advice for an amateur music critic

July 8, 2007 12:10 PM

I just got press clearance for the Pitchfork Music Festival. I'm not a reporter. What am I supposed to do?

Basically this is the coolest thing to ever happen to me. I'm not sure yet what kind of awesome things I will be allowed to observe, but for anyone with any kind of experience in this... what should I be sure to do? I have a crappy digital camera that I will obviously use constantly, and I'm guessing I should bring a notebook or ten. I have to write a feature and I'm kind of overwhelmed.

posted by timory to media & arts (31 comments total)

It seems like your question is, "What will be expected of me?" but you don't say whose expectations you're concerned about: Pitchfork's? The performers'? The people you expect (or hope) to publish what you produce from the event?
posted by jjg at 12:21 PM on July 8, 2007

What outlet will you be writing your feature for? What outlet does the festival think you are working for?
posted by alms at 12:21 PM on July 8, 2007

I guess Pitchfork and the performers? I don't want to seem like an unprofessional, obsessed fangirl. Basically I am clueless, as I've never done anything remotely like this.
posted by timory at 12:22 PM on July 8, 2007

I write for an online music magazine, much like Pitchfork, but way less popular.
posted by timory at 12:23 PM on July 8, 2007

There are a lot of different angles you could take like:
- your Pitchfork Music Festival "diary"
- talking to fans and musicians and people helping running the festival (behind the scenes like stage techs, food vendors, etc.) or whomever else you think is interesting
- a regular ol' review (this band was awesome, that band sucked, etc.)
- plus, liveblogging the festival if you have the equipment

It seems odd to me that your editors at your online music magazine don't know exactly what sort of coverage they want from you -- will it be a review? A big long feature/diary? Interviews with artists? Photo galleries?

If I were you, I'd use Google and look for blog coverage of similar indie-rock-friendly festivals like: Bonnaroo, SXSW, ACL, Bumbershoot, CMJ, etc. People take all sorts of different approaches, the most common being "My Diary of the Festival" listing who they met/saw, interesting or funny things that happened ("I saw Wayne Coyne of the Flaming Lips roll down an alleyway in his bubble") or random celeb encounters, nugget-sized reviews of musicians, and generally trying to get the vibe or feel of the festival across to someone who wasn't there.

You could make it a really personal take on the fest, or you could try to do something more unique to stand out from the barrage of coverage.

It helps if you are a) very knowledgeable about the performers or b) funny or insightful about music in general or c) manage to witness or do something that nobody else does.
posted by kathryn at 12:35 PM on July 8, 2007

Is Pitchfork arranging for your access to the performers, or will you be left to your own devices? Do they have an on-site publicity liaison for you?

Get a "reporter's notebook" or two (tall and skinny, and not that crappy one Moleskine makes). Bring extra pens. If you think you'll be doing some interviews in relatively quiet areas (crowd noise, but not, say, near the stage) a digital voice recorder might be a good option too.

Be friendly and respectful, and try to ask questions you think the performers will be genuinely interested in answering. For many of them, this event is the biggest American exposure they've had, so they'll probably be responsive. Unless, of course, they're dicks.
posted by jjg at 12:37 PM on July 8, 2007

I would go there, drink beers and enjoy the music, take some snaps, and do a few mini-interviews with punters about how they think of the festival or what they came to see. Write down their names and addresses in your notebook.

Then when you get home, write your review, and you can put those quotes in the review too.

Backstage? If you have a sidepanel to your feature, you could ask a few artists what they think of the fest and put that in there. Maybe check with your editor whether that would be cool.

Most importantly, don't spend all your time backstage. Generally it's rather boring at festivals.
posted by dydecker at 12:40 PM on July 8, 2007

jjg is right on.

One more suggestion is to have a list of 4-5 questions prepared that you can ask from if you get flustered. Avoid, yes or no questions.

Also, be prepared to answer the question, "Who are you reporting for?"

Have fun!
posted by Argyle at 12:40 PM on July 8, 2007

You know what I've always wondered:
What does it take to put on a show like that? I.e. how many people? How many trucks full of stuff? When do they have to start to get all that stuff unloaded and set up by the show time? Do they haul all that gear around the whole country, or rent it locally? How much does that cost? How much time off to the performers get, and do they get to see much of the town they're in? What do they like to do in this town?

I'm sure, now that I think about it, I could find a story like that, but I'd sure find another one more interesting than a "this band was good, that one sucked" story. See if you can go during the setup and takedown phases, as well as the show itself.
posted by ctmf at 12:47 PM on July 8, 2007

p.s. You should probably definitely ask the publication you're going to write for what they expect. If it's "whatever you want," that's cool, just make sure they explicitly say that. They may be incorrectly assuming you know exactly what they want.
posted by ctmf at 12:51 PM on July 8, 2007

it's definitely a "whatever you want" sort of thing.
a few follow up questions for everyone (this is a big help, so thank you!)

-what kinds of questions should i be shooting for assuming i get to meet anybody?

