2024, when I sign an act, I’m looking to see if they have some traction, even if it's solely in their hometown. I’m interested in what their goals are and if they understand or will listen to what needs to be done to accomplish them. It’s ok if they have no idea how to get there, as long as they’ll talk about it! I don’t think of this as “looking at the numbers” or assessing their attitude toward work. Rather, I’m determining if they’re open to a real partnership and if we can align on both a macro (hopes / dreams / goals) and a micro (assignment of tasks / responsibilities / relationships) level.
I need to see a trajectory—to picture what the next 2-5 years will look like and what the earnings potential will be. Naturally, I’ll be wrong in some of my predictions, and opportunities I’d never imagine will appear. Regardless, I need to know that the artists will be available when opportunities arise within reason (they all have other jobs, of course, and not everyone has the luxury of working flexible hours). I want to know if they’ll effectively and openly communicate, be willing to play the game to a comfortable* degree, and that they’ll continue making music. *I won’t ask or persuade someone to do something they’re ethically or morally uncomfortable with.
The point I’m slowly getting at is that without having music out, it’s tough for me to make that call. Record labels will feel the same, likely to a higher degree. Maybe if I ran a label and you sent me the best album I’ve ever heard, I’d say fuck it - let’s go, this will smash (I don’t talk like that).
The frank and potentially offensive truth is that your album is probably not the best they’ve ever heard. It might be blazingly incredible, and I bet it is! However, and I don’t mean to be discouraging, you might be surprised at how many good, great, and amazing albums labels receive, along with all the not-so-great ones. They have to look at the big, holistic picture to make a decision*. As do I, as a manager.
*I don’t agree with most of the historic, archaic, and standard business practices of the music industry, and I believe in my heart of hearts that the record label business model needs an overhaul. However, I do not currently have the answers, and I find that one must know the inner workings of a system to make a change. More often than not, that change has to come from the inside. What I am saying is, that I wish things were different and that small, and heck, even large labels could afford to put out debut albums by brand new acts, that’s just not the case right now (at least that’s what I’ve been told), and we have to work with what we have.
I understand you feel precious about your first album. I empathize (to a degree) that you want it to be perfect; you want it to get the acclaim it deserves. You want it to launch your career into indie stardom or at least earn the badge of “buzzy”. There is NOTHING wrong with these goals. In my opinion - and I’m sure others differ - those are goals for the second, third, tenth albums. The debut is just that - it’s an introduction, and if it’s an earth-shattering, brain-melting, awe-inspiring introduction, all the better. With some effort from you and your pals, your music will find its audience - more on that below.
I’ve also seen acts re-write and re-record their initial songs over and over. Yes, this is a good thing…until it’s not. At some point, you have to stop once they’re good, even if they’re not perfect, get them out, then keep making music. Your references and influences will change, you’ll experience more life and deepen your songwriting source pool, you’ll get better acquainted with your instrument, and you’ll hone your craft. And then you will make more music. People inside and out of the industry will compare it to your last work - that’s what our feeble little brains do - and they’ll see how you’ve evolved, how you’ve grown. They’ll want to know more about you.
The moral of this story is: If you’re not seeing interest from labels (or tired of being in label limbo), get that debut album on Bandcamp and streaming platforms and have some CDs and cassettes made for cheap to sell at your shows. Ask friends for help! Ask them to make killer album art or to share their press contacts. If you don’t know how to write a press release, ask a writer friend to help you out. Even better if you have someone who’ll send the press emails for you. All of this is googlable too - a surplus of articles and examples are on the great wide web to help you with your DIY release, like this article by
. CD Baby has a release plan generator that I’ve never tried, maybe it’s helpful.Maybe you release a full album. Or maybe a bunch of singles, as it’s common to do in lieu of an album in this streaming-dominant landscape. Or, an EP, which is a great option for a debut, as it’s theoretically cheaper to record/make and still a complete piece of art. However long, this body of work is your springboard for showcasing your talent to your future fans and industry folx. Of course with a DIY release, comes DIY booking of shows or a tour, that’s for a different day. :)
Now, when you have new demos to share with labels - in hopes they’ll advance funds to turn them into a record - you can share it alongside your published work to explain how it’ll be similar or different. You’re giving them a point of reference, and demonstrating how you’ve evolved.
The released album is only one piece of your portfolio. As you’re preparing to put that out, you’ll want to build an EPK. Here are some of my tips for building an EPK on DISCO’s blog.
Side note: If you don’t have musician friends, go out and make them now! Genuinely, of course, don’t be gross about it. Be a community member, go to their shows, buy their merch if you can afford it, say what’s up, and strike up a conversation. Your musician friends and communities will be the linchpin of your career. Above all, be kind and generous with your time and attention when you can. If you do build a community, host a fun release show with all of your favorite local acts as support.
