Publicists—The Independent Squeeze

Part Two

Phyllis Stark

Shrinking retainer fees and a general lack of respect are among the top concerns of independent publicists working in Nashville. Many also say out of town publicists are over-valued by artists and their handlers.

In last week’s column, the Stark Truth examined the concerns of Nashville label publicists, which include too much emphasis placed on hard-to-get TV talk show bookings and not enough value placed on the publicity these pros generate for their artists and companies. Also on their list of concerns is the difficulty label publicists face in getting many journalists to respond to pitches, and the challenges of getting reps at many national media outlets to cover country music at all.

Nashville’s plethora of independent music publicists shares all of those concerns, and also adds a few indie-specific issues to the list. Chief among them is money.

Many independent publicists are worried that in a world of belt-tightening, some clients are trying to decrease the monthly retainers they pay. One publicist complains that artists’ bus drivers get paid more than their publicists, something she calls “a sad commentary on a service that is so valuable.”

“Nowadays, everybody wants our services for less,” says one publicist. “I’m pretty much making—retainer-wise per client—what I made 15 years ago. That’s pathetic. In what other profession do you see such a complete lack of financial growth? It’s as if no value is put on [having] many years of experience and success.

“With the exception of the indie publicist, every other member of the artist’s team—manager, agent, lawyer, business manager—makes more money as the artist’s career advances,” she adds. “Yet our retainer remains the same. There is no bonus structure in our world, no percentages.”

“Indie PR is the best bargain out there,” says another pro. “You have to look at what you get vs. what you pay. A full-page ad in Country Weekly costs upwards of $25K (per the rate card published on their Web site). We regularly secure full pages of CW feature coverage that cost the labels nothing. One radio trade ad can cost as much as an entire month of indie PR. And, when we secure even one, five minute slot on national TV—worth millions if a label actually purchased that air time—that more than pays for a lifetime of indie PR.”

Many publicists are concerned about how hard it is for them to make ends meet.

“It has become increasingly difficult to make a decent living and the level of [job] security is never high on a good day mainly because the pool of artists looking at Nashville publicists to guide their media efforts is so small,” says one publicist. “Additionally, we are responsible for our own expenses, including the soaring costs of health care, private insurance and office space.

“There are a large number of independent publicists and a smaller and smaller number of artists who are seeking the services of those publicists,” she adds. “So most of us find our rosters shrinking daily.”

Then, there is the uncertainty about being paid, even when they have a signed contract with a client. “It’s easy for someone to just stiff you and say the job you did did not suit them and your services are no longer needed,” says one Nashville pro. “I recently had to take someone to civil court to recoup my payment.”

Even when they do land a new client, some indie publicists say they’re often not brought on board the project soon enough or for long enough.

“Artists need to realize that PR starts almost as soon as the record is being recorded,” says one publicist. Others complain that publicists are often hired for short-term projects rather than being part of the artist’s long-term, image- and career-building team. One calls that thinking “Band-Aid publicity.”

RUN FOR THE COASTS
One concern specific to indie publicists in Nashville is that many artist handlers seem to believe publicists from New York or L.A. must be better than the homegrown pros by virtue of their geographic proximity to media centers and the contacts they may have acquired as a result. In reality, Nashville publicists claim, the local P.R. pros have the same contacts and skills and are better equipped to navigate the unique publicity needs of country artists.

One publicity veteran describes the phenomenon of Nashville artists signing with out-of-town publicists as the "We break them, they take them" model. “Managers, artists and record companies turn to Nashville independent publicists in the early stages of an artist’s career,” she says. “But as soon as they begin to experience some career growth, the commonly-held belief is that only New York or L.A.-based publicists can take an artist to the next level. There are a number of Nashville indies who are debunking that belief. You only have to look at Martina McBride, Rascal Flatts, Brad Paisley and others to see that Nashville indies have the same contacts, the same drive to succeed and understand the music and the artists better than do our West and East coast colleagues.”

“Nashville publicists are never good enough for bigger name talent,” says another publicist. “What they don’t get is that the L.A. and N.Y. publicists aren’t any more connected than the Nashville publicists are. Yes, in proximity they are closer to the national media outlets but that doesn’t necessarily translate into booking those national outlets for coverage. And while they do have pop [music] and movie celebs on their rosters, they rarely use their muscle to land something for a country artist unless that particular artist fits the criteria and would get the slot anyway, no matter who booked it. They typically charge more money and they don’t understand the country music business model as well as the Nashville publicists do.”

THE MAN BEHIND THE PURSE
Finally, the Stark Truth asked publicists—both indies and those at labels—about some of the most outrageous things they’ve been asked to do by clients. Answers range from being asked to set up a date for them with a fellow artist, to having to procure a limo at the last minute for an awards show. One publicist admits to having taken her artist’s car to be serviced. Several say babysitting has been part of her job description at various times.

“I can't tell you how many times I've had male artists show up at events with kids in tow and nobody to watch them while they're doing media, performing [or] working a party,” says one.

Publicists also frequently fill the role of stylist, with several admitting to ironing clothes, sewing on buttons or even procuring undergarments for their acts just before events. One literally loaned the clothes off her back to an artist at a photo shoot.

One publicist says she worked for many years with a female star who never carried money. “We’d do a media tour in New York—a city based on tipping—and I was constantly doling out the cash while she remained oblivious,” the publicist says. “On one particular trip we returned to Nashville and were at the luggage carousel. I was tired and, at this point, had no more cash. So when I saw her summon one of those luggage handlers with the carts to help her, I grabbed my bag and took off. I often wondered if, like the Queen of England, [her] purse was just for show!”

Speaking of purses, one male publicist says, “I definitely know how my mom felt when we were on vacation,” when client artists ask him to hold their sunglasses, cell phones, cameras and water bottles. “I draw the line at holding purses,” he says, “especially if they clash with what I'm wearing.”

(Phyllis Stark can be reached at p.stark@comcast.net.)