Moni in the Middle of…D.O. (Art of Fresh) Interview with CIRAA

hyperadmin | Moni in the Middle | Monday, January 4th, 2010

If 2009 was the year of the GRIND, I can’t wait to see what fruits of labour will come through for 2010. One man who is for sure doing big things right from the jump this year has got to be D.O of Art of Fresh fame.  I recently connected with Aisha Wickham Thomas from the Canadian Independent Artists Association and she shared this interview with me.  D.O most definitely has his business game tight and shares some insight on the steps he’s taken to move up in Canada’s music scene and ‘Stay Driven’…

Feature courtesy of the Canadian Independent Recording Artists’ Association (www.ciraa.ca)

D.O. (aka Defy the Odds) is a rising star in Canada’s Hip-Hop scene. He released his sophomore album, Stay Driven, in July 2009. In addition to his solo projects, D.O. is a member of the Soul Hip-Hop duo Art of Fresh, along with beatmaker and vocalist Slakah the Beatchild. In 2003 he set a Guinness World Record for the longest freestyle rap clocking in at an astounding 8 hours and 45 seconds. In this feature, D.O. discusses the steps to building a touring strategy in a country that lacks an infrastructure for Urban music, the importance of collaborating with other artists and how he defines personal success.

Q1. What has been your strategy for generating performance opportunities, especially in a country that doesn’t have much of an urban music infrastructure?

I realized that the worst thing to do was just wait…wait for a booking agent to come along and book me for shows and opportunities. I really had to spearhead it. The first thing I did was start my Stay Driven school performances, because I realized that even though they were entitled “motivational speaking”, they were a perfect outlet for me as an artist because I was able to perform my music, play my music videos and build my fan base.

I think the number one thing is just thinking outside the box and looking for as many performance opportunities as possible that are unconventional. So, whether it was motivational speaking or keynotes at business conferences, I sold my CDs and I was performing.

The second thing was networking with artists that were touring. So, opening up for [Nova Scotian Hip-Hop artist and producer] Classified on a national tour was key for just showing people who I was across the country. It was one thing to have my music videos playing, but it’s another to hit those towns and show that you’re serious about performing. It was also key in building relationships with promoters and venue bookers. Once you start building relationships with those people, you can start headlining your own shows.

Q2. How did you go about developing the Stay Driven program and building a career using music as a tool for your public speaking?

The program basically started after a teacher asked me to come and speak to her class about achieving my goals of graduating from university and making a music video. It started from just speaking about my experiences and then getting asked to speak to more schools and eventually I realized that I could really grow this and turn it into a tour without having the heavy touring expenses that come with touring the country. It was also a way to give back.

Q3. For artists who aren’t necessarily strong public speakers and are more focused on the traditional touring structure, what are your suggested strategies for artists on building those initial relationships needed to be successful on the road?

It’s important to build with other artists. You have to get out there and attend shows and network with similar artists and producers. I built up a relationship with Classified over several years. Initially I just asked him questions about how he’s been touring and different things as I was trying to learn about the business. Eventually I started working with him musically, getting beats from him and then it got to the point where I was able to ask about coming on the tour. So, you have to build up those relationships, and it takes time.

Another way is attending conferences, because then you see a lot of the artists that are touring a lot and get to network with them and other industry people. Also attend as many open mics as you can; they’re not as frequent now, but that was important in how I got my start was attending open mics and talent shows…really any opportunity to get in front of people and perform.

Q4. Who are some of the industry mentors who have guided you along the way?

As I mentioned, Classified has been a big one for me. It’s interesting that, especially in urban music, the artists often are some of the best business people. He’s helped me more than most business people on this side of the game.

I have also worked a lot with Kyle Kraft from Battle Axe Music, and he’s been great to learn from because he really pioneered the touring blueprint for in Canada for Urban music from Swollen Members to Sweatshop Union in terms of building a nationwide strategy for touring and grassroots promotions. So, it’s been really helpful building with him.

Click [former A&R representative with Universal Music Canada, now running his own business, CLK Creative Works] has also always been someone I could hit up for advice and suggestions for people I could contact if I needed a publicist or other people for my team.

Also Phatt Al [from God Made Me Funky] has been very helpful, and he’s the one who introduced me to FACTOR and some of the grants that are out there to support artists.

Q5. What roles have you typically taken on yourself in terms of your career management, and in what areas have you brought in others to assist you?

It’s important to establish a team around yourself, especially if you’re self-managed, so I’ll have a publicist or radio promoter when needed, and in the studio it’s always good to have a producer who’s always ready to work on tracks. Having a good graphic designer is a key part, too.