Here are some of the very basic needs/elements for a DIY release.
Logistics/organization/distro:
A budget :)
Register with a PRO like BMI (which just dropped its nonprofit status and sold to a private equity firm…ugh) or ASCAP if you’re in the U.S. You can technically wait on this, but I suggest just getting it over with.
Your mastered audio files in every file format you will need (aiff, wav, mp3)
The instrumental versions of your songs in the same formats
Your stems from whoever mixed your album (engineers can be resistant to providing these, I think because they’re a pain in the butt to bounce? I have no idea…try to be persistent or make sure it’s in your contract with the engineer because if a song gets placed in an ad, show, or film, you need these…always think ahead/for the long-term)
Cover art, high-res
Layout formatted for any physical media like cassettes or vinyl
Lyrics to every song, saved somewhere safe
Other metadata: songwriters, anyone who’s getting points on the record like a producer, the album name, artwork, see more here.
An Artist Bandcamp account - while it’s still around :-/
Choose your distro platform of choice (TuneCore, CDBaby, DistroKid), they all kinda suck tbh, pick your poison
Marketing/promo:
Ok, honestly, this depends on how big you’re trying to go. If you’re happy for literally anyone to hear your music, don’t worry about these details, just put it on Bandcamp with relevant tags (for the bc diggers) and make it so listeners can stream it infinitely.
Press photos!
Music videos - for at least one single, but if you care about securing press placements, it’s best to have some video component for each single you’re releasing, as it gives media outlets something visual to embed and helps their SEO or some shit. Visualizer or lyric videos work! I shared some DIY music video tips in this very old blog post. Some people don’t care about music videos at all, I personally love them. :) This, this, and this are my favorites.
Who will do your PR (public relations), as in press outreach?
Press releases for the album announcement + each single
Quotes about every single (for the press releases)
Quotes about your music videos
Will you run a radio campaign? Who will do that? Do you have a proper list of emails?
Video descriptions w/ credits
Social media captions (I suggest drafting and saving these somewhere safe at least a day or two in advance so that you don’t have to scramble to think about it when it comes time to announce)
This all becomes a bit more complex if you’re making a physical media element or if you want to run paid ads and things like that. Let’s stick with the basics for now.
I could go on and on about this but I need to write the rest of this newsletter and have other things to do. If you want to chat, you know what to do: shannon@adultdecisionsmgmt.com
Half-Baked Thoughts On: All of Us Strangers
I journaled 5.5 pages about this film, directed by Andrew Haigh and starring the brilliant and beautiful Andrew Scott and Paul Mescal, between the night of my viewing (I saw it on the first day possible, naturally) and the next morning. I’ll try to spare you and keep most of that content where it belongs - in my journal.
Everything I mention here can be gleaned from the film’s overview and trailer, so no real spoilers, but if you want to go into it knowing absolutely nothing, I suggest waiting to read this…
In terms of the film itself, it’s absolutely nearly perfect. You’re left to interpret the end for yourself, which can leave one feeling untethered to reality, or at least a little frustrated. I think this is a tool of empowerment. The director and writers are trusting us to come to our own conclusions. They have faith that we can think through it whether critically or through our own delusional and warped perspectives. Either way, it’s a practice in imagination, critical thinking, and I’d go so far as to say, self-exploration. There were some things about the imagery of the ending that I took issue with initially, but the more I think about it, it makes sense. The movie is a sort of sci-fi after all, so to go from what feels like an earthly experience for 98% of the film to one that’s not isn’t as out of left field, or unhinged, as I thought.
On a personal level, I was jealous and angry that Adam (Andrew Scott) could visit with his dead parents. If you, like me, have a dead parent(s), then you may be intimately familiar with the desire to know how they’d see and experience you as an adult. If they would understand you, be proud of you, what your conversations and interactions would be like. You, like me, have had to grieve the fact that your parent can’t experience you today and vice versa. That is, depending on your parent. You may never want to know, and I get that. If this was a therapy session, I’d conclude that I’m somewhere in between. With the exception of a difficult/painful conversation or two, Adam mostly experiences his parents at their best. That’s ideal, right?
Because I have a dead parent, I’ve been more compelled than I would otherwise be (I think) to converse with the living one about the hard stuff—the conversations we never had when I was younger. To say the things I wish I had said. I’ve tried to resolve built-up resentments, with mixed results. At the end of the day, my brother and approx. 1 million self-help books / podcasts are right…it’s best to accept your loved ones for who they are and adjust your expectations accordingly. Don’t project false hopes on them, which I do often. That is if you want a relationship with them, which I do. I understand if you have to separate yourself entirely; I empathize with that. This is one of the fantastical elements of All of Us Strangers—it’s a whole lot easier having these discussions when the other parties are dead and you’re in control of the narrative.
