Meet Glenn Alderson of RANGE Magazine
Glenn Alderson is the Editor in Chief and Publisher of RANGE, a national arts and culture magazine based in Canada that’s committed to highlighting new music. Not only does he write about music, but he’s also a musician. He plays bass for the band NEEDS, who VICE referred to as the “hardcore band that eats garbage.”
On Your Mark…
I grew up in Calgary, a city with a surprisingly vibrant arts and music community. What really piqued my interest in music was the local punk scene—it was raw, DIY, and inclusive in a way that made me feel like I could be a part of it. Going to all-ages shows and seeing local bands on small stages was my entry point into music culture. It was from within that scene that I was introduced to zine culture and was producing (read: photocopying) copies of my first zine at 15 years old, selling them for $1 at punk shows.
I dabbled in being an artist—playing in bands taught me a lot about music from a creative perspective. But I think I’ve always been drawn to storytelling and building community from a journalistic perspective. That’s what led me to focus on the behind-the-scenes work of music journalism and publishing. It’s just as creative in its own way, although I do still play in a punk band — just for fun. We are called NEEDS and Vice once called us “the punk band that eats garbage” lol.
Get Set…
BeatRoute was my first big leap into publishing, right out of University at 19 years old. It started in Calgary as a free, grassroots music and arts magazine. The goal was simple: to shine a light on the incredible talent we saw around us and to create a space for music fans to connect. Over time, it grew into a national publication with editions across Canada but eventually we hit a wall and we weren’t able to get the advertising support we needed to pay our print bills. The company was eventually acquired by another company who quickly turned it to trash. It was a lot of work, but it was a passion project that really paid off in terms of experience and community building over the course of the 15 years that I was a part of it. RIP
Wearing many hats taught me the value of adaptability. I was an editor, designer, writer, and even delivered stacks of magazines when needed. It showed me how every piece of a publication fits together and how important it is to build a team you can trust. It also taught me to keep evolving—staying stagnant isn’t an option in this industry.
I am currently the publisher of RANGE magazine. The biggest difference is my renewed sense of purpose and the aesthetic of RANGE. I couldn’t make RANGE look as beautiful as it does without the help of our talented creative director, Erik Grice. Also, with BeatRoute being tied to regional scenes, it was very easy to feel beaten down by the struggling local music communities and the lack of support that we received after putting so much time and energy into supporting folks. With RANGE, it’s very intentional that we’re more national in scope so that we don’t have to rely on one or two specific small communities, but rather the country as a whole. We have also shifted to include more aspects of pop culture – fashion, travel, etc. – which gives us a lot more to interact with from both an editorial and marketing perspective. RANGE also embraces digital platforms much more than BeatRoute initially did, which has allowed us to be more innovative with how we engage audiences and tell stories.
GO!
Today’s music scene is a mixed bag. On one hand, there’s more access to music than ever, which is exciting for fans and artists alike. But on the other hand, there are ongoing challenges with streaming payouts, economic instability for touring artists, and algorithm-driven discovery. The industry is still figuring out how to support artists sustainably, and that’s a conversation we need to keep having. There are also so many artists releasing such an overwhelming amount of music these days that it’s hard to keep up so it’s really easy to miss stuff if you’re not paying attention. That’s why with RANGE, we aren’t trying to cover ‘everything’ but instead focus on the music and stories that move us. If we don’t like it, we don’t cover it.
If I were starting (a band) now, I’d focus on authenticity and community. Build relationships with local media, collaborate with other artists, and be consistent with your social media presence and output. But don’t spam people—tell your story in a way that feels genuine and reflects your music. Also, saying yes to opportunities, no matter the size… there is always going to be some sort of impact and positive outcome when you put yourself out there.
A big mistake is trying to skip steps—thinking you can jump straight to big opportunities without building a foundation. Another is neglecting their visual identity. Your music is the most important thing, but how you present yourself visually can set the tone for how people connect with you. Collaborations with visual artists is a great way to do this. Lastly, some bands spread themselves too thin, trying to appeal to everyone instead of focusing on their core audience.
Slow & Steady Wins the Race
Focus on your live show: No matter how digital the world is, live performances are still the best way to connect with fans. Showing people what your live show looks like on YouTube is also a big thing that writers, editors and even promoters like to see before they decide whether they have the time, energy, and resources to commit to you.
Build a strong visual identity: Think about your album art, social media presence, and music videos as an extension of your music. Also think about the assets that a publication like RANGE might need to successfully tell your story.
Be patient and consistent: Success doesn’t happen overnight, but showing up, putting in the work, and staying true to your vision will pay off. If you’re playing in a band to get famous, you’re doing it for the wrong reasons so you might as well quit now. People don’t owe you anything but if you’re having fun making music, others will have fun with you.
Persistence Pays
The shift to digital has been a big change, obviously. When I started, it was all about print magazines and physical music sales. Now, everything’s online, and the way people discover music is completely different. Social media and streaming platforms are dominant forces, but they’ve also created new opportunities for artists to reach fans directly. With RANGE, we are focusing on the storytelling aspect of the artists we cover – this provides context and colour for fans (new and old) to get closer to the music.
Check out what we’re doing at RANGE Magazine — online now at readrange.com. And sign up for our weekly newsletter! We’ve got some exciting stuff lined up for 2025, including a show that we’re presenting for a band called Faux Real on Feb. 20 at the Waldorf in Vancouver and an official SXSW music showcase down in Austin, TX on March 13. Some of my favourite bands from across the country will be joining us and we are announcing the line-up next week, so stay tuned!