{"id":21781,"date":"2022-05-27T18:31:18","date_gmt":"2022-05-27T22:31:18","guid":{"rendered":"https:\/\/splice.com\/blog\/?p=21781"},"modified":"2025-10-09T17:56:02","modified_gmt":"2025-10-09T21:56:02","slug":"working-in-multiple-areas-music-industry","status":"publish","type":"post","link":"https:\/\/splice.com\/blog\/working-in-multiple-areas-music-industry\/","title":{"rendered":"Working in multiple areas of the music industry: Why, how, and what to expect"},"content":{"rendered":"\n

Illustration:<\/strong> Filip Fr\u00f6hlich<\/strong><\/a><\/p>\n\n\n\n

Doing one thing exclusively is admirable, but it\u2019s not for everyone.<\/h2>\n\n\n\n

Tons of people working in the music industry find themselves with several roles, whether by preference or circumstance.<\/p>\n\n\n\n

If you can live somewhere that allows you to thrive on a full-time job in the music industry, that’s awesome! Congratulations; you\u2019ve figured it out. However, with various music industry roles unable to keep up with the ever-increasing cost of living, you may find that it makes more sense to be self-employed and have a few sources of income. Or, perhaps you just like working that way. Or, maybe you have a job outside the music industry that pays the bills, but you want to be a part of a creative community<\/a> or establish yourself as a musician who gives back. <\/p>\n\n\n\n

Whatever your reason, there are plenty of opportunities to get involved in music. Here\u2019s a breakdown of why and how you can explore getting involved in the community in more ways than one. I\u2019ve also provided some drawbacks and tips for overcoming them. Personally, I\u2019m someone who always needs a lot going on or I get bored. Maybe you feel the same.<\/p>\n\n\n\n

There are more paths than one in the music industry<\/h2>\n\n\n\n

I recently spoke with a college junior about my work and how I got to where I am. I was surprised to learn that her college was still largely recommending internships solely at places like Warner Music and Spotify. Those are undoubtedly great opportunities, but there are so many other smaller music businesses that also need help and have things to teach. A bigger surprise\u2014none of her professors or admin are talking to her and her peers about freelancing or working for herself. I found it cool that she was taking it upon herself to talk to people working in non-traditional roles. I suggested getting a full-time job right out of school to learn the ropes, but there are so<\/em> many paths out there waiting to be explored.<\/p>\n\n\n\n

Bear with me, as I quickly share my personal story to illustrate how winding those paths can be. As a lifelong super-fan whose most formidable years were largely shaped by the music around me, I\u2019ve had the desire to give back to the art form since I was old enough to know that was possible. You can probably relate. Coming of age in Florida in the 1990s – early 2000s, no one told me that a job in music was an option, let alone what that even looked like. Starting at age 20, I worked in PR, economic development, and online community building, and eventually landed in marketing for software startups in New York City.<\/p>\n\n\n\n

Immersed deep in the NYC startup scene in the early 2010s, I was inspired to start my own thing, which led to a side project called A Song A Day<\/a>\u2014a community of curators delivering personalized song recommendations to listeners’ inboxes daily. When managing that project became unsustainable, I started a podcast called The Process<\/a>\u2014an interview series exploring the process of surviving as a creative. That podcast\u2014through interviewing my now friend Thor Harris<\/a>\u2014is literally the reason I live in Austin, manage artists, and brook and promote shows.<\/p>\n\n\n\n

During my early days in New York, I met Chris Muccioli<\/a> who was working at a different music startup. Our paths continued to cross, and when I was at an artist residency in San Francisco in 2019, eventually led to him offering me a job at Splice.<\/p>\n\n\n\n

Today, I\u2019m a 34-year-old freelance writer for four music tech companies, a copywriter for lots of random brands, and the manager of three artists (and growing). I\u2019m also a co-founder of a booking co-op here in Austin called Nicely Done.<\/a> It\u2019s a lot and it\u2019s not for everyone, but wearing multiple hats, having a flexible schedule, and working remotely suits me\u2014I like to be busy. It\u2019s also probably important to note that my only dependent is my dog, Enzo.<\/p>\n\n\n\n

