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Will Wesley

Reflecting on our conversation, I felt as though it took Will some time to come out of his shell, so to speak. At first, his answers seemed slightly guarded and intentionally humble; contrived perhaps. But as the interview went on, I believe Will identified the sincerity in my contributions and line of questioning. And eventually he became more invested in the exchange. I’d say this would summarize his childhood years quite well. Where at first, he was tasked with navigating a tough populous in his hometown. But eventually, as he came to trust music as a nonjudgmental, creative outlet, he began to reveal his true self.

I was speaking with Exhorder’s founder Vinnie LaBella recently. And the topic of punk music came up. We exchanged ideas about how it influenced thrash music, and how the two were both extremely intertwined and infectious. I brought an idea to the forefront that we both agreed was fact. If you do not live the genre of music you currently write and produce, you will not be successful. Moreso, you will be lying to yourself, a fallacy in the court of public opinion, and at the very least, a hard sell. I believe this to be true for all genres. And I believe it to be one of the many reasons why Will Wesley will always pass muster. At times country, at times rock and roll, and always with an underlying current of blues, he has lived and breathed these elements since he was a child. Growing up in Baker, Louisiana, which was settled but not thriving, an impoverished society delivered these principles to Will at a young age. He was the youngest of three children. And with a growing family to feed, his father had set down the guitar to pick up more shifts at a local plant. Though family finances had overshadowed his father’s dreams of being a full-time musician, Will quickly became of age to have that torch passed down to him. Sharing in Will’s ambition and love of music, he made sure to instill in him the idea that playing music was to be taken seriously. He wouldn’t have Will simply learn a few chords. He wanted him learning music theory. And he imparted to Will how important the business aspect of music would become in due time.

Exploring his motives as a young man, Will was the first to admit that he picked up the guitar in an effort to get more girls. It is worth affirming there were a few other factors that garnered his attention, like the support of his father and the strength it lent their bond. He would also admit that playing guitar didn’t change much when it came to girls. But before long, ironically, he was passing up dates to play shows. Falling in love with the art gave him tunnel vision. No tangible thing could replace it. Unlike his surroundings, it didn’t judge him. It didn’t threaten him. And it brought him closer in the mind of a working father of three.

Drawn to punk music in his early years, Will was a fan of the idea that “three chords and the truth” could transcend genres and audiences. The similarities in the cores of genres, he pointed out, kept him relearning the things he already knew. These subtle resemblances provided comfort for a youth that was constantly trying to find his voice in music. Yet he did not hesitate to decide upon original songs as his chosen path. Like many, he would practice covering a variety of songs in his room to get his chops up. But for Will, his expression manifested itself as original compositions of straight rock and roll. Given his propensity for punk rock, he became an avid fan of bands like Green Day, Sublime, and 311. His first band would be called Crotch. Before you knew it, this kid from the small town of Baker, Louisiana had orange hair and was stage diving. He recalled a surreal experience one night at a Green Day concert when he was just fourteen. “Billie Joe Armstrong asked if anybody plays guitar. And my brother at the time lifted me higher than anyone else and this dude gets me on stage. And I look out in this crowd and there is just thousands and thousands of people. I’m scared but its just like… I am alive! You know what I’m saying?” He went on to tell us what Billie whispered in his ear at that moment. “Look dude I really hope you know how to play. The chords are G, D and C. And I was like, yeah yeah I know that. And the dude just gives me the guitar, and he kisses me square in the mouth. And when I started playing and the crowd started going nuts, I knew from there… man crowd applause and live audiences are quite addictive. I was addicted and I’ve been that way ever since”. 