-how do i do the pushy reporter thing without being a total dick? (i have a problem with being TOO well mannered and soft spoken in this sort of setting)

-is it safe to go, take copious notes, and decide later what kind of feature would work best with what i've collected?
posted by timory at 1:00 PM on July 8, 2007

-is it safe to go, take copious notes, and decide later what kind of feature would work best with what i've collected?

That would be really hard to sort out. I would have some idea of where you want to go with your article/blogging/whatever before you go. That way you'll know whom you should seek out. (do you need to talk to reporters? fans? tech people?) In fact, you should probably make a list of possible sources for your idea beforehand.
posted by Airhen at 1:20 PM on July 8, 2007

Out of curiosity: Who are you writing for?
posted by petah at 1:20 PM on July 8, 2007

Go in with a focus. You will certainly be able to change the final story if a new topic distracts you, but definitely have a focus going in, or you'll be overwhelmed.

Expect to check in at a press tent, table, or office somewhere. Ask the people staffing it "What should I not miss?"

Don't be a total dick. Be assertive - if you're in a group interview question, pop in with your question in a clear, loud voice and make eye contact. It's not politics and you aren't paparazzi. The best way to get musicians to talk to you is to ask questions that interest them, and avoid ones they've been asked a million times ("Who are your influences? How would you describe your sound? What's next, any plans to record or tour?") Give them something meaty to respond to: "In listening to your set, I heard a lot of the stylistic features of funk integrated into your sound - can you talk about how the band decided to go that way?"

I agree with those who say you should do some online research about similar coverage. There should be loads of material out there; the festival is amazingly popular among music journalists. Here's one full-coverage-style story I found via Wikipedia. Read as much festival coverage as you can; one of the worst things about the openness of online media is that people do far too much writing with no reference to the conventions of their own genre. Good writers are also good readers.

Watch the other reporters, especially ones whose media outlets you like, and see what they do, where they go, and how they conduct interviews. Learn from them.
posted by Miko at 1:46 PM on July 8, 2007

Hey, and you should put the finished deal under "projects" when you are done. This is really an interesting thread.
posted by misha at 2:05 PM on July 8, 2007

i think blog-style might be best for me, since this was sprung on me so last minute (as in, today, and the festival is next weekend - ack!). i will do as much research as i can, considering i won't have a computer for the 4 days leading up to the event.

for whomever asked: i write for a magazine called no ripcord.
posted by timory at 2:21 PM on July 8, 2007

Frank from Chromewaves does a great SXSW diary and review, and is a very good photographer as well. I caught him on his PDA many times during SXSW, taking notes.

A blog can be great if you have a Treo or handheld device, and can post from there. One thing to keep in mind is that people who are stuck at home will love anything that feels live -- whether it's recordings from your phone or Youtube videos or posting to Flickr as much as humanly possible.
posted by kathryn at 2:34 PM on July 8, 2007

I've got a number of friends who've done similar things (some of them commented above in this thread :)) and have helped set up blogs for this kind of thing before -- if you need help getting something running before next weekend, feel free to drop me a line and I can help you get set up.
posted by anildash at 2:59 PM on July 8, 2007

Keep in mind that the pit in front of the stage often gets quite crowded with photographers. Please don't be one of those people who's down there shooting "just because they can". Nothing makes me more annoyed than having to trip over the kid who won the all access pass, armed with his point and shoot who's totally oblivious to everything except what's happening on stage.
I'm not saying don't shoot - just pay attention, be respectful of the professionals and get in and out quickly.
posted by blaneyphoto at 4:36 PM on July 8, 2007

blaney: well, to be fair, although i don't have a professional camera, i didn't win an all access pass and this IS for an actual music magazine. but i don't plan on getting in the way. i'm really not pushy enough for that.
posted by timory at 6:32 PM on July 8, 2007

Sorry, I worded that poorly - I was using that kid with a pass merely as an example. You don't have to have pro gear at all, but just be alert and respectful and you'll be fine.
posted by blaneyphoto at 7:19 PM on July 8, 2007

A heads up, in response to jjg, that you will be very much left your own devices.

I've been backstage at another big festival show before (it was Warped Tour 2002 & 2003, it was another life, okay? Can't a guy start over?) and you're basically allowed to go wherever you want and talk to whomever.

Backstage means all the tour vans, all the performers getting on and coming from stage, and often means you can walk straight onto the stage during a show and watch with the elite crowd gathered to the side.

Definitely don't expect anyone to tell you what the best move at any given time is, unless you make friends.
posted by coolhappysteve at 7:49 PM on July 8, 2007

From a young-musician POV: I've only been through about a dozen interviews so far, but one interesting point is that most experiences I've had with reporters have resulted in a misquotation, a factual error, or some other misrepresentation in the article.

I accept this as natural and inevitable... but I've gotta say that if you write a completely error-free article about a musician and quote them perfectly (which requires audio recording, as jjg mentions, not just jotted notes), they may love you just for that.