I know many people who also have multiple gigs in the industry that look nothing like mine: musicians who run an indie label together; composers who also run sync agencies; people with full-time tech jobs who also book shows, festivals, or manage artists; managers who also organize festivals; music journalists who also run venues, etc.<\/p>\n\n\n\n

How to get involved in your local music scene<\/h2>\n\n\n\n

There are many ways to get involved beyond your traditional \u2018get an internship\u2019 route. Volunteer at your local community radio station or nonprofits focused on music (like the SIMS Foundation<\/a> or Girls Rock Camp<\/a>), festivals, and DIY spaces. Getting involved with the Union of Musicians & Allied Workers<\/a> (UMAW) is another meaningful way to volunteer your time to the community. If you\u2019re a writer, pitch yourself as a contributor to the music beat of your local newspaper or alt-weekly, or cast your net wider. Musician Bill Baird contributes an excellent column<\/a> to the San Antonio Current.<\/p>\n\n\n\n

If you have an idea and know a group of like-minded individuals who bring different skills to the table, you can always start a collective of your own. It doesn\u2019t have to be focused on live music, either. You could start a zine or alternative weekly, a small label, a shared studio space, a fundraising committee to help artists print their records or cassettes\u2014there are countless options.<\/p>\n\n\n\n

The benefits of multiple roles in the music industry<\/h2>\n\n\n\n
Relationships and connections<\/strong><\/h5>\n\n\n\n

The obvious upside to being a busy billy in the world of music is building relationships.<\/a> I have so<\/em> much crossover among all my different jobs and clients. If I think too hard about it, my brain goes haywire. As long as you\u2019re a kind and decent person, you\u2019ll meet and befriend other people who have their spoons in many pots. You never know where a connection will lead. Literally, everything cool I\u2019ve done in music has come from friendships and knowing people, and being active in the community. <\/p>\n\n\n\n

You\u2019ll also meet different types of vendors who you may need to hire or collaborate with (or who might approach you!) in the future. People like photographers, videographers, writers, sponsors (this is a big one), and so on.<\/p>\n\n\n\n

Naturally, you\u2019ll meet friends and acquaintances who share some of the same interests as you. Even better, their outside interests may be different from yours, opening your mind to new opportunities. Being involved in various music things has allowed me to meet friends in a new city and that’s pretty cool.<\/p>\n\n\n\n

Opportunities<\/strong><\/h5>\n\n\n\n

Of course, those relationships lead to opportunities. As I\u2019m writing this (apologies to my editor), I was texting with an organizer of a big festival here in Austin, trying to help them find an alternative venue due to an issue with the one they had booked. That led to him asking me if I\u2019m adding to my management roster and telling me about a band. It’s too soon to say if anything will come of that, but it\u2019s a real-time example of how these things can work. <\/p>\n\n\n\n

I\u2019ve watched my musician friends book other bands or helped them in other ways, and have seen how that has benefited their careers and allowed them to foster meaningful relationships with fellow artists and venues. I also know musicians who are involved with nonprofits which led them to collaborate with other musicians. If you\u2019re a music producer and \/ or beat maker and you\u2019re out in the world meeting songwriters and artists, surely you\u2019ll meet some new collaborators and clients, or maybe even studios, collectives, or labels who want to sign or work with you.<\/p>\n\n\n\n

Learning the ropes<\/h2>\n\n\n\n

I\u2019ve learned so much over the past 2.5 years about how radio works,<\/a> nonprofits operate, co-ops are formed, shows are booked, festivals are organized, and artists are managed. Just by being around other people in music, I\u2019ve absorbed helpful knowledge. <\/p>\n\n\n\n

I\u2019ve found it helpful to ask people to further explain terms or concepts that I don\u2019t understand. This helps me learn, but also helps music people realize they\u2019re talking in tongues\u2014I mean industry jargon. On the flip side, knowing the lingo is helpful for navigating these conversations and getting the industry \u201cveterans\u201d to take you seriously, for better or worse. We\u2019ll dive deeper into that below.<\/p>\n\n\n\n