I’ve also worked a lot with interns and co-op students to help with some of the office and admin tasks.

It’s always great when you have a crew. A lot of the time as a Hip-Hop artist that’s who we depend on. When you can count on some of your friends to fill in some of those tasks, whether it’s helping out with merch sales at a show or helping set up at a show or organize a release party, it’s great having those people around you that you can delegate some of the tasks to.

Q6. You spoke earlier about the importance of attending conferences, and you’ve attended major international conferences such as MIDEM and SXSW as well as Canadian Music Week, NXNE and others. What are the main benefits of participating in these conferences?

Attending conferences internationally is key as an artist nowadays, because you have to be able to look at the music industry from an international perspective, and if you’re only in your backyard, sometimes you can’t see the opportunities that are out there.

You learn how to pitch your music and present yourself internationally. At conferences like MIDEM, you might only have 15 seconds to meet somebody, and you have to be able to sum up what you do and what you are aiming to do in a succinct way. You get immediate feedback as to if what you want to do is possible, or if your reach is too big, or basically how realistic your plans are.

Sometimes some of the people you network with overseas are people from the Canadian industry that you’ve never had a chance to meet here, so when you meet them internationally you get a chance to really build with those people on a larger scale, because they can see that you’re serious.

Q7. You’re a solo artist as well as being in a group (Art of Fresh). Talk a bit more about why you feel with collaborating with other artists is important, and how it has helped you build your career.

Collaborating in Hip-Hop is key because you’ve got to get out and work with lots of people – from a musical standpoint, from a resources standpoint just in terms of building the infrastructure that we have. A lot times in Urban music it’s the artists themselves that are spearheading the movement. In Canada, you’re got to hit the east coast and the west coast, if you’re from Ontario eventually you need to find a way to move out all across the different provinces. So, for me, touring with Classified in the east or touring with Sweatshop Union in the west has helped me expand my fanbase in those regions. And for Sweatshop Union, when they came to Toronto, I was able to bring a big part of my crowd out for them, and as artists that’s what we have to do back and forth for each other.

Q8. How did Art of Fresh get started and how have you juggled being a solo artist as well as being in a group?

Slakah the Beatchild and I started Art of Fresh because we had started making music together and we realized that with the amount of music that we were making, we should really work on a group project, and we also realized that it was a unique sound – it wasn’t sounding like our solo material. So, since we had a solid sound to it, we decided to take it a step further and make it into a group.

It’s been a benefit having multiple projects to release because a couple of years ago when I came out with my album, we also came out with an Art of Fresh single, so simultaneously we’d have a D.O. video and an Art of Fresh video in rotation, and when I went out on tour I was able to perform both songs and really expand both brands. You do have to treat each brand separately and distinctly, but at the same time they help out each other. For example, when we tour, we can promote our tour as being three-in-one. So, not only is the promoter going to get a solo performance from myself, and a solo performance from Slakah, but also a group performance from Art of Fresh.

From a merchandise standpoint it’s great, because you always want people coming back to the merch table and buying a few different things, so they’ll buy our solo stuff and our group stuff.

Q9. What was your strategy for securing radio airplay, and producing videos that have received substantial airplay?

With hip hop, it always starts with the DJ, so the first connections you have to make are always with the DJs and building up relationships with them, and that takes place over years. I’ve met DJs who have seen me at open mics and have heard my earlier songs, and I was always open to feedback. DJs really respect that and that also helped me grow as an artist.

I took that same perspective when I took my music to radio. I would make a meeting with the music director, and not only just bring in my song, but also bring in my marketing plan and my business plan and talk to the program director about the plans for the song and the plans for the album. I think a lot of the time artists think that the song is going to drive the radio airplay and drive their career, but you have to show that radio is just a part of the puzzle that you’re working on. I always try to show the music directors the touring plans, the video plans to follow the radio single, the publicity plan, and the public appearances I’m making. And, even if the song isn’t added into rotation or if the song doesn’t pick up, it’s always good to stay in touch with the music director whether it’s just to show the progress of the song to see if they can add it, or in the future just to bring them new music. It’s good to always stay open to the feedback and advice and even if you don’t hear back from them, you realize that they’re still receiving your emails so you’ve got to keep on showing them what’s going on.

The same thing with videos. A lot of artists get frustrated by being turned down by VideoFACT, but you have to look at the reasons why you might not be getting the grant. I’ve made meetings with the head of VideoFACT, Beverley McKee, and asked her some of the strategies I could use to improve my chances of getting the grant. Even if you don’t get VideoFACT, you have to look at doing a video independently and putting it on YouTube or making it quality enough that it can be on MuchMusic and MuchVIBE, but you can’t let not getting a VideoFACT grant stop you from putting out a video.