An experience like this made him want for nothing else. All he wanted to do was play bar chords and get laid. Luckily, the urgings of his parents would still permeate through the desires of a young Will. Though he had dropped out of school, to his mother’s wishes he acquiesced and returned, getting his diploma. And to his father’s wishes, he allowed words of wisdom to take the place of his immature cravings. As his father explained to him, “If you’re gonna do this, you can’t do it half-way. There’s musicians on the street homeless that can play you out of this city. You’re gonna have to be a business person to survive.” Into his twenties, Will became a music director for Grady Champion, a Grammy Award-winning blues musician out of Canton Mississippi, and toured around the world. During his time home, he got involved with a woman who was also a musician. The two would form a duo. The goal for Will at that time, aside from pursuing his relationship, was to see the music they made gain traction. So, he immersed himself and his efforts to that end. The relationship would eventually fade, as did their musical duo. The typical town gossip would follow and belittlement had him feeling low. Depression began to set in as Will began to question himself. Looking back, he realized that he had come from making great strides in his own career only to put himself in the background for a relationship. The promotion of this duo was perhaps motivated more by love interests and less by creative interests.

Will began to hear his father’s words in his mind. There would be no more playing for the sake of playing, or playing for the sake of a relationship. He needed to return to his roots; creative writing through close attention to music theory, and creative direction through close attention to business acumen. He needed someone that existed outside the local whirlpool of small-town mentalities and rumors, someone that could help clear his mind and focus. He called a friend he had worked with in the past by the name of Phil Chandler. Phil had produced for Will in the past and done some bar gigs with him. But most importantly, Phil was from out-of-town. The two began to discuss a number of songs that Will wanted to get recorded, as well as Phil’s recently recorded EP under the band name Orange Joe. Opportunities to gig at that time were few and far between. Being that this occurred during the onset of Covid, the two had to get creative to kept things moving. One solution they settled upon was writing (and subsequently selling) commercial jingles. As their momentum began to accelerate, they decided to take what else they had and publish it together. The result would be a body of work that housed Phil’s EP as well as Will’s recorded songs. It was a seventeen song, double album called Both Sides of the Tracks. Characteristically typical of any bands’ first album, they described it as an extremely polar, country rock/ country americana album. But despite Covid, it kept them productive creatively. And it earmarked a moment in time, both good and bad. Some of Will and Phil’s friends, family, and fellow musicians that were involved with this album didn’t make it through the pandemic. But on the other side of this traumatic occurrence, Both Sides of the Tracks stood tall. Its reception was global, garnering radio play on stations everywhere. This was a fortunate break being that distribution services were backlogged due to many cooped up musicians at home writing and recording. This catalyst also contributed to the star-studded roster on their debut album. Singer/ songwriter and guitarist Kern Pratt, fiddle player Michael Cleveland, singer/ fiddle player/ producer Allison Krauss, singer/ songwriter/ guitarist Doc Watson, and singer/ songwriter/ guitarist John Marty Stewart were some of the people that contributed to this release.

Obvious hardships gave birth to a robust independence for them both. The album that was recorded, produced, and promoted from their homes now had a global presence. They formed their own label, Roanoke Records and solidified management with Brian Abrams of Century Palm Agency on a beach over a fifth of honey whiskey. Since then, their hard work has resulted in a European tour, a spot opening for the globally recognized band Alabama, and multiple show dates in Switzerland and Bangkok. Their next album, Ready to Ride is set to drop this summer. Subscribe to our podcast by picking your streaming service below and hear about the duo’s experiences overseas, the noticeably darker tone of this next album, partner Phil Chandlers thoughts on music business, and so much more. Thanks goes out to Will Wesley and Phil Chandler for such a great interview.

Author: David Trahan

Neworleansmusicians.com

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Do I Need an EPK?

Spiders are born knowing how to spin a web. Fish are born knowing how to swim. Humans, on the other hand, are born only knowing how to suck. And I say that to say this… as musicians, we have no innate knowledge of what it is we need to survive this musical landscape.

In any given situation, communication is king. If you can convey your message without losing your audience’s attention, you win. Sometimes a win just means holding their attention for those few minutes. Because through repetition, they will become familiar. And through familiarity comes a comfort of sorts, which gives way to curiosity. “Oh, I remember seeing something about them. Who are they?” And then you’re in.