Drawbacks to be aware of (and tips for overcoming them)<\/h2>\n\n\n\n
Personality overload<\/strong><\/h5>\n\n\n\n

When working in the music industry, I\u2019ve found that you have to be prepared to deal with certain types of personalities without becoming too jaded or skeptical. I won\u2019t get too specific because I don\u2019t want to negatively influence anyone\u2019s experience… Okay, I\u2019ll say it: you might find that there’s ego in music. You just have to scratch behind the surface to see what else is there. And if there\u2019s not much there, just keep moving.<\/p>\n\n\n\n

Suggestion:<\/strong> Try not to take anything personally (unless it\u2019s actually personal) and maintain the relationships that feel most genuine and authentic to you. Inauthenticity runs throughout the music industry, but there are plenty of sweet, genuine people too. Those are the people to align yourself with. Personally, I don\u2019t find it worth my energy to battle the people who feel toxic (or sexist or misogynist). You don\u2019t owe anyone anything\u2014especially your time.<\/p>\n\n\n\n

Misunderstandings and mistakes<\/strong><\/h5>\n\n\n\n

Misunderstandings and mistakes will happen\u2014sometimes by you, and sometimes by another party. There are a lot of moving parts in the music industry. You have to pay extra close attention to the details. <\/p>\n\n\n\n

Suggestion:<\/strong> Over-communicate and get everything ‘on paper’ (or email). Ask for confirmation that the other party has received your communication and that everything is confirmed, or that everyone involved understands their roles and commitments. Consider using a project management tool like Notion or Asana to keep track of all your projects. Alternatively, a simple notebook and pen can work too\u2014whatever suits you best to stay on top of your responsibilities.<\/p>\n\n\n\n

Low pay<\/strong><\/h5>\n\n\n\n

The music industry is notorious for lower pay across the board, with the exception of executives and those at the very top, of course.<\/p>\n\n\n\n

Suggestion:<\/strong> You can align with advocates who are well known in your space and will fight with you (like the aforementioned UMAW). You can also take the lead on advocating for those not being paid fairly (looking at you, Book More Women<\/a>). In this environment, I personally think a reasonable solution<\/a> can be to have stable pay coming in from work outside of music to pay your standard bills. I know that\u2019s not what anyone wants to hear, but for many that stability can bring security, which makes room for creativity\u2014and you never know what can come if you\u2019re creating excellent art or doing great work.<\/p>\n\n\n\n

Burnout and boundary-breaking<\/strong><\/h5>\n\n\n\n

This one can also apply to any industry. If you take on too much and don\u2019t take care of yourself<\/a> or rest, you\u2019ll burn out. We\u2019re just not made for being ‘on’ 100% of the time. However, the nature of the music industry\u2014especially roles like management\u2014leaves extra room for boundaries to be pushed and energy to be sucked. It\u2019s not that people do it intentionally, but everyone is out there \u2018hustling\u2019<\/a> and if you\u2019re providing support, many will take as much as they can get. It\u2019s up to you to protect your mental health.<\/a> <\/p>\n\n\n\n

Solution:<\/strong> If you\u2019re a service provider like a manager or agent, contracts with a clear scope of work are critical. Streamlining communications with regular meetings and clear, succinct emails with action items can help too. Giving your clients hours of operations to reach you with some flexibility for emergencies can also help. There are so many approaches to time management<\/a> you can try based on your style. Using time blocking where you schedule out your day based on tasks and relaxation \/ creative time is one option.<\/p>\n\n\n\n

We hope this article exposed you to new or interesting ideas and perspectives! At the end of the day, how you want to navigate the music industry is something that only you can decide. So as always, take what resonates, and leave what doesn\u2019t.<\/p>\n\n\n\n

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Explore royalty-free sounds from leading artists, producers, and sound designers:<\/p>\n\n\n\n

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Join Splice today<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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