Issue 15: Adam Wright, music journalist and Carnival of Oddities volunteer
Welcome to The Band Bible! I’m truly glad to have you here. If you’re a new reader, purpose of this newsletter is to address, break down, and shine a light on the business of being in a band. Each issue, we do this by interviewing (and celebrating!) someone who is making waves through their incredible work with or for independent artists. Learning the business of being in a band is something that is often inaccessible or shrouded in mystery, and it shouldn’t be, so I hope The Band Bible is able to play even a small role in helping to change that.
If you’re in the UK, there are pretty high odds that you may have read Adam Wright’s work. He’s a talented journalist who has penned thoughtful pieces on the work of Anti-Flag, Lou Reed, The Beatles, and more for Gigwise and Line of Best Fit. This is on top of the years of experience he has accumulated writing for blogs, both his own and several others.
Recently, he also began volunteering with Carnival of Oddities.
Adam’s passion for amplifying emerging artists and his knack for critical, creative thinking makes him a brilliant fit into what we do and how we do it. To celebrate his achievements in the industry thus far and introduce him as a part of the gang, he’s the issue 15 interviewee. Here, Adam shares how he became interested in PR, his thoughts on how our industry can treat emerging artists more fairly, advice for artists looking to catch the eye of a journalist, and more.
How did you get started in the music industry?
I’ve always been a massive fan of music and really got into it in my mid-teens. I was listening and discovering as much as I could, going to gigs, collecting records etc and just feeding my hunger to find out more.
I went on to study journalism in Liverpool when I was 18, which is where I realised I could use my passion to create, so I started my own blog and wrote about my favourite albums whilst studying. After graduating I got into writing for other blogs and my reviews were seen by more people, which has now led me to reviewing records for some nationally renown websites.
Which element(s) of writing brings you the most joy?
I’d have to say I get most excited about the discovery. The same drive that made me search for music as a teen is still there now. Every day is a chance to hear something new, something that might mark the beginning of a whole new scene and the chance I have, even with my small platform, to tell people about it is what makes writing so special.
That’s where my interest in music PR stemmed from; it means I can give bands I’m passionate about the best shot I can at reaching new audiences. Music moulds and changes people’s lives and facilitating the link from the artist to the fan means I have a small hand in that. That’s what music is all about, right?
In your opinion, how can our industry treat emerging artists more fairly?
There are a lot of challenges that emerging artists face. Even aside from the tragically reduced number of indie venues, there seems to be a diminished interest in what they’ve got to offer, even in the places you don’t expect it. There was Chris Moyles recently saying that most new bands aren’t any good, a rhetoric that does nothing to help the already difficult situation new bands are in.
I’d like to see small bands get more exposure on national radio, and I’d like labels and fans to push for it, but mostly I want to see a change in the way streaming platforms pay artists. The current model is unsustainable and will kill off the bands of tomorrow. It’s something fans and artists have been vocal about, especially since the pandemic, and it needs to change.
What would you say is the most important thing artists who self-pitch should do when contacting writers?
Be deliberate in your pitch and make it worthwhile to the writer. If you’ve taken the time to read my reviews or feel your music is something I would genuinely like, then I’m much more likely to listen.
Telling me you’ve got a new song doesn’t pull me in, there’s lots of new songs. Telling me you’ve got a new song that sounds similar to the band I just gave a 9/10 and you thought I’d like to hear it first; that does pull me in.
Lastly, which "commandment" would you like to leave behind in The Band Bible?
Well, they're a few, but if I’m only allowed to leave one, it’d be to explore. There’s no excuse in the modern world to not. Read and listen to things that nobody around you is, dive down as many rabbit holes as you can find and you’ll quickly find your niche.
There’s so much material being produced every day, so broadening your horizons artistically will help you stand out.
A tremendous thank you goes out to Adam for taking the time to write such thoughtful answers.
As a wee closing note, if you’re based in London and have Wednesday 12th April free, consider yourself cordially invited to the third Carnival of Oddities showcase. The lineup consists of Funhaus, KickBoy, The Silence, and Flounder. Tickets are available via DICE and Eventbrite.