(Header image: Dave on the right)
While the music is obviously an important component of the music industry (some would even say essential), what really keeps the industry running is people. Each person involved has a specific and important job.
To highlight some of the most important and highly coveted jobs in the music industry and find out just what it takes to get that dream job, as part of an ongoing series Tone Deaf will be speaking to some of the music industry’s biggest and brightest.
Most recently, Tone Deaf caught up with Dave Jiannis, label manager at Epitaph Records, one of Australia and indeed the world’s most respected record labels. Dave shared on the past, present, and future of Epitaph, Aussie music, and of course, his job, another strong contender for the best in Australian music.
Coming Into The Fold
I began working at Shock Records (who distributed Epitaph) in 1997 doing various roles, then went across to Stomp Distribution in 2003 looking after sales and started doing a little label managing as well.
A friend was running Epitaph at Shock after moving out from their LA office, and he decided he wanted to move on to other things. He asked me if I would be interested in taking over from him, and when I said yes he recommended me for the job.
I had a phone interview with the Epitaph GM from the LA office on a Friday morning and on Monday I had the gig. Very lucky indeed. Looking back I didn’t really know what the hell I was doing, but I did know the music and the fans, having been a fan of the label for years, and playing in bands myself.
A Day In The Life
I’ve now just clicked over 10 years working for Epitaph. I run the day-to-day operations of the label for Australia and New Zealand. This includes everything from getting CDs manufactured, to LP & CD imports and inventory control, to making sure the albums are up on all DSPs and streaming services.
[include_post id=”451706″] It’s also setting budgets for every release, create marketing plans, press plans and radio targets for a release. I still do a lot of promo work myself on the emerging bands, plus a lot of artist & management relations, and I’m in constant liaison with Epitaph US office to make sure album roll out is on track.
I’m also in contact with promoters about upcoming releases and potential tours. Overall, my job is to make sure we do our best to market and promote our artists in ANZ, and that the Warner sales and promo teams have all the tools they need to go out and pitch our artists to media and retail.
Early Beginnings
Before all this, I was a senior sales rep at Stomp Distribution, looking after all the JB Hi-Fi stores around the country, as well as all the key independent retail stores. This was from 2003-2005 so physical product was in full swing.
JB Hi-Fi were just starting to spread their wings (sales reps, how good were those start of month orders?) and there was a healthy dose of great independent stores. From memory (and my memory is pretty shocking), iTunes wasn’t around at that time.
Job Perks
Getting an email in your inbox that contains a new album from one of our artists and listening for the first time, that’s exciting. If you are passionate about music and open minded, this is a good field to get into. As a fan of music, getting to work with amazing, like-minded people is very lucky and rewarding.
Portrait Of A Label Manager
To succeed in this job, you have to respect our artists in what they want to achieve. Good communication and organisational skills are also a must, as you’re dealing with managers, booking agents, promoters, radio pluggers, publicists, sales people.
There’s a lot of different contacts. You need to make sure everyone is on the same page when it comes to executing a plan for a release. Also, it’s important to listen to people’s ideas/views and take them on board.
Proudest Moments
I am stoked for a band/artist when something great happens for them. For example, when a band like Refused gets a Top 10 record. It’s not all about chart results, but they do represent fans buying records, which is great.
Also, breaking new acts is rewarding. It can be challenging, but I was happy when Plague Vendor’s single was added to Triple J. I do think I am lucky to work for such an iconic and well-respected label whose ethos I really agree with. I am proud to be part of the Epitaph team.
Lessons Learnt
Never take anything for granted and listen to people. Don’t take anything too personal. Remember: everyone has an opinion. And keep it simple, don’t over think it.
Alternate History
If I wasn’t doing this, I wouldn’t mind running my own bar. However, it’s hard to imagine working on anything else but music, my first job at 15 was selling records.
The Future
I’m very positive about it all! People are still consuming/listening/paying for music, just in different ways. Whether it be buying the CD/vinyl/digital version, or paying a subscription to one of the many streaming services, to watching/listening on YouTube.
[include_post id=”452293″] Every revenue stream helps the artist have a career and the label to continue to release. Hopefully new digital formats will counteract illegal downloads, which aren’t good for artists. No one knows what the future holds, things are changing constantly.
As we speak, Apple Music is launching. Vinyl stores are opening up everywhere — which is great — Spotify is growing at a rapid rate, JB Hi-Fi still exists – all things considered, the music industry is healthy.
The quality of Australian acts is at an all-time high, in every genre. Aussies are killing it locally and overseas. From Courtney Barnett, to Parkway Drive, to Flume, it’s great to see them out there showing the rest of the world what’s up. Hopefully this will inspire more local bands to form and have a crack!
If you’re interested in becoming a music industry professional, visit www.aim.edu.au to explore the huge range of music industry courses they have to offer.