Or, you’re up, I should say. Now it’s time to lay out the goods. And you do have the goods, right? Sure! This is your last album, your latest song, your newest merch, etc. But this is all geared toward the consumer. What about the music professional? What “goods” do you have for that person? You can’t lay down consumer goods for this person because they don’t care about any of it. And you can forget a hokey motivational band vision or personal perspective. In comes the EPK, or electronic press kit. Now there are EPK builders out there for free or a fee, and these are just to name a few: Wix.com, Bandzoogle.com, Gigmor.com, Reverbnation.com. But rather than allow mass distributed templates be your guide, I would recommend doing your own research on what exactly it is your target wants or expects to see and hear. I’m going to outline a short list of what many would agree are the industry standards. I might recommend a cover letter just to introduce your band. This is something used in all professions and you can easily look up its inclusions online.

  1. A biography – This will consist of a brief history of the band, as well as a current roster. If your band is new, I’d sub the band history for individual members’ past bands and preferred style of music. But definitely keep this short and focused on notable highlights because this is merely the set-up.
  2. Visual media – Everybody likes some good eye candy, right? Just make sure its high resolution. Low res gives ‘em indigestion, and they’ll surely quit biting. So, a few still photos of the band are in there. And mix it up; maybe one of you all posing, and the rest on stage in your element. If at all possible, be sure to include a video. This doesn’t necessarily have to be a professionally shot music video. Your band performing will suffice in its absence. But please, sub your recorded track for the live audio. Nothings grinds my gears more than a band video submission that sounds like it was shot in a cavernous, echoey wind tunnel.
  3. Stats – No matter the catcher you’re pitching to, these people are bean counters in essence. They need factual verification that your band is worth investing time or money into. So yes, your previous show attendances are important here. You might say, well David, our show attendances are shiyte man! We’re not playing stadiums over here! That’s ok people. Along with those attendance numbers should be club capacity numbers. This will frame things into perspective. Another stat to include is your social media following (boo, hiss). I know. But despite the field being littered with vanity metrics, this number illustrates potential at the very least; the potential of your band to gather ears and eyes, as well as the potential of the social media account holder to DIY. Take, for instance, a promoter’s standpoint. If the band isn’t going to do all they can to draw a crowd, they’re not worth risking the investment. And you can present this proof of work succinctly by making use of your platform profile’s statistics page. I might also point out here that, in constructing this portion of your EPK, you too will see where your band lacks. And this will give focus to your band priorities.
  4. Demo – Now this one may seem like a no brainer. But the manner in which it is presented comes into question. We’re dealing with a completely digital experience. So, your music is going to exhibit your flaws, flawlessly. If you don’t have a quality recording, go make one and revisit this article when you’re done. With that being said, how shall you present this quality piece of audio? You want the professional to hear you, but you don’t want to draw them away from your EPK. So, if you’re going to store your music online and furnish a link in the EPK, make sure it opens up in a new tab on their desktop. This way when they’re finished listening, they won’t have to retrace their steps in the browser to get back to your EPK. If you’re storing your whole EPK online and providing them that EPK’s link in your initial contact, you can embed a player in your EPK. I recommend both. Not only am I the type to cover all bases in preparation for a presentation. But people have mixed preferences for various reasons. Some recipients might not want to blindly click your unfamiliar link, exposing their computer to possible viruses. So, including an emailed link to your whole EPK is out for them. And some may have filters set on their email client to refute html in the body of emails. So, embedding a player within the email itself is out for them. You can attach an Mp3. But understand emails have data limits. So, make sure you can also fit that video in your email along with this Mp3. A third option, and probably your best, is creating a PDF file. This can reduce data issues and group your media into a sweet portfolio. But if you opt not to go that route and run into data issues, complete songs or videos aren’t a necessity. If the talent is there and you’re the right one got the gig, they’ll know before your song is even finished playing.
  5. Press – This one is a favorite of mine, selfishly. Because, in covering the scene, it’s part of what I do here at Neworleansmusicians.com. If you’ve had any album reviews, any show reviews, any interviews… this is their time to shine. In my opinion, the best way to present this is to include a notable quote contained in that review or interview about your band or song. And then be sure to cap that off with the link to that press piece. Because in the court of public opinion, the quote alone is considered here-say. And again, if you’ve led them to your EPK stored online, make sure this opens in a new tab. Keep your captive captivated!
  6. Contact Info – I’d like to dispel a few myths here. Some say a Gmail seems more legit than a Yahoo or other email provider. This, in my eyes, is nonsense. Just make sure you respond, as they say in Acadiana, toot sweet. That means quick, fast, and in a hurry. And hey, SPELL CHECK all correspondences! Another myth is that it’s wise to pose as the manager for your band and include that contact info in place of your own personal info. Maybe that gets you places with some, I really can’t say. I’ve always been of the school of thought to let your work speak for itself. If you conduct yourself in a professional manner, you will be treated like a professional. And being spotted as a fake is perhaps the most unprofessional thing you could do. So, with all of that out the way, just be sure to include multiple forms of contact; email, phone, social media, all of which you monitor religiously.

