The Charts; KB Radio Top 25 & KB Country Radio’s Jukebox Top 15

I have written about the charts and the processes in the past, but sometimes old blogs get lost and new followers are more inclined to read new posts.  So I thought it was time to update this a bit, plus with us fast approaching our year end Countdowns, it is a very good time to show how we approach things. 

The KB Radio slogan is What Radio Used to Be.  The idea is that terrestrial broadcast FM/AM stations have lost their way, and I want to bring back a style similar to what was in the 70’s and 80’s.  Now I don’t run with DJ’s 24 hours a day, so there are some differences but those are for those who want to be picky. 

Its more than just the DJ’s and shows, its how I approach things programming the stations and how we work our chart system.  There are lots of methods for charting music, and I am not going to touch on anything but our system.  I often say to think of how The charts on Billboard, Radio & Record, and every local radio station worked.  When people turned into Casey Kasem, Rick Dees, Scott Shannon or Bob Kingsley for Country music it wasn’t the 40 most popular tunes every week, with each week being an absolutely brand new Top 40.(ie This weeks 40 could potentially be 40 different songs)  There was consistency from week to week, and people turned in to hear their favorite Artist or Band and see if they can make it to number 1. 

No matter how high their favorite song did go though, when it peaked it started to decline and fall down the charts.  These charts weren’t just random ideas, it was a well thought out and developed process.  An artist releases a song, usually tied to an album release as well, and that song would climb as high as possible.  The length of time it took to climb depended on the popularity of the song, the artist, and more.  The big charts looked at stats from Radio Stations across the US and Canada, or in other regions of the world, the same thing but for that region.  The record companies were marketing the hell out of these songs,  with chart success came sales.  But everyone also knew that listeners get tired of songs, and like new music and variety.

Lets face it how many songs have you heard in your life and liked?  Do you have every single one in your playlists?  Of course not, there are too many but some songs survive the years with different fans and are forever in our minds and playlists.  So once a song had peaked on those charts and started the decline down, that meant the sales for the single were slowing down, requests were down, etc.  At this time it was when they looked for the next release to put out. 

When Garth Brooks released No Fences he had 4 hits off of that album, or when Michael Jackson released Thriller he had 7 singles hit the Top 10 and 2 number 1 songs.  The key in that last line is he had 2 number 1 songs.  You can’t have two number 1’s if you release everything at the same time or you don’t follow up with new music.  When you look at the two years each of those albums was released, and the respective charts, the artists dominated the charts.   Those albums and the music was there every day and when we started to get tired of one song, they went on to the next single and it picked up where the previous one left off.  No Fences to date has sold more than 17 million albums and Thriller topped the 100 million mark worldwide. 

Now before anyone thinks I can help you sell 100 million albums, that’s not what I am saying.  That album didn’t sell itself, the music did it.  The fact that every day Michael Jackson or Garth Brooks was on the radio sold it.  People also didn’t buy albums if there was one song they liked on it.  People were more fickle with their music purchases, and if an album suddenly had two hits on it, it changed the sales and when you get to 3 or 4 hits they went higher. 

So when it comes to programming that has been my approach from day 1 on my stations.  Play the new Indie Music like new releases and put it into rotation for a period of time.  After a certain amount of time has passed, we than hope for another release from the artists to update our music.  This works with the charts that we use and publish, and the most popular songs from our listeners perspective will climb the charts.  When that song has peaked its time for it to get out of the way so listeners can hear some fresh new music.  I know there are a lot of artists that with promoters or on their own work in a similar fashion releasing one song, and than waiting a month or two for the next release. 

I don’t want to single anyone out, but I will mention one band on our Top 25 as an example.  They are the band Transistor @transistorband who early on in the year sat down with me to have a conversation of how the charts work.  Steve who is usually the one online and the face of the band I guess, took hold of that information and they have worked the process for an entire year.  As of today, and heading into the year end they are the only band or artist to have 4 songs that hit the Top 10, of which 3 went to number 1, that will be on the voting list for the year end Top 50.    Now this is not a shot at anyone else or meant in a negative way.  Its not easy being a musician and working with different Internet Radio stations and podcasters, who each operate in a different fashion can be difficult. 

