P: Person I: Information T: Timely C: Captivating H: History

Person: Ensure this is in fact a match for the person you’re pitching. Don’t pitch a publicist about your music if you’re trying to get a publishing deal (this happens a few times a year to me). Similarly, don’t pitch country music to a rock-focused publication. If you’re pitching an A&R person at Warner Music on your rock band, make sure it’s not actually an A&R for Warner Nashville, which would be the country division of the label. The point is, be hyper-focused on who you’re pitching to ensure it’s a fit. This will increase the odds of receptiveness.

When pitching journalists, knowing these three aspects about them will massively help increase the likelihood of coverage opportunities:

1. know their genre affinity; investigate what type of music they generally write about before you pitch them.
2. is there a topic you see as a thread connecting a lot of their features (like LGBTQ+ artists or a focus on a new music scene in a specific city, etc).
3. does the journalist only do certain types of features (exclusives, premieres, interviews, album reviews, etc…)? You need to know this so you can properly ask for the type of coverage they are assigned to in your pitch…i.e. don’t ask for an album review if they only do breaking news coverage!

Information: All key details and assets on what you’re trying to promote such as release dates, song titles, what the music sounds like, etc…need to be presented in a digestible flow. A lot of times, artists will reach out to us, and not include details about a new release they’re preparing for, no links to hear the music or watch videos, no links to past media coverage or social media accounts. When you’re reaching out to someone for the first time, it might be your one and only shot at grabbing their attention. Make sure you provide them everything they need right up front.

Timely: you need to be pitching with proper lead time. Ideally you can also connect to a timely, newsworthy angle. By understanding who you are pitching yourself to, you’ll have a better understanding of when to get in front of them. For example, if you’re pitching the media because you have a new single or album, make sure you’re pitching them months in advance as they need that lead time. A publicist or marketing agency cannot help you on a project unless you start working with them months ahead of the planed release. Also, maybe your new song is about the loss of a loved one due to Cancer. As an example, you might consider releasing it in October which is National Cancer Awareness Month. It would provide you and your team a deeper story to tell as it’s anchored to a national month of awareness.

Captivating: Make sure you’re telling a story with colorful wording and a good flow. Based on my experience you really only have 2-3 sentences to truly capture someone’s interest to investigate you further — so you want to be as captivating as possible with your storytelling and hooks. Be clever, and short, with an email’s subject line. But don’t go so far that it comes across as spammy. When in doubt, personalize your pitch to show that you put the extra time into your outreach and that this is not just a copy/paste blast that’s being sent to hundreds of people at once. Yes, it takes more time but the odds of someone paying attention to you will increase.

History After you hook the person you’re pitching with the captivating details, then hit them with more background information. Typically, at Milestone Publicity, we craft our pitches to flow with the most important information first and then move into the background, history and past accolades of an artist or band later. It’s all important information to include, but if you’re a new artist don’t lead with where you are from or what inspired you to become an artist, instead save that information for AFTER you’ve hooked someone with a captivating story angle, release dates, links to the music, etc.

About Mike Gowen:

Mike Gowen has established himself as one of the go-to media relations executives in the industry. Not confined to any one musical genre, he’s become known as an invaluable utility player on an artist’s team as he currently ignites his 14th consecutive year in public relations. In January 2019, Gowen founded Milestone Publicity, further building upon his already lengthy resume of being hands-on with the PR campaigns for icons and emerging talent.

The firm has now become one of the top sought-after PR companies in the field, representing Rock & Roll Hall of Famers, GRAMMY Award-winners, CMA Award-winners, multi-platinum selling artists, and Songwriter Hall of Famers, in addition to Emmy and Golden Globe Award-winning talent.

Web: frankieandthewitchfingers.com 

Conatct: frankieandthewitchfingers@gmail.com 

Players: Dylan Sizemore, vocals, guitar; Josh Menashe, guitar, synthesizer; Nikki Smith, bass; Nick Aguilar, drums 

Material: Frankie and the Witch Fingers is a hard rocking, open-minded band. They are very progressive and mix it up extremely well with punk, metal, jazz and pop. The band is many faceted in many ways. They introduce a trumpet and a sax into a few of their songs and the songs themselves have many layers, twists, turns and spirals. Fast and furious at one point, then a slow-go for a bit, then it’s back on the horsie to gallop away; but only to get into the next song. Hints of Yes, Zeppelin and the Sex Pistols oozed out of the band’s pores as they played very melodic and melodious hard tunes. 

