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An Interview with Publicist Ken Phillips

Ken Phillips Testimonial

Ken Phillips is a Los Angeles based publicist who has been working in the industry since the 90s. He not only works with musicians, but also actors like Margaret Cho and reality show personality/comedian Bob the Drag Queen. A veteran at music PR, Ken talks to Play MPE about his career, managing expectations and when you know it’s time to get a publicist. 

HAVE A PASSION FOR ENTERTAINMENT

My whole family always listened to music together, we would go see concerts and plays, and each summer my parents took us to Las Vegas to see the shows – Captain and Tennille, Neil Sedaka, The Carpenters, Barry Manilow, etc. I was always mesmerized by entertainment (specifically music) and wanted to parlay that feeling into a job. Despite that, I didn’t initially pursue it and went to college to study nutrition. In my last year of school, I met songwriter Diane Warren at a party. I didn’t know who she was, but we struck up a conversation about music and spoke for 2 hours. She ended up inviting me to her office to play me some music she was working on. That same day, she offered me a job to assist around her office, so I quit the hospital I was working at as a dietician and went all in. I answered phones, dubbed cassettes, set up studio time and also listened to her catalogue to suggest who would be a good artist to sing her songs. I was at shows most nights and she knew I had a good ear. 

BE TRUE TO YOURSELF

As much as I liked working for Diane, I wanted to work at a record label, so I took a job as a temp at Warner Brothers Records and landed in the PR Dept. I knew right away that this was my calling. The head of PR, Bob Merlis, had an assistant that I helped, but once she left, I became Bob’s right-hand-guy. Shortly thereafter, Bill Clinton used a Fleetwood Mac song (”Don’t Stop”) while campaigning, and Bob asked me to cover the Fleetwood Mac press conference, which was a huge show of faith.  I lobbied hard to work with Joan Jett once I heard she was being added to the roster, and Bob gave me a shot. I think that’s how my career in PR really kicked off. From there I got to work with so many incredible artists/musicians, including Van Halen, Cheap Trick, Ric Ocasek of The Cars, Goo Goo Dolls, Candlebox, Red Hot Chili Peppers, Joni Mitchell, and Dave Navarro among others. Following many changes at the label, I decided to strike out on my own after five years at the label and start a PR Firm. Red Hot Chili Peppers, Goo Goo Dolls and Joan Jett all came on board as clients when I opened Ken Phillips Publicity Group, Inc.

FIRST STEPS

When I decide to take on a new client, I typically set up a meeting to discuss what messaging they want to tell the world, what they want people to know about their artistry and what imaging they want to present as an artist. The things I look for is if they have somewhat of a team behind them (manager, booking agent, etc) a website, and consistent social media. In 2021, it doesn’t matter as much if an artist has a label deal, but it does matter if they have a strong team in place and a way to distribute their music.

DIFFERENCE BETWEEN WORKING AN ESTABLISHED ARTIST VS. A DEVELOPING ONE IN PR

When I work with an act that’s already established, there is a built-in fan base that you can tap into, both on a fan level and among journalists and bookers. That’s a plus, but at the same time, since they’ve had success, most acts are less willing to take risks. It’s always interesting when an artist with a substantial fan base goes in a different direction, like if a rock band tries their hand with a country or pop leaning album. The opportunity to expand anyone’s audience is always exciting and somewhat more accepted with established acts. With a developing act, there are a lot of opportunities with digital media outlets that will cover smaller acts. With that, it’s important they continue to grow followers on their socials and build a strong regional fanbase. From that starting point, it becomes my job to get them in as many reputable outlets as I can to help build their profile. 

WHEN IS AN ARTIST READY FOR PR

Once the artist has built a substantial fanbase, gotten their socials to a certain level, have played as many live shows as they can, networked heavily outside of their local market so they’re known regionally, and have a product to market, they’re ready. It’s a lot of work to get to that place. If an act can actually tour and draw an audience in more than their hometown market, then they can seek PR to help build on what they’ve been doing. A lot of younger artists/influencers can keep momentum going on their own via socials, Spotify, Tik Tok, etc and don’t always need a publicist right away. Once there is a story to tell, it’s a smart move to obtain PR services. Perception means a lot in the entertainment industry, and when you have a publicist, it lends to the perception that you’ve reached a national level.

MANAGING EXPECTATIONS

I tell them not to have any! I’m kidding, of course. I like to stay in constant communication with the artist and management. Creating a plan with the team is key. They need to know what you can deliver for them and be in agreement with how you present their profile in the media. If a developing act is seeking the advice of someone who has been in the business for 20+ years, you hope they will have full trust in your decisions and ideas.

PR DURING COVID

The whole world shut down, but PR was still happening. I was working 4 tours before the shut-down, and while those tours disappeared, some of those artists were still releasing, or about to release, new music. Artists started to do virtual performances pretty quickly, whether it was on their own socials for free (Instagram & Facebook live) or via Sessions Live or StageIt.  Everyone was looking for some sort of entertainment during lockdown, and I was quickly busy promoting whatever an artist had going on to provide that entertainment! 

STRATEGIES FROM COVID THAT WILL CARRY OVER

The virtual performances seem to be here to stay. In addition, it became much easier for an artist to participate on a panel via Zoom (SXSW, Corporate events) which turned out to be a nice option for artists that aren’t able to travel. Same for press junkets:  P!NK recently did many TV shows from her living room to promote her new documentary. That may be a positive that has come out of the pandemic. 

VIRTUAL PERFORMANCES VIA LIVESTREAM – LOVE OR HATE? 

I don’t feel the same energy from virtual/satellite type of performances as I do when someone is on a stage with an audience; that being said, it’s a lot easier on the publicist to not have to deal with all the set-up of making a live performance happen!  As a consumer I don’t love virtual, but as a publicist, I do!

HAS SOCIAL MEDIA MADE ARTISTS MORE GLOBAL?

All of my artists announce news on their social channels in tandem as I am servicing a press release. A lot of times, digital media writers pick that up before my press release even hits their desk. It helps me do my job for certain, and re-gramming, retweeting and sharing all help spread the word in a way that wasn’t possible before.

BIGGEST CHANGE SINCE YOU’VE STARTED

Believe it or not, when I first started you didn’t have a cell phone unless you were a huge executive. For me, that has been the biggest (and most welcome) change to date – the creation of the smartphone. Also, labels have shifted the way they spend money; there tends to be more of a focus on digital marketing spending. When I was at a label, the indie publicist always accompanied the act if they were booked for a tv show, and that’s less likely now. Some established acts have an independent publicist but NOT a label, and the artist, even though well-known enough to get on television, may not have the budget to pay for a publicist to go along.

COOLEST THING YOU’VE DONE?

Luckily, I have many things to choose from! 

When Pentatonix got nominated for their first Grammy, which was unique because they’re an a cappella group, and then unexpectedly won. When I first met them they were creating YouTube videos in their living room, so to see them go from their own living rooms into the living rooms of America and beyond was a fun experience.  

Going on tour with Red Hot Chili Peppers and getting to hang out with all the terrific artists that would come to their shows.

When I began working with Goo Goo Dolls, they were a small indie bar band from Buffalo, NY.  Watching them become famous, have huge radio hits, book their first tv performances and be nominated for Grammy Awards was both rewarding and exciting.

Doing the WARPED tour with Joan Jett was incredible. I later worked with her and Cherie Currie on THE RUNAWAYS movie starring Kristen Stewart and Dakota Fanning.

And I still get a thrill when I book an artist on a national television show for the very first time in their career!

 

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