Shut out at radio, emerging artists turn to TV

By Chuck Crisafulli

LOS ANGELES (Hollywood Reporter) - The head bops. The toes tap. One after another, hot new songs by cool new artists are kicking through the speakers. Yes, you're watching television.

Increasingly, new work by up-and-coming recording artists can be heard throughout all kinds of TV programming: as part of the soundtrack to network dramas and cable comedies; as an ear-grabbing element of promos for upcoming shows; and as a sly underscore to all manner of advertising. As mainstream radio has become more strictly formatted and risk-averse, placement on television has become a key and coveted way for a largely undiscovered band or songwriter to break out.

The trend isn't entirely new -- early 1990s programs such as "Beverly Hills, 90210" and "Northern Exposure" featured eclectic sounds and some indie bands, and 10 years ago, Volkswagen cannily revived its brand image with the popular "Da Da Da" commercials. But what was once a novelty has become an aesthetic preference and an increasingly successful business model with significant appeal for all involved.

Savvy music supervisors are happy to put their expertise to work, while producers, directors and ad agency creatives are interested in supporting and strengthening their work by licensing fresh -- and affordable -- sounds. Record labels enjoy having more opportunities to launch artists without huge investments in radio promotions, and artists are thrilled with the massive potential audiences and clean, quickly cut checks that come with TV licensing deals.

The positive impact that an effective placement can have for an artist, show, brand and label has become strikingly clear in the past few years. Influential music supervisor Alexandra Patsavas of Los Angeles-based Chop Shop has made the soundtracks to Fox's recently departed teen drama "The O.C." and ABC's megahit drama "Grey's Anatomy" tastemaking and career-launching powerhouses. Indeed, the second volume of an "Anatomy" soundtrack compilation album became a best-selling, Grammy-nominated record.

Working in the other direction, innovative radio DJs such as Gary Calamar and Liza Richardson at Los Angeles public station KCRW have been embraced as consultants and supervisors for numerous TV shows and ad campaigns. Apple's music-driven iPod ads played a tremendous role in launching the careers of Jet and the Black Eyed Peas, among others, and even a brand as resolutely mainstream as Target has had great success with ads powered by music ranging from the lush Swedish pop of the Concretes to the dystopian tunes of punk pioneers Devo.

"The problem with radio is a concern with being safe," says Calamar, who, in addition to his work as host of KCRW's "The Open Road," has served as a music supervisor for such shows as "Six Feet Under" and Showtime's current hits "Dexter" and "Weeds." "If Coldplay is hot, then let's play five more bands that sound like Coldplay. It's all about following trends. TV and ad people are much more willing to take risks than radio programmers are. There's actually a preference now for music that hasn't been heard in a lot of other places.

"And on a practical level," Calamar continues, "there's an affordability factor -- it's a lot more economical to license a new artist. That's not the first thing anybody thinks of, but there's always a budget to work within, and it's a win-win when you can find something that's great and affordable. The band's thrilled to get the exposure, and you're thrilled to get a song that works and helps establish a show's personality."

The strong link between a show's uniquely nuanced personality and its soundtrack has opened things up for those looking to place songs on television. Publishing house Bug Music represents more than 140,000 copyrights, which range from the works of Johnny Cash to those of newer artists such as the Cloud Room, Of Montreal, and Peaches. Dave Freeman, manager of creative/new-media marketing at Bug, says he's noted a desire on the part of producers and ad creatives for music that's fresh but not necessarily brand new.

"Radio and record labels are tied to what's current, and a record that came out a year ago doesn't get the attention or support as one that came out last week," Freeman says. "But for a publisher and a music supervisor, a great song is a great song, and something that hasn't ever gotten a lot of attention might be perfect for a licensed use. That usage can, in turn, generate record sales. Even with known artists, I find that creative directors and producers are more interested in licensing hidden bonus tracks than singles. Basically, they want something that people haven't heard yet."

In the struggle to reach younger demographics, some feel that a TV or ad placement now might offer more potential upside than radio play.

"It's such a difficult struggle to get on the radio, and ads or TV or video games are a much more open opportunity," says Jeff Tammes, vp of Cornerstone, a marketing and promotions company that serves as a licensing liaison for artists ranging from Kanye West to rapper Rakim to techno-funkster LCD Soundsystem. "People are first hearing the music they like on 'Grey's Anatomy' or on (a popular video game like EA Sports') 'Madden Football.' Fifteen years ago, you measured success through radio spins, but that's almost become a nonissue. Even if you're in heavy rotation on the radio now, it doesn't compare to the amount of 'spins' you're getting in a national ad and the size of the audience you're reaching."

Some TV shows aim to please a broad audience with a balance of familiar music and new sounds. KCRW's Richardson is music supervisor for "Friday Night Lights," an NBC show that blends the pop-music environment of its characters with an overall indie-driven musical sensibility.

"We use some well-known songs because what the characters hear on the radio is going to be hip-hop or pop or Top 40 country -- real mainstream," Richardson says. "But all the music we use as score is indie and up-and-coming artists."

The mix of image and edgy new music also turns up frequently in cable and network promos, which by definition seek to make a memorable impact on viewers in a very short time.