Musicianship: Excellent musicianship all around. These guys (and gal) put it on the line this particular evening in Hollywood. Sizemore walked the tightrope, did a few flips and landed straight on and wanted more. Great shredding from Menashe added ‘umph’ to the already great tunes as the horns and synthesizers added sophistication to the mix. The rhythm section was so on, you could tell these guys have been playing together for a while. Sizemore, Smith and Aguilar could do no wrong as they laid the foundation for a great evening of entertainment. 

Performance: The performance was extremely good. Super high energy was emanating from the stage all night. Aguilar is a monster behind the kit. Not just because he had painted his face super ugly, but because he prodded, poked, yelled and provoked, the audience, as well as his bandmates, to dance, jump and shout all night long; all the while twirling his sticks and sneering at who-so-ever dared lock eyes with him. Together with Smith and Sizemore, the chemistry is unmatched. 

Summary: Frankie and the Witch Fingers was super fun to watch and listen to. Superb lighting show by the Troubadour crew added ambiance and mood to the already vigorous atmosphere that Frankie and the Witch Fingers exuded. A great band performance that not only entertained on a Broadway level, but entertained and impressed on a musical level. If you’re into high energy Rock n Roll and want to dance, jump and shout all night long, Frankie and the Witch Fingers is your band. Prog-Metal at its best! 

Contact: sonofthevelvetrat@gmail.com 

Web: sonofthevelvetrat.com 

Players: Georg Altziebler, vocals, guitar; Heike Binder, vocals, drums, percussion, keyboards, theremin; Tim and Ellen Chinnock, backup vocals; Gar Robertson, mandolin. 

Photo by Joe Garcia

Material: Son of the Velvet Rat (SotVR) is the stage name of Georg Altziebler, joined by his wife, Heike Binder. Delivering tremolo-soaked guitar chords, honest vocals and lyrics, and simple noire-folk grooves, the duo seemed right at home nestled on the cafe stage with the morning sun streaming down as festival goers trickled in from camp. 

Musicianship: With his grizzled vocals and mournful harmonica lines, Altziebler carries the folk-troubadour legacy of Dylan, Van Zandt, and Drake. However, his psychedelic approach to the guitar brings a new flare to the tradition, embracing modern techniques like tape echo manipulation to paint spacey soundscapes that add to his song-vignettes. 

Performance: Opening as a duo, “Blood Red Shoes” was a natural highlight with its simmering energy and singalong “Sha la la’s.” The tight, haunting harmonies on “White Patch of Canvas” highlighted the couple’s locked-in vocals. SotVR weaved song into song, frequently tying together different tracks with a swell from Altziebler’s guitar, or a flash of magic from Binder’s theremin. The simmering, melodramatic “Another Glass of Champagne” began with a crowd pleasing theremin intro, and then sucked the crowd in with woozy vocals and instrumentation. “See So Blue” had a nostalgic melodica solo, punctuated with vocal harmonies, cantering straight into a spacey transition of theremin and tape echo, building into “Jet Pilot”’s driven guitar groove. 

Summary: Son of the Velvet Rat is an adventurous take on the folk-rock tradition. By melding the Old-World cabaret influence of Georges Brassens and Jacques Brel with the story-driven songwriting of Bob Dylan and sonic landscapes of Mojave psychedelia, Altziebler and Binder lure you in and swallow 

you down with a blood red merlot. The duo 

have a stunning range thanks to Binder’s multi-instrumental capabilities and convincingly tie intimate love songs to groovy surf-rock tunes. Altziebler’s self-referential lyric from “Jet Pilot” captures their ethos perfectly, “sometimes it feels like nothing holds me, a puppet on a broken string… feel so free it makes me sing.” 

