I don't actually mean nickI. I'm just wondering what are the best ways to contact big artists. What sneaky paths have you taken to get your production noticed. I am not prepared to go the clout chasing route and spaming their emails.

Could I stalk their whereabouts and perhaps just pull up with a usb. Or bang the instrumental from my car?
Contact their friends?

 

Hi if you wait till 3am then go up to there bedroom window
and start throwing usb flash drives at it that works for me most times.
Ive found these work the best & still work even after a few throws,
They can also float on water whats handy.


you could also try one of these
i would not say no.

 

Say Beatlejuice 3 Times in the Mirror

 

I've change your title to something clearer.

 

Brian Eno on why he doesn't like people getting in touch.

Hello Paul. Thanks for getting in touch. You might be surprised to know that I don't want to join your mailing list. Don't misunderstand me - I'm very happy that you're doing it, and pleased that there's enough interest in me and my work to (hopefully) sustain it, but I just don't personally want to be part of it.

You must wonder why this is. I think the reason I feel uncomfortable about such a thing is that it becomes a sort of weight on my shoulders. I start to feel an obligation to live up to something, instead of just following my nose wherever it wants to go at the moment. Of course success has many nice payoffs, but one of the disadvantages is that you start to be made to feel responsible for other people's feelings: what I'm always hearing are variations of "why don't you do more records like - (insert any album title) " or "why don't you do more work with - (insert any artist's name)?". I don't know why, these questions are un answerable, why is it so bloody important to you, leave me alone....these are a few of my responses. But the most important reason is "If I'd followed your advice in the first place I'd never have got anywhere".

I'm afraid to say that admirers can be a tremendous force for conservatism, for consolidation. Of course it's really wonderful to be acclaimed for things you've done - in fact it's the only serious reward, becasue it makes you think "it worked! I'm not isolated!" or something like that, and irt makes you feel gratefully connected to your own culture. But on the other hand, there's a tremendously strong pressure to repeat yourself, to do more of that thing we all liked so much. I can't do that - I don't have the enthusiasm to push through projects that seem familiar to me ( - this isn't so much a question of artistic nobility or high ideals: I just get too bloody bored), but at the same time I do feel guilt for 'deserting my audience' by not doing the things they apparently wanted. I'd rather not feel this guilt, actually, so I avoid finding out about situations that could cause it.

The problem is that people nearly always prefer what I was doing a few years earlier - this has always been true. The other problem is that so, often, do I! Discovering things is clumsy and sporadic, and the results don't at first compare well with the glossy and lauded works of the past. You have to keep reminding yourself that they went through that as well, otherwise they become frighteningly accomplished. That's another problem with being made to think about your own past - you forget its genesis and start to feel useless awe toward syour earlier self "How did I do it? Wherever did these ideas come from?". Now, the workaday everyday now, always looks relatively less glamorous than the rose-tinted then (except for those magic mhours when your finger is right on the pulse, and those times only happen when you've abandoned the lifeline of your own history).

...

It happened with Harold Budd, it happened with the band James, and it happened with this Slop Shop thing [Peter Schwalm], where I immediately saw this was something I would like to be involved in. So just for all of you who are about to give me tapes and CDs when this [event] finishes, I receive on average forty or fifty a week. For twenty years, that's about... what... twenty thousand or something like that? So three out of twenty thousand is the score so far. Just so you won't be discouraged if you don't get a reply.
​

http://music.hyperreal.org/artists/brian_eno/email.html

 

Social networks/sites like soundcloud... better contact local "popular" artists (this would work only if you are living in any big city)

 

go to studio /go to their website / go to police tell them she was rape me. then give your usb .
https://www.mypinkfriday.com

 

Last edited: Oct 24, 2018

USB stick from stranger doesn't sound good at all. Here's my stick full of malware..
Be creative and pull a cassette with cool cover in front of him/her

 

​

 

We're talking about a BIG artist, so:

Never contact him directly, unless he is in love with your sister, tell yourself that hundreds try to do it like you, so be sure he will see you like any other opportunist, if you have a concrete and interesting project, going through his agent / label is the best way.

If he's on social media (provided it's really him, not his assistants), it's unlikely but possible.

Otherwise, there are the remix contests, the covers that can arouse his interest if they are successful.

 

agents, or their label.

unless you're on the same level, don't expect much than a ghost collaboration.

the last I have in mind was Deadmau5, who signed a guy for 1 song after he was "lectured" that his tune needed a singer, and he posted it, but that's rare.

the best for you is to go out there and start to build an audience, that's the best you can do for yourself.

 

I go through managers and labels.

 

I worked in the Dutch partyscene for a decade and met lots of artists. Okay, I'll have to admit, nowadays social media is bigger when compared to the 00's - which makes it easier for both artists and fans to connect - but at the end I still think that seeing someone in real life works best. And I don't mean one time but several times. So you'll get noticed and recognizable. Just have a chat when it's possible (watch out for the backstage entrance at an event for example). Talking about producing is something ALL artists like to do and which divides the fans from the people that actually want to make something in music business. Dancefair for example is something really interesting because lots of artist just walk around.

Maybe it's easy for me to say because I don't live in the middle of nowhere but still. A connection in real life works better to start with. Having a chat online will be an easier next step. Otherwise you're just one of the millions. It takes some efforts yes but then again, you're the one who wants something from them. It's also important what tone and attitude you have. If you're relax and don't start with "I want something from you" you'll make a much better impression. They're also human you know.

Stand out and be creative, just like your music. Someone else already mentioned producing a cover. If it's good it will find its way (with a bit of luck or the right connections). Add some original tracks to a Soundcloud profile and people get an idea of your skills. It's still a difficult path but there are enough examples of people that are now (big) artists themselves by doing such things.

 

So do I, like Kleenex from an almost empty box. Twenty to the dozen.

 

How about


or



or

 

First, if you absolutely want to do a cold pitch, do your research. Don't send trap tracks to house guys. Don't send dubstep to an indie rock vocalist.

Once done, contact them via the methods they provide on the website. People trying to bypass the organization they set up to separate work from life are considered major a-holes and usually get deleted right away. Remember they get way more of this stuff than you think and usually are hundreds of emails behind.

You have about 3 lines of text to get the interest. Don't talk about how long you've been making the track and what's the history of how you got your first dog. They don't care. Make them care. Tell them what you want.

No "hey pls listen to my song", write EXACTLY what your expectations are - is it a remix? do you want him to play your track in a live show? are you looking for collaboration? Include what it sounds like - "sounds like Coldplay meets Tiesto, plus Caribbean vibes" is sure to be more interesting than "here's my gangsta rap beat".

Unless you absolutely have to, don't do it by email. Wait for a show, come and say hi after the show, including the abovementioned short interesting description. Also, make sure you don't go too big. Aim at local people whenever possible. Doing stuff remotely is just way too disconnected - there's no fun in doing Skype calls for them, they want to be surrounded by good people.

And lastly... really, the ultimate way is to go play your shows. Play for free in some local clubs. Go, ask for the owner and just mention you'd like to help their venue by offering free supports. You'd be surprised how much jokes and other chitchat gets exchanged at the backstage while preparing for your performance.