One of the biggest complaints I get from artists is that they hate the charts because its a popularity contest.  For some stations, you are right.  Who ever just gets the most votes for the week is the number 1 song.  Our process is different in that voting is only a portion of what goes into the calculations.  After the voting is completed the list of music that is eligible is than presented and is submitted as well for outside assessment.  What that means is its not just me going, I like this song and don’t like that one.  That are categories that are rated and ranked and it is done from more than just my perspective.  so let me give you a simple example of how it works.  For the example only I will use a Top 10 chart.

Each week for consistency we look at where the song sat for the previous week on the chart.  So what you would get would be something like this;

#1- 50 Points, #2 – 45 Points, #3 – 40 Points, #4 – 35 Points, #5 – 30 Points, #6 – 25 Points, #7 – 20 Points, #8 – 15 Points, #9 – 10 Points and #10 – 5 Points. 

That is again as an example the base points to start.  Now we look at the voting, and we look at the position in the voting, not how many votes.  So once again we use a similar points system, starting at who finished first in the voting down to the 10th position.  When asked why only 10 spots, because that is how many spots are on the chart.  Why would you give someone in 50th place points.  They didn’t get the support needed to crack the Top 10, so why give credit. So first in voting 50 Pts, second 45 Pts. etc and exactly the same format.  

The next area is where not only my data is used but I reach out for outside rating and judgement as well.  There are a group of categories, and each category, has a simple rating of 1 to 10.  Let me give you an example;  If there are 4 categories, and in two categories I rank a song with 6 and the other two categories I give and 8, my total points out of 40 possible would be 28.  Now for a broader perspective we now add in the other analysts points, so if they had higher or lower rankings, there totals would get added to mine.  So to not complicate things, if one other had a total of 32 for the combined total on the same song, we would than add those totals together.  This gives that song 60 pts from the analysts.

 Lets say the song was last weeks #1 so they got 50 points for that, and this week they finished 4th in the voting, so they get 35 points for voting.  Now we start the math!  lol

We will add the 50 and the 35 and that total of 85 will than represent 60% of the final vote.  So (50 + 35) = 85  and 85 x 60% = 51. 

The analysts had 60 pts, but that only represents 40% of the total, so we have 60 x 0% = 24

Combine the two totals and we have 51 + 24 for a total of 75.  This process goes on for not only all the songs on the Chart, but also any song that got voting points, which is how we get new entries week to week.  When we have all the totals we now put the songs in order based on the highest points to the lowest and that gives us the next weeks chart.  There is a great deal of effort goes into the chart system each week, time 2 because of 2 charts on 2 stations, but I also believe that is one of the fairest and most consistent systems on a week to week basis. 

The final product is a chart like I talked about in the beginning, with songs that go up and go down.  We actually had a song from the band Matlen Starsley drop out of the #1 spot this year and than go back up a week later.  They called it a dead cat bounce, because to be completely honest, its not supposed to happen that way.  But every once in a while, things happen and the numbers don’t lie.

So a band like Transistor will have 4 songs eligible this year for the top 50.  Other bands will have 2 or 3 songs as well, but you can only list so many for voting, and many of those will qualify as write ins.  Our year end Top 50 voting list will have 100 songs approximately on it.  That is a lot of music for voters to sort through.  That number represents every song that made the Top 10 this year.  Every song that made the chart is eligible, however if it didn’t crack the Top 10 it will need to be a write in.  We just can’t have 500 or more songs on the voting list.  LOL 

Does this mean Transistor is a favorite?  From an outside perspective when you have 4 choices from the same band I call that pretty good odds.  But the other side of that is this, at the end of the year when we present that Top 50, no matter where they finish, wouldn’t you say they are better off if they manage to get 2 of their songs on the list?  What if they get 3 on the Top 50 or even all 4 manage to crack the list.  Where one of them is the number 1 song or not, I would still call that a really damn good showing. 