Contact: monsterwatch@gmail.com 

Web: monsterwatchnoise.com 

Players: John Spinney, guitars, vocals; Ben Parker, bassist; David Cubine, drums 

Material: Monsterwatch is a frenetically heavy psych-punk band based in the Emerald City. The trio embraces the dissonant sludgy guitar sounds made popular during Seattle’s gilded grunge days (Nirvana, Mudhoney) but blasts them into modernity by blending brutal 

post-hardcore beats (Metz, Turnstile), fuzzy hallucinogenics (The Black Angels, Thee Oh Sees /Osees), and sardonic art-edged tonalities (IDLES, Fontaines D.C.). Monsterwatch’s lyrics explore the concept of psychological thrills and existential crises, finding purpose and meaning in lives filled with despair. 

Musicianship: The trio’s overall visceral musical technique is striking. Frontman John Spinney’s vocals easily flow from haunting lows to lofty screams throughout. As a guitarist, Spinney’s playing is blistering, fretting power chords as well as guitar solos with precision even while playing upside down (which is often). Bassist Ben Parker creates deep counter melodies with influences that include Matt Freeman’s (Rancid) arpeggiation stylings as well as Peter Hook’s (Joy Division) “hooky” bass lines. Drummer David Cubine’s hard-powered hitting and his skill in keeping varied time signatures is impressive, especially when working in clean, expressive supersonic fills. 

Performance: Monsterwatch stepped onto the Tractor Tavern’s stage awash in swirling, screeching sound effects. The band casually took their places and after a quick “Hey Seattle, what’s up!,” plummeted into a pure punk fiasco starting with “Let Go.” Monsterwatch immediately moved into “Lick the Wall,” with lead singer Spinney bending over backward while sticking his tongue in the air. The band continued the chaotic vibe as John climbed a speaker cabinet, motioning the crowd to move closer. Their raised arms prompted John to jump in, crowd surfing on his knees. The show ended with the darkly harsh “Big Sin” and maniacal “Brain Twist.” Monsterwatch signed off with Spinney handing his guitar to the crowd before the trio disappeared backstage. 

Summary: Monsterwtach is an extremely talented, vicious psych-punk trio. Their live show highlights the band’s ability to effortlessly blend a wide range of musical influences from grunge to metal core with polished finesse and fierce rawness. 

Contact: daniella@pressherepublicity.com 

Website: sethglier.com 

Players: Seth Glier, vocals, guitar, keyboards 

Photo by Mark Shilowich

Material: Marking the release of his new album, Everything, solely devoted to climate change, Grammy®-nominated artist Seth Glier, took the audience on a journey, imagining a world where we are one with our planet. With topics ranging from foraging for mushrooms to trees having in depth conversations, Glier’s vision is one of hope and problem solving. In “Birches,” trees cry out for what they are missing: The Maples are moving/Spinning northbound seed by seed/Praying for snow and the sap that needs running. In his strongest appeal to our collective efforts to preserve the planet, Glier implores us to consider all living breathing entities in “Rise:” What if this is the beginning/Not the beginning of the end/We all belong, we all belong to the rhythm/So rise. 

Musicianship: Although considered a folk singer/songwriter, Glier transcends that designation with a panoply of sounds from guitar to keyboards and programmed instruments. The absence of a backing band did not impact the performance as Glier fills the spaces with these elements along with the high energy he exudes. His vocals are powerful and often have more of a pop sensibility than what would be considered a traditional “folky” sound or style. 

Performance: He managed to deliver messages that were packaged with a high level of musicality, humor, and sincerity, never hitting us over the head or bemoaning our fate, which was refreshing. There were also plenty of charming anecdotes to accompany the songs. 

Summary: Seth Glier’s commitment to the issues reads authentic. Without preaching or scolding, he paints a tapestry of what can be, with positivity and musical acumen. He has collaborated with musicians in Ukraine, Mongolia, China, and Mexico during his time working with the U.S. State Department and shared the bill with a diverse list of artists including Ronnie Spector, James Taylor, and Ani DiFranco. 