And keep in touch: email each artist a URL for any coverage you give them (send it to the press contact on their site, if they list one, or direct to them if they don't).
posted by allterrainbrain at 5:48 AM on July 9, 2007

Additionally, for Pitchfork Fest, there are two main stages and a tent. The tent is more geared toawrds dance/electronic type music and seems more intimate. The other stages are more rock-heavy, so you should probably decide where you want to spend your time. Luckily, the schedule is staggered so you don't really have competing acts.

If I were you, I'd so some research and listening of all of the artist's music, reading their biographies, maybe some recent reviews and interviews. And looking at their press shots so you can figure out who is who in each band. You'll get their attention better if you know their names. The lead singer of such and such act might be really recognizable from afar but no so much the bass player or drummer.

Another good ice breaker is just asking, "Who have you seen so far that's really impressed you?"

I accept this as natural and inevitable... but I've gotta say that if you write a completely error-free article about a musician and quote them perfectly (which requires audio recording, as jjg mentions, not just jotted notes), they may love you just for that.

Hmmm, possible interview fodder: "What's the biggest misconception people have about you or your work?"

And keep in touch: email each artist a URL for any coverage you give them (send it to the press contact on their site, if they list one, or direct to them if they don't).

Or to their label.
posted by kathryn at 7:35 AM on July 9, 2007

Hey -

I'll be working the Pitchfork Fest as well...camera operator.

I really have nothing more to add. You'll prolly see me there, though. I'll be the 20-something chick with a camera and short red/blonde hair. Feel free to say hi if you run into me.
posted by Windigo at 9:14 AM on July 9, 2007

I've never covered the Pitchfork festival, but I've done Sasquatch a couple times, V-Fest once, and a few smaller ones here and there. There are all sorts of press passes. Sometimes it's only free entrance and a private area to plug in your computer. Other times they'll have all sorts of free food and beverages. Interviews usually need to be set up in advance privately through the band's publicist or manager. But with so much music going on all day, I'd probably opt to concentrate on seeing bands. You can see my coverage here of Sas' 2006 for an idea how I approached it.
posted by yeti at 10:23 AM on July 9, 2007

thanks everyone, this is all really helpful.

the more i think about it, the more i realize that it is VERY unlikely that i will actually get a chance to talk to anybody. i am still waiting to find out what kind of privileges i'll be getting exactly, but i bet that at most i'll just have easier access to the front, and possibly some opportunity to take pictures from backstage. but that's fine. there's plenty of opportunity to see feature-fodder, even if i didn't have press clearance.

let me know if you want to read the feature once it's out - hopefully i'll do an okay job!
posted by timory at 11:53 AM on July 9, 2007

I've covered music festivals in Europe. The first time i was terrified and overexcited. I had no idea what to expect and most importantly i didn't know where i was able to go and whom i was permited to talk to. I was kinda young and i thought i was a scam amongst all those professional people, since the media i was working for didn't pay me and was very small.
It took me a couple of years before realizing that those guys, the PR guys, want you to be there and they want to give you stuff for free. As i said i was young nerdish and dumb.
Don't do as i did, don't be shy, go see the organizers and get whatever you can from them, they're there to provide you with the info you need to write your coverage.
If you're not part of a big media you just have to smile and be polite and suggest that even though your paper/website don't sell much it's still an important underground trendmaker. Of course you never say it out loud, you just make them understand.
It's a world where bullshit reigns supreme, so try to look bigger than you actually are, you don't have to be pretentious or a snobbish asshole, just look self-confident and it will work fine.
Before you know it band managers will take you by the hand backstage to interview their protégé.
As for the technical part, you need a recorder, with a good microphone. You don't need professional grade stuff but something that you positively know is going to produce an easily understandable recording. You're going to get drunk along the course of your work, so taking notes is out of the question.
posted by SageLeVoid at 12:05 PM on July 9, 2007

My ex had a press pass to Pitchfork last year, and has one this year. It was also for a small online music review website. He pretty much just got in for free and got a plastic pass that didn't get him any special access. But who knows, they might have changed the rules this year.
posted by IWoudDie4U at 1:47 PM on July 9, 2007

i'm not even sure i get in for free. i had tickets wayyy before i knew i was going to be press.
posted by timory at 5:32 PM on July 9, 2007

I got press passes to DEMF for a couple years (before they imploded)— There should be an artist/press tent, where people will have scheduled appearences. Try to swoop down on the less-known folks and get everything you can on them, since they'll often start to break within the next year.
— You know all the "Ask open-ended questions" and "Keep your questions to one clause" bits, right?
— Steal all the food/drink you can. DEMF had people passing out from the heat, and besides, it's in the music writer's code to never ignore free food.
— I find it helps to think up about 30 questions beforehand for each person I interview. I rarely use them, as I try to keep things going conversationally, but there are always times when things blank, and it's good to have a catagorized list of things to toss back out there when you have a chance.

Oh, and while you should probably tape your interviews, keep in mind that you should ALWAYS WRITE DOWN YOUR NOTES. My recordings from DEMF are fucking unintelligible, but the notes saved my ass.
posted by klangklangston at 12:40 PM on July 10, 2007