We often see fans show up to vote for their favorite song week to week, finish high in voting, but than disappear the following weeks because they don’t understand the system.  This blog hopefully helps to explain, and truthfully I am going deeper in my explanation than ever before.  I honestly don’t like to, because its a system I developed years ago, so to share some of my processes hurts.  Too many others are known to use others work for their own gain.  However transparency is the ultimate goal, and more success for artists is also a priority. 

So be it week to week or the year end, good luck to everyone on their chart success.  For those that embrace it and bust their asses each and every week begging fans for votes, I thank you.  There are benefits for songs that make the chart, starting with website listing and visibility and extra weekly spins.  We can talk about more beyond that another time.

Any questions we always have the doors open, so please ask.

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Year End Countdowns: KB Radio Top 50 & KB Country Radio Top 25

So it is getting to be that time of year again, where we start to look at the end of the year, and another New Year is just around the corner.  With the approaching end of each year I like to take an opportunity to point out the great artists and fans who worked hard over the past year.  We have a countdown for each of the two stations and basically they function the same.  The numbers are slightly different, so I will use KB Radio as the example.

Since it is a Top 50 Countdown we will have approximately 100 songs on the nomination list, or voting list if you rather.  However, any song that has appeared on the Top 25 this year is eligible to be on the Top 50.  We just run into a space issue, with approximately 400 different tracks appearing on the chart over the course of the year, if we attempted to list every song, the list would be too long, and not user friendly at all.  What we do is take every song that made it into the Top 10 and they will appear on the voting list.  There will sill be the option to write in a song, as I said as long as it appeared on the chart through the past year.  For the KB Country version, because we started the chart in May and it just recently expanded from a Top 10 to Top 15, we are going with a Top 25 for the year.  There will be approximately 50 songs on the voting list and the same rules apply, if a song appeared on the chart it is eligible and can be written in under the other option.

The voting for both poll’s will start on November 1st and will end December 13th at midnight EST.  The same voting rules apply, you can vote once per day, no VPN’s and illegal voting will be removed.  The Top 50 Countdown will air on Wednesday December 18th on the Indie Music Show, and the Top 25 Jukebox Countdown will run Friday December 20th at 8PM on KB Country Radio. 

The point system is similar to the regular voting, however, points are awarded based on the chart performance for each song.  The fan voting accounts for 75% of the total points and as in the past I have asked a panel of experts, a combination of musicians and others in the radio industry to review the songs as well.  These reviews get points and that will make up the remaining 25% of the total points.   

There are multiple artists with more than one song that will be eligible,  and I would expect some of them to have multiple songs on the Top 50 or Top 25.  We look forward to the voting and the tabulations to find out what the listeners think is the song of the year for each station.

Any questions, feel free to inquire and we will be happy to answer.


The politics of the Radio business

As I sit here to write this I will start by saying that this is of course my perspective.  That is of course obvious, but I don’t work in terrestrial radio because of a different type of politics, and that is corporate.  I can’t give you a first hand description of how most radio stations work in North America, but I have enough experience and knowledge that I could probably break it down for you.  There are different levels as well for how they operate, and some of it will depend on the size of market that the stations serve.  Now with that said, some whiz bang genius who has no business being in charge of radio stations is running hundreds of stations that are owned by a corporate giant, and there is more than one instance of this, and these idiots think its all the same so they treat a station in Ottumwa, Iowa the same as they as a station in New York City.  All of that and none of it are what this blog is about.   But for independent artists it is part of the reason for their difficulty getting any airplay.  But maybe some day we will delve into that, or maybe not.