Contact: neilnayar@hotmail.com 

Web: banjoboys.com 

Players: Yobu Maligwa, bababtone and lead vocals; Yosefe Kalekeni, guitar, drum and backing vocals 

Photo by Alon Goldsmith

Material: Under the desert sun, Malawi-based duo Madalitso Band played a sparkling set on the main stage at the Joshua Tree Music Festival. Yobu Maligwa’s bright tenor vocal and homemade bass instrument, the babatone, combine with Yosefe Kalenkeni’s rich baritone vocal, dancing guitar lines, and thumping kick drum to create a rhythmic force. The band pounded out their catchy Afropop songs from their album Musakayike, meaning "don't doubt us," their second international release under Bongo Joe Records. 

Musicianship: Within the span of a song, the crowd was dancing along to their infectious, sunny grooves. Kalenkeni’s rhythms drove the band’s sound with his steady four-on-the-floor kick drum, simultaneously weaving syncopated guitar lines to provide the chords. Combined with the one-stringed babatone and the duo’s vocals, the sound was greater than the sum of its parts. Maligwa and Kalenkeni share vocal duties and take turns leading the songs, but their combined harmonies really captured the crowd’s attention. They delightfully flip musical conventions on their head by using the bassy babatone as the lead solo instrument while Kalenkeni keeps his guitar lines driving and catchy. “Jingo Janga” highlighted the set, with great energy and flare. 

Performance: The set fell into a predictable pattern of vocal section into instrumental jam. By using a glass bottle slide on the babatone, Maligwa not only played bass lines for the songs, but punctuated the tunes with adventurous slides up and down the neck. This rising action for solos frequently culminated in a single, repeated note. Though minimalistic at times, these musical sections brought the listener’s attention back to the rhythmic core of their style, toeing the line between jam band and pop. 

Summary: Madalitso band are an exciting take on Afrobeat music. By boiling down the genre’s instrumentation to its core, the duo showcases the beauty of simplicity. This duo delighted the crowd with their vocal harmonies, warm stage presence, and dedication to the joyful groove. 

Web: littleimagemusic.com 

Contact: brittany.rendak@disney.com 

Players: Jackson Simmons, vocals, guitar; Brandon Walters, bass, synthesizer; 

Troy Bruner, drums 

Material: Little Image is a rave-ready rock band, complete with thundering drum beats, searing guitars and how-low-can-you-go bass lines that rev up the audience to new heights. The music is a little bit all-over-the-place but the audience loved it. Sounding at times like Rage Against the Machine, and Radiohead and/or the Goo Goo Dolls at others, the music was loud, in-your-face and thunderous the whole time. 

Musicianship: Take three musicians, who individually are very good, and put them together and you have a great, energetic and spirited band that drove the audience crazy. All three of these guys are multi-instrumentalists as they showed off their skills to a near sold-out show at Echo in Los Angeles. Bruner was on keys on some of the songs, Walters was on guitar and Simmons, well Simmons was having his way with the ladies as he included the audience in on all the fun. 

Performance: The performance was great. Little Image had a screen behind them on stage flashing pictures of the band and random thoughts and sayings and images that kept the audience intrigued the whole time. Walters was having a great time showering the front row with sweat as Simmons and Bruner were content with playing their instruments and having fun with the crowd. 

Summary: Little Image is a great rave band. The drums were the driving force behind the sound and Walters and Simmons took advantage and took the music to another level. Simmons vocals are very good and the background vocals by Bruner and Walters added another vital layer to the already, groovy and good music. They are energetic and the music is likable and appealing. 

Web: rachelgrae.com 

Contact: mcmiskell@shorefire.com 

The Players: Rachel Grae, vocals, keys; Isacc Singer, keys; Liam Fennell, guitar; Izzy Lamberti, drums 

Material: Rachel Grae is a Pop/Rock and R&B group in the likes of Ariana Grande,  Beyoncé, Lady Gaga and Selena Gomez. The music is catchy and has powerful lyrics that contribute greatly to the understanding of a broken heart. If the music doesn’t get you, the lyrics will. 

