Published Writing



The scent of newsprint overpowered my coconut sunscreen the moment I hopped in the Relix van in Manchester, Tennessee. On June 11th, Relix’s cargo included copies of the first issue of the 2015 Bonnaroo Beacon, the festival’s official daily newspaper, plus me. After pulling into the backstage grounds, I locked in the two clips on my camping backpack to distribute the weight, wobbled a bit to get my bearings, and set off on what felt like the longest dirt road I’ve ever walked to begin my flying solo adventure.

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There’s a ticket to the Motet waiting for me at the Brooklyn Bowl, but no date. For the next thirty minutes my motivation and confidence excitably wavers. "Can I fly solo?" Rationally, a silly question, but lately I’ve come to find that many of us have been there.



Maybe it was my lyric-induced inward thinking and blissful reminiscing, or the warmth and camaraderie of their fans, but by the time the disco ball was illuminated and a gentle sea of light bubbles danced around the room, it felt like the vibe had mellowed out to one of comfort and family. Greensky Bluegrass eased me in with tasteful musicianship and won me over with subtle intimacy.



Tom Hamilton, founder, lead singer and guitarist of American Babies, kicks his left leg up on the dashboard of the band’s van outside the Brooklyn Bowl and says, “People should look at flying solo like an opportunity. Reinvention. You’ll probably never see most of these people again, so be who you want to be that night…”


SONICBIDS - 10 Ways To Effectively Promote Your Local Shows

If a killer performance is put on but no one is there to hear it, does the artist actually make a sound? For this piece, we'll dive into ways to effectively promote your local shows so that people can experience your radness. Gia Hughes, production manager of famed Los Angeles venue the Hotel Cafe, offers her insight and experience on the job for this.


SONICBIDS - 5 Types of Music Publicists That Indie Artists Should Avoid

It's time for me to come clean – at one point or another in my career, I've been guilty of being all of the types of publicists below, and as a result, I kind of sucked at my job. I've also dated, slept with, shacked up with, or befriended enough indie artists over the years to know what simply doesn't work. I recommend that the process of choosing a publicist for yourself be as informed, careful, and intuitive as choosing a nanny for your first-born child. Here's a little help on which five publicists to avoid completely.


SONICBIDS - 10 Things You Need To Do Before Hiring A Music Publicist

Everyone has an opinion (myself included) on when an artist is "ready" to hire a publicist. The truth is, it's different from artist to artist, publicist to publicist, manager to manager, and it depends on a bunch of variables. So how the hell do you navigate this? To start, here's my personal wish list of 10 things that I hope all of Red Boot PR's future clients will do before hiring us, in order.


SONICBIDS - Have A Music Publicist? Never Hesitate To Make These 3 Requests

Every PR firm and publicist marches to the beat of their own drum, and as a result, your campaign is going to look different from your friends'. That being said, for the sake of maintaining professional integrity, there are at least three basic requests that any artist at any level can (and probably should) feel comfortable asking of his or her publicist. 


SONICBIDS - The One Sentence Everyone Needs To Stop Saying To Artists

I’m not one to coddle artists, but this line keeps coming up, and I’ve yet to see it result it anything positive. It can be hurtful, insulting, uncomfortable, and/or just downright awkward. Everyone from morning TV news anchors to music fans of all ages are guilty of it.