We talk on Twitter, through Facebook, here in blogs and even in person with lots of people about the processes, and what we do and don’t do, the efforts we make and how it does and doesn’t always work.   My goal has always been two fold; to help promote independent music and to run professional sounding and successful stations.  My approach has been different than a lot of others on the internet with stations and that’s good for everyone.  Its kind of like pizza!  I use this analogy for Raspin Stuwart who picks on me for my love of pizza.  Some people love there pizza loaded, some like it with 1 or two items, some with no cheese, vegetarian, deep dish, thin crust, you name it there are ways to make it.  My point is there is no one set way to do internet radio.  The only thing everyone must do is pay the royalties and broadcast based on the laws.  After that, the internet is the wild west.  You can get anything and everything if you know where to look, and as such broadcasters can do as they want.  The same ultimate goal exists for everyone, or almost everyone, and that is to get people to listen to your broadcast.  Whether you broadcast a one hour show once a week or do like we do and run 24/7 and in our case with 4 stations it doesn’t matter.  If you don’t get listeners it can be a lot of work for nothing.

Now with a certain amount of success and listeners, you than get a higher demand for artists who want you to play their music.  This doesn’t even mean you are good as a broadcaster, lol, it just means you have a good reach and as such songs getting played have a better chance for more people to hear them.  But with the higher demand comes an increase in the work load and I believe a need for better efficiency in how you handle your business.  As has been mentioned in blogs here before, many artists and promoters who submit music will tell you that they get very few replies back to emails.  I won’t pull punches here because this is where we start to get into the politics of the business.  I feel that if you don’t have time to respond to someone who has taken the time to reach out to you, than you either need to fix your system or give up.  I often wonder if these people run their social lives the same way.  Bob has a radio podcast, but he can’t be bothered to answer emails, only those he thinks are worthy of his response.  Meanwhile Bob has 5 friends who invite him out over the weekend for various things, does Bob ignore those 5 friends and only respond to the 1 he has interest in?  Well first thing is, if that’s what Bob does, hes not a Bob hes a Dick.  Second if he treats people that way in his personal life he will have a lonely existence, because those invites will dry up.

The difference with the music is that there are so many people trying to get played anywhere and any way they can, he will continue to get emails.  What Bob won’t notice is that he will stop get repeat emails from people because they will get sick of never getting a response.   I try, yes I  try to respond to every email.  I often say we respond to over 90% of emails but, the ones I don’t respond to are usually along the following lines.  You send an email that has nothing written on it.  Its in my inbox, with no hello, no message of any kind, and an attachment.  Again I don’t pull punches, if you are too damn lazy to even put hello, that I am going to put just as much effort into listening to your song and replying as you did with typing.  NONE!   We also get messages that are entirely promotional, not music submissions, and they of course are noted but don’t always need a response.

The other thing we did was I wrote a blog about how to submit music to us, and its not required reading, but I like to say its a way for artists to help us, so we can help them and make the entire process easier.  We don’t ask for a lot and if we don’t get everything we mention in the blog it doesn’t mean we don’t listen or don’t respond.  I read that from other stations and shows, to make sure your songs include X,Y,Z and if they don’t they won’t be considered.  If they are sent in Wav not MP3 they won’t be considered.  Their choice, hell I can’t count how many times songs are sent to us that the sound levels are off.  Times I have talked to an artist, and I hear something in a song and say, is it supposed to be there and if not I can help and fix it.   Some have gone on to take what i have helped them with and use in other submissions.  Is it extra work, of course it is, but we are working with artists that most times don’t have all the tools that artists that have big money support have.  So why not not give a little hand if I can.  I will say I will never edit a song without talking to an artist, and the term edit is used very loosely.   A song may get submitted that has 10 seconds of talking at the opening.  That is not what is called a radio friendly version and I would ask as an example to run the song without that 10 seconds.  I’ve never had any problems from anyone with this kind of request, and if you think back in history how many times there have been songs you hear on the radio, but when you buy the album the song is 3 or 4 minutes longer.  The shorter or edited versions are called the Radio Edit, and its been going on for years.

