It’s all about getting enough radio airplay to know if a song’s a real hit—classic promotion wisdom.
In an era where the music industry constantly evolves, veteran promoter Jeffrey Naumann reflects on the significant changes he’s witnessed over the decades. Having started his career before many current industry professionals were born, Naumann has seen it all—from payola scandals to transformative shifts in music distribution. Now focusing on family duties, he still shares insightful commentary on the state of music promotion today.
Naumann recalls a time when radio was more than a playlist—it was a cultural force. In the ’80s and ’90s, radio stations actively engaged with their audiences through phone requests and creative promotions. Creative risks were taken, allowing songs with controversial themes to thrive on air. However, he laments that today’s radio landscape has become overly sanitized, with many programmers opting for lyrical edits due to fears of offending listeners. He notes, “The culture is too politically correct now, but music isn’t designed to be politically correct, especially rock.”
While payola is often seen as a relic of the past, Naumann recounts some shocking stories that highlight the lengths to which some programmers would go to secure airplay. One programmer infamously told his female promotion director that if she wanted to get a song added, she needed to show him more than just her promotional materials. Naumann, in an attempt to leverage humor in a tough situation, suggested she hire a stripper to perform a dance with the song playing. This anecdote underscores the sometimes grim realities of the industry.
As for today’s charts, Naumann points to Medibase as the most relied-upon resource. He emphasizes that today’s airplay can be misleading, noting how some stations manipulate song rotations to create a false sense of popularity. He insists that relying solely on charts isn’t the best way to gauge a song’s potential success; experience and intuition are critical.
Naumann has also witnessed the transformation in music consumption, particularly with the rise of streaming. He argues that while physical formats like vinyl and cassettes served their purpose, streaming has fundamentally altered listening habits, leading to a focus on individual songs rather than complete albums. This shift diminishes the chances for concept albums, which were once staples in the industry.
In discussing the role of independent promoters, Naumann emphasizes the value of relationships and experience. With fewer program directors and label representatives, it’s increasingly difficult to secure airplay. An independent promoter with deep industry knowledge and personal connections can make all the difference in an artist’s chances of success.
While he’s seen the industry change, Naumann remains optimistic about new talent. He highlights burgeoning artists like Dayseeker and The Haunt, who he believes possess the potential to become the stars of tomorrow. However, he also acknowledges the dark side of the industry, including the reality of bought airplay and the challenges new artists face in a crowded market.
Ultimately, Naumann’s insights reflect a deep understanding of the music promotion process and the complexities that come with it. His experiences offer a unique lens on the industry’s past, present, and future, reminding us that amidst all the change, the core principles of promotion remain rooted in building connections and understanding what resonates with audiences.