 Musicianship: Grae has an excellent group of musicians backing her up. Lamberti is a firecracker behind the kit and was constantly going off. She was sitting in the back, thumping away in her own little world. Confident and poised, she was, seriously, the backbone of every song. She didn’t miss a beat all night and her energy was boundless and infectious. She made the rhythm section happen, even without a bass player. Singer contributed nicely with keyboards and some well-placed, tasty chops and was key in holding down the bottom end. 

Performance: Rachel Grae is a very good, personable, amiable and pleasant persona. She commands attention from the audience and in return she gives them friendship and bonds easily with everyone, even newbies. She has a great voice that sounds, at times, like Lady Gaga, or Ariana Grande and she can hit the high highs as well as the low lows. “How to be Alone” showcased Fennell on guitar, who, also, was an integral part of the music. It’s always nice to have a solid player, who knows the music and that you can count on. 

Summary: Rachel Grae is an up-n-comer who has well written tunes and a very good band to boot. All her music is pretty good, no matter how short or how long the tune is. She is very entertaining and the music is affable. Songs like “How Dare You,” “Enough of Me” and “Your Loss” take you to a land of heartbreak, as you are beautifully lulled into a world of confusion, hate and anger; as only love can do. Just ask Rachel Grae. 

Contact: Shore Fire Media 

Web: devongilfillian.com 

Players: Devon Gilfillian, Vocals, uitar; Jonathan Smalt, drums, backing vocals; Matthew Chancey, bass; Josh Blaylock, keys, backing vocals; Ray Mason, trombone; Nate Felty, percussion; Parker Knight, crew 

Material: Devon Gilfillian is a gifted singer-songwriter and multi-instrumentalist who creates neo-rocked-out soul. Gilfillian's provocative lyrics delve into life’s complex manifolds—from finding and experiencing love to observing and contending with socio-political injustices. 

Musicianship: Gilfillian’s vocals are superb. He effortlessly moves his rapturous voice, which embodies Curtis Mayfield’s silky-smooth timbre, from dark lows to seductive highs in ”Imma Let My Body Move.” As a guitarist, his work also pays homage to Mayfield’s innovative guitar technique, but also points toward Prince’s electrified virtuosity in the supercharged, post-chorus breakdowns “Unchained” and the extraordinary experimental “Follow the Leader.” 

Keyboardist Blaylock provided exquisite additional melodics which included his unaccompanied “Piano Interlude.” The rhythm section—Smalt on drums, Felty on percussion, and Chancey on bass—read each other’s beats, fills, and low lines to perfection. As an ensemble, they provided amazing accompaniment for Gilfillian’s gorgeous grooves. 

Performance: Devon Gilfillian walked onto a Tractor Tavern stage decorated with woven carpets, warmly lit lamps, and several well-placed floral arrangements. He shined a bright smile to the excited, sold-out crowd and surged into the delectable “Brown Sugar Queen.” His seductive voice and alluring personality brought the already tight audience closer, squeezing them together for the Afrobeat-driven “Get Out and Get It” and the neo-funk “Right Kind of Crazy.” Gilfillian and company moved further into the night with the sultry “The Recipe” before belting out an emotionally stirring rendition of Marvin Gaye’s “What Going On.” The show ended with soaring atmospherics in the poignant “Love you Anyway.” 

Summary: Magical best describes Devon Gilfillian’s live show. The joyous contemplative beauty of his music combined with his effervescent, authentic personality instantly draws people toward him. His effortless skill in blending a wide variety of musical genres and lyrical content in his compositions is impressive while his soul-based musicianship is on par with the best in the business. Make sure to check out Devon Gilfillian on tour as well as his most recent album Love You Anway. 

Web: bigphatband.com

Seeking: Review

Style: Jazz

We have recently heard from Grammy-nominated jazz composer Gordon Goodwin on Raymond Scott Reimagined, the tribute to the Gershwin contem- porary, on which “Cutey and the Dragon” achieves symphonic success. Takes on Count Basie’s “April in Paris” and “Anything Goes” are also exciting and imaginative. Horns, strings, piano, pitched percussion and a great electric guitar trade off as main voices, which keeps these compositions fresh. His Big Phat Band is an 18-piece jazz orchestra, and, with Goodwin as leader-arranger, achieve a uniform sound, while spotlighting its talented soloists.