So, these are the bones of this monster. Now to whom shall we send our Frankenstein? The usual suspects consist of A&Rs, Talent Buyers, and National/ International Press. But these days there’s also playlist curators and bloggers to think about. One character I definitely want to throw in this mix is a Music Supervisor. Because sync licensing is an excellent way to get your music into the ears of people who weren’t even looking for you in the first place. Sync licensing paves the way for your music to be included in film. And this would entail a ton of streaming platforms like Netflix and Hulu, as well as online destinations like Youtube and Vimeo. So, let’s not forget about sending that guy your EPK as well. The point here is to realize that your EPK must contain utility for not only a record exec., but a music supervisor, someone who books shows, or someone who publishes on playlists or blogs. Its job is to depict your band from multiple angles of utility.

When I was a kid, I kept a binder. In it were my own drawings of men and women; soldiers, if you will. Picture something like G.I. JOE. I gave them as much visual detail as a kid could, complete with weapons. I listed their strengths, weaknesses, and back stories. And it didn’t matter that this binder had no particular use. I thought it was the greatest. Often times we build things the way we see fit. Not understanding that the rest of the world sees things differently. It may take us a long time to build a solid band, a cohesive set list, an image, an EPK, etc. And when we’re done, because of all the hard work we put into this thing, we feel as though it has strength and weight in the world. Our perception is skewed though, by the manifestation of our vision. Suffice it to say that other people have other visions. And that’s to be expected. But within that you cannot discount the importance of industry standard. For many, it is the only known way to operate. And any deviation from this may spell trouble for a band trying to get from one side of Mr. Important’s desk to the other.

BUT! (there’s always a but) As our friend in marketing, Mr. Seth Godin, once said in his famed book The Purple Cow, “The key to success is to find a way to stand out – to be the purple cow in a field of monochrome Holsteins.” And that’s one big, important rump roast of “but” right there! Because when considering your band for their project, I guarantee you most if not all of the business figures listed above ask themselves, what makes this band different from any of the others I’ve reviewed today?

So, in closing, I’d like to advise you to cover the industry standards as well as encourage you to add just a little bit extra, in substance as well as fashion. Perhaps the cover letter dubs your band “Tragic magic in a bottle…”. Or maybe your demo includes the person’s name you’re pitching to, “HEY SMITH! LISTEN TO THIS!…” I could walk you through the birds and bees when it comes to how to be different and stand out to that desired significant other. But to be honest, we must all find our own way in this game. And I do prefer to reserve strategic guidance for members of my website. Throughout all of this, I want you to realize that like life, your EPK is not over once you write it. It is a constantly moving, growing, living story. And you should be always revising it and adding to it like a diary. I wish you all the best of luck in your journeys. And I thank you for taking the time to read this.   

Author: David Trahan

Neworleansmusicians.com

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