Q10. What challenges and/or opportunities have the Internet and digital downloading created for you?

I always look at it as opportunities on the Internet, because now people can hear your music globally instantly and it can spread and pick-up worldwide. People get upset about the lost sales and people stealing music off the Internet, whereas how I look at it is that the bulk of sales of an independent musician come from being on the road and touring. So, you make a fan on the road and that fan is going to follow you on the Internet and they’re going to find out about your new music and your upcoming concerts so that they can come out to your shows and maybe buy your CD at your show.

The retail digital download sites are a great revenue stream for artists. Things like CD Baby have made it so easy to be able to sell your CD online and getting your iTunes money is great as well. As an artist I love getting cheques in the mail. They’re not always big cheques, but whether it’s $100 or $500 of $1000, those streams of revenue are all helpful.

Q11. What’s been your attitude towards the “non-monetized” use of your music, for example if people put up your songs on Limewire, or other filesharing sites?

My thing is that the music business is all about the shows and about the fans, so if you can create more fans then you can do more shows and have more opportunities to build your fanbase worldwide. So, whenever somebody’s leaking a song or posting videos, it’s only a benefit to the artist because you want more awareness of yourself so that you can get out on the road and tour and reach more people. Eventually you’re going to make that money back plus more just by doing that. I think that touring is the most important thing that you can do as an artist.

Q12. Who has positively influenced/inspired you musically in your career?

I’d have to say Maestro Fresh Wes has been a huge mentor to me in a lot of ways, and he’s known as the Godfather of Canadian Hip-Hop and rightfully so because he’s been on the scene longer than everybody else and he’s seen and encouraged a lot of artists grow.

It’s great inspiration to see artists who have had 20-plus year careers and are at a good place in their life, so when I meet artists like Maestro or KRS-One or Chuck D from Public Enemy who are still at the top of their game in a lot of respects, I see how they’ve built an entire career and aren’t just known as a one-hit wonder.

Q13. You’ve managed to be quite successful over your career in benefiting from the Canadian granting system. What’s been your strategy for success in that area?

I’ve gotten FACTOR grants, everything from demo to touring to marketing to domestic and international business development to showcasing. And I’ve gotten VideoFACT and PromoFACT and Ontario Arts Council.

First of all, you need to have a clear picture of your plan for yourself as an artist, and that has to be separate from what you think other people are going to do for you as far as management or booking agents or record labels.

The biggest thing with getting grants is that you have to be very specific in terms of where you see yourself a year to five years from now and you have to have a very thorough plan of everything you want to do to achieve those goals. The business and marketing plans are always going to be a key part, and staying organized so that you can not only apply with a solid submission but that you can also do a good job with completing all the paperwork after you get the grant as well. As with the other areas of your music career, it’s important and takes time to build those relationships with the funding organizations. When they see that you’re diligent in doing the paperwork and responding to them, you’re more likely to get more grants.

Q14. What do you see as the biggest challenges in today’s music industry landscape and what key strategies can artists focus in on in order to build success for themselves?

I think one of the biggest challenges is distribution and label support. Regardless of if you get grants or not a lot of the times you’ll find that label support is lacking in this country, and that’s why I always suggest you do as much as you can yourself and put your music out yourself. You need to be able to put your destiny in your own hands and not complain that a label isn’t marketing your project right…getting grant support helps in that area of being able to decide for yourself how you want to market it.

Even distribution opportunities in this country are rare nowadays and it’s tough to find a good fit sometimes, but because of digital downloads and things like Tunecore and CD Baby and the fact that you can sell CDs directly to your core fan base when you’re out touring, you can’t let a lack of distribution hold you back from releasing your project.

Q15. How do you define personal success?

I love that I’ve been able to be a full-time musician for six years and be able to buy a house and buy a car. Being able to do “grown man things” from my music is how I define success. On a deeper level than that, it’s great to be able to travel around the world, perform around the world and be in the studio and just enjoy all the facets of being a musician. It’s different from what I thought it would be like as a kid, because when you’re dreaming about it it’s more about the fame and searching for the top spot, but I think in this country you can also have a solid lifestyle without all of that. If it comes, then great, but I feel that I’m successful right now, I don’t have to try to be successful or wait for someone else to validate my success.

For more information on D.O., check out www.doyall.com or www.myspace.com/ddoto .

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