Over the years we have had problems with artists and promoters and fans, and that is just life.   I have a promoter, I believe he is in Germany, who sends us music still to this day, even though they just go in the spam folder and have done so for 3 months.  He submits on behalf of many artists, but his emails are short, with very little information, and to be honest might as well be blank.  Now there is a distinct difference between an artist who sends me one email that maybe doesn’t have all the information, and a promoter who is sending 3, 4  or 7 emails a weeks for different artists, and for some reason, they can’t seem provide information with the emails.  They always say, Hereby we provide you with artist X and their song YZABC.  Sometimes it will have a Facebook link and that’s basically it.  We discovered that with each of this promoters submissions it took us 3 times the average length of time to complete and email.  Most emails, and songs can be reviewed, assessed, processed and replied to in 4 to 5 minutes, on average.  So take 3 times as long for 7 emails every week and we found ourselves dedicating a couple hours every week basically doing this promoters work.   I tried to email and communicate asking for help so that we could better work together and got no response.  No his name is not Bob.  I went on his Facebook page and made a post about the same thing hoping maybe some of the artists he represents would say something even and we could sort this out.  Imagine my shock, no comment or response to it.  This by the way is not something over the space of a day or two, this was over a number of weeks, all the while still reviewing music.  I should add, we don’t play non English language music.  He likes to send us foreign language songs, which we have explained numerous times, but again chooses to ignore.

I feel bad for the artist he represents.  Let me correct that, claims he represents.  I am not asking for in depth information, some simple information, like a Twitter account, maybe some bio you know, things in my estimation that should be included in the submission.  When you are looking for someone to play your music and promote you, shouldn’t you give them the information or the tools to help them.  Like your website, or social media accounts.  Maybe its just me,  but someone like this is ripping off artists and wasting everyone’s time.  For what its worth, 2 months after I redirected his emails I did email him again, advising him that I wasn’t even looking at them, and we really should work to try and help his artists.  I still haven’t heard back from him.

The other side of things is a recent incident that is hilarious in many ways.   A promoter chose to attack a Twitter post of ours, someone who I didn’t know was a promoter.  Its true, I saw the attack, and reacted to it, but had no idea this person was representing an artist.  The next day when we are reviewing music, their name came up in an email with a song from their artist they wanted us to play.  Let me say for the sake of things, I can get upset, people know that and things happen.  But at this point we listened to the song and decided that we would give it a placement on one of the stations.  However things quickly went downhill, and I finally sent an email advising her that I was not going to be able to work with her.  When it comes to being abusive, I won’t put up with it.  I than reached out to the artist to contact me, to let them know as far as I was concerned, we would still play the music but I wasn’t going to deal with their Representative.  this isn’t the first time I have done this and won’t be the last.  Treat people the way you want to be treated and when someone takes to being ignorant, than thats it, I don’t need to be in contact with that kind of individual.  I have a simple plan.  I block you on social media and direct your email to the trash.  Why is that some may ask?  Simply put I have so many other people that act like decent people I am not going to give one more second to an idiot or stupid person.  But because this was not a large promoter, one artist one song, I didn’t want to penalize them so opened the door.   Seems pretty simple really to me, if they want to continue with us playing the music, just you handle the emails.  No disrespect we are not talking the Rolling Stones, and to be honest I get messages every day of the week from Mainstream artists with a long history of success who handle their own messages and emails.  But they chose not to respond either.  I didn’t block the artist its their choice and they have done nothing wrong.  Maybe some day they will reach out.