I’ve been reflecting about this a lot—those of us adults (over the age of 30, sorry kids) who are single without a partner or a family of our own are more likely - though def not always - to cling tighter onto their family or origin. It’s not that those who’ve built their own families are any less co-dependent. No, they’ve just focused their co-dependence elsewhere. I’m not throwing shade, y’all. As you can tell, I have my own issues that I work through every dang day.
For us singles, this often comes down to fear of abandonment stemming from experiences we’ve had with our family of origin, or devious forces outside of family (like sexual assault experiences, for example). I have both. Some of us become emotionally unavailable—we close ourselves off because we’re terrified of being hurt and abandoned if we let someone in. Adam demonstrates the pinnacle of this, until he doesn’t. Sort of.
Note: I’m no expert. I’m just riffing here. This was why I was so resistant to Substack for the first few years of its existence - any asshole like myself can publish and share their thoughts and feelings as fact. These are all just my feelings based on my experiences. :)
I’m not a gay man who grew up during the HIV epidemic in suburbs outside of London. I’m a mostly straight lady who grew up in the ‘90s in St. Petersburg, FL. I’m also far less sad than Adam is, and I don’t feel particularly lonely. I have tons of friends around me, I have hobbies, I don’t smoke weed, I’m busy as hell, I go outside lol, and I date, usually (I am not currently dating because my plate is very full, and I feel much better than when I was app dating). There’s still a knowingness, a nod to those of us who deeply know the loss and grief of people and of innocence that allowed me to feel seen in a story that couldn’t be further from my reality.
I haven’t even gotten to Harry (Paul Mescal). And I need to move on with my day, as I’m sure you do too. I have a question for you, though, after you’ve seen this incredible film: What would you do if a drunk and high stranger who was clearly having a rough time showed up at your door blatantly flirting with you? Would you let them in?
And it goes without saying that these are two extremely beautiful men and well…do with that what you will.
Fieldnotes: Items From My Imaginary Research Project
- ’s newsletter, The Good Enough Weekly, especially the latest issue: “Letting food matter and mean more”. Like music, art, books/writing, food is an effective tool for slowing the F down and connecting with yourself and your loved ones or new people entirely on a deeper level.
My initial thoughts on the Globes that no one cares about, rightfully.
“A Breakfast Routine” from
’s newsletter. The powers at be leave us to clean up their messes, it’s an age-old tale. What can we do to better our lives and those around us? What are little ways we can take back control for the sake of our communities? I’ve been eating egg and smashed avo sandwiches on gluten-free toast for breakfast for the past 2 weeks. What’s your go-to?- ’ oldie but goodie: “On feeling climate fear”, a must-read.
I’m enjoying reading Claire Dederer’s Love & Trouble and Rachel Cusk’s Coventry but after finishing these, I need to take a break from mom memoirs. I’m growing weirdly resentful and it’s certainly no fault of theirs.
Central Texas gardeners: Austin Organic Gardeners is a wellspring of resources, especially for preparing for this looming freeze!!
Music: honestly, I’m mostly listening to unreleased albums you’ll just have to wait for. :) Adult Decisions has at least 5 releases coming out before October. lol. Send help.
Music: I’ve been digging this album by Diners that a friend shared with me. Have you noticed most new music sounds like it’s from either 2001 or 2010? I stole this line from Timm Donohue, sorry bud. lol.
Music: “Football” by Youth Lagoon is stunning. Sad song for us sad sacks.
Music: Sean Sprecher of Bad History Month is one of the best songwriters of our lifetime and I don’t talk about it nearly enough. His new single “To Be Free” is a testament to that. It sounds a bit like a YLT song, but sadder with hella slide guitar. It’s also it’s own thing, it’s Sean’s thing. God Is Luck, one of his two 2023 albums is a must-listen. All on Exploding In Sound, one of the best labels.
After telling myself that I wouldn’t watch TV for a few months, only movies, I re-watched all 2 seasons of Fleabag over the course of 2 nights. It was easier to watch knowing what happens, less emotional for me. That said, the season 2 dynamic between Fleabag (I’m today years old when I realized they never name her) and the hot priest (clearly on an Andrew Scott kick) hits me so dang hard.
Someone I Admire: Katie Garcia
Katie Garcia is the VP of A&R for Capitol Records, the co-founder of Bayonet Records, and one of my absolute favorite people in the music industry and world. She’s kind, she’s cool, she’s incredibly smart, and she’s always up for helping and supporting other people. She’s one of the real ones. This interview is more long-form than the last because we talked on Zoom. I’ve edited the transcript for brevity and to omit our deepest, darkest secrets….just kidding. :)
How did you get into the industry; where does your passion for music come from?