The other issue comes from blocking which I readily admit I use as a tool.  But we have seen some individuals use the blocking on Twitter suddenly, for no apparent reason and than a month or 6 weeks later, unblock and suddenly an email appears with a music submission.  Let me use this line again, I am not going to pull any punches.  Are you our of your fucking mind?  Go the hell away.  This is some kind of weird politics or just plain BS that again I don’t have any time for.  Do I like the politics, absolutely not, but some people just seem to think this is a game or something.  Here is how it appears to me and feel free to correct me if I am wrong.  If an artist or band is paying you for your time to promote and represent them, you need to work for them.  You act decently, you don’t have to kiss anybodies ass but you sure as hell better not act like an ass and risk missing an opportunity for these people who are paying you.  Now if you are a volunteer, and you are not getting paid, than there is a huge difference.  You aren’t getting paid that’s the huge difference, but if you can’t work and act respectfully as well, stop offering to help because you are doing them a disservice.  I would rather say to someone honestly I can’t help you than to say sure and do a crappy job.

So politics in music does not mean bending over and kissing someones butt, or anything else.  It doesn’t mean you pay to get your music played or have to do anything to achieve this.  What it should mean is working hard at what you do, working with people that you think can help you or those you represent and working together.  When you work together you get a lot more done, its a smoother process and takes a hell of a lot less time.  When the band said can you help us, if you said yes, but only on Mondays from 1 to 3, on Thursdays from 6 to 6:30 etc, and they were thankful for the time you can give them, it was enough in their minds to help, than you better make damn sure you are doing it because they have put their faith in you.

The final thought is the blocked list and people that are on it.  There really aren’t that many and some come off over time, depending on the person and circumstances.  Some people change, situations change whatever the case may be, and maybe an artist or promoter and I can actually work together again.  They say never say the word never, and that is very true.  But a very simple way to make sure, is don’t treat me, or Ruth (Sunny) like shit.  We are here to work with everyone we can.   If you don’t believe us, let me know and I will give you what maybe 500 references to start?  I like to think that since we work well with so many other artists and bands, more than 1000 different ones again this year so far, that if we have one or two problems, that’s not too bad, and that makes less than 1% dissatisfied rate.  Now if I could figure out how to do this in politics I would be king of the world.   lol    Cheers

The Charts: A refresher course for new voters

I know I have written about this before and we talk about this on the air on both stations about the process for both the Top 25 and the Top 15 charts on KB Radio and KB Country Radio respectively. I call them revolving charts because they work week to week, and use the previous weeks results as part of the totals going forward. We say that fans control 80% of the points and they truly do. So lets do a simple breakdown as to how both charts work.

Songs on the current weeks chart are awarded a point value based on their position on the current chart. As an example only, the #1 song is awarded 100 points and the number 10 song gets 10 points on the Top 10. These are the starting base points for each song. We than award points based on how each song finishes in the voting. In the case of the Top 15 we only award points to the Top 15 songs getting votes. In the Top 25 it is the Top 25 songs getting votes that are awarded points. What is important to note about the voting is that every vote is important because it increases your points. However in the same way the #1 song got 100 points, the song with the most votes again as an example gets 100 points. It doesn’t matter if the song in first in the voting got 50 votes or 500, the points awarded are the same.

At this point we combine the points and take 80% of this total to give us the beginning of our new points total. From here we have 5 categories that each song is assessed on, and awarded points. These categories are kept private so that they are not in any way influenced or attempted to be influenced if possible by the wonderful fans. The music fans get almost total control but these final 5 categories usually help to break tie breakers etc. The five categories are added up and than 20% of that total is taken and added to the other 80%.

this grand total is the final points total for each song and the order is than sorted highest to lowest. The system is devised to allow for consistency week to week so that songs will move up and down the chart, so that fans can vote for their favorite songs and have the biggest say in how each song performs, but also take a small portion of other areas into account. Is the system perfect, absolutely not, because if fans want to keep their favorite song on the chart all year they probably could. This seems more of a disservice to an artist or band to me. They have more than one song that I am sure they would love to promote and see on the chart. Do fans try to cheat? Yes it happens from time to time, and as will any voting there are blocks built in to stop as much as possible, and those that aren’t stopped automatically are often found after in the verification process.

The rules are simple and easy, vote for your favorite artist daily and get them onto the respective chart. Than the next week do it again and try and get them higher and maybe to the number 1 spot eventually. We often see big voting for a week and than when a song doesn’t come in at #1, the fans get upset because they think its fixed, when they just didn’t bother to read OUR rules. Always remember, we are doing things old school. So the charts are old school too.

Good luck to everyone

KB Radio Indie Music Festival (coming soon?)

As this year, 2019, thunders past just like the previous year, I can’t help but wonder about the state of music around the world. I look at what broadcast/terrestrial/FM Radio is doing and I continue to shake my head. This blog isn’t about those problems, but it’s easy to see that the corporate wheel continues to roll, with no idea on how to make money, just on how to cut budgets, and make radio into a generic virtual streaming platform that appeals to the 20-something and 30-plus crowds to some degree.

If you are an independent artist, there are no opportunities to get music played on these stations, unless you are willing to buy your way on. It’s too bad here in North America the CRTC in Canada and FCC in the United States weren’t actually doing their jobs. Payola is alive and well!

So, we have streaming platforms, you know all the names, that don’t pay artists. You have people paying $10 for a coffee but refusing to pay 99 cents for music, which when you consider that statement, it tells you how stupid the corporations who are programing radio are. These same listeners are too damn cheap to spend money like that, you are going to have very limited advertising options on these broadcasting/FM stations. But I digress as usual.

This weekend here in my hometown they have a music Festival called Rock The Park. It has been going on for something like 15 years, and a few years back they added a night for the country music fans. No big deal, it was towards a big charity, and by adding a night it didn’t take away from an already huge event. To give you an idea of past events;

2011 Night 1

Loverboy, Trooper, John Kay & Steppenwolf and Poison

Night 2

Brian Howe (Bad Company), Cheap Trick, Blue Oyster Cult, Meatloaf

Night 3

Bleeker Ridge, Sloan, Our Lady Peace, & Stone Temple Pilots.


Monster Truck, I Mother Earth, Bush and Slash/ w/ Myles Kennedy

The Romantics, David Wilcox, George Thorogood and Steve Miller Band

Prism, 54-40, REO Speedwagon and Boston


This year.. ugh

Five Finger Death Punch, In This Moment, Killswitch Engage, I Prevail and Pop Evil

Tone Loc, Ginuwine, Ma$e, Shaggy and Snoop Dog

T-Pain, Flo Rida and Pitbull

I didn’t include the country night from this year, it was the best night in my opinion. Maybe I am getting old, but they definitely don’t want my generations money any more. Calling it Rock the Park, is like saying L’il Nas is Country. LOL

Let me put it very clearly as far as Rock The Park. WTF is your problem? LOL

But in general festivals have been fairly successful, and it is something that has crossed my mind. Many independent artists have talked about the idea of coming to Ontario, Canada to play and do shows. Numerous times it has come up with artists, that maybe if they can connect with other Indie Artists, do a multiple lineup for a gig, make it bigger, it will help with costs etc in some ways, maybe draw more attention. There are a lot of potential positives to come out of that kind of situation.

Well to go full Monty on that would be to have a music festival for just Indie Artists. It is an idea that started as just one day, but a second day is considered be it in the first year or wait till the second. That second day would be for Country Music which I would not want to exclude.

So here is the plan. Imagine 2 stages not quite side by side, but close enough to allow one band/artist to perform and the other to set up. I want a festival that people will talk about and mark on their calendars to say, only 364 days left till next years KB Festival. We have 10 bands or artist performing, with the first going on stage at noon. There will be a 45 minute set, which will allow, if they do really well, to do one encore song. This means fans will have 10 to 15 minutes maximum between sets to wait. The last band goes on at 10pm. There will be a special area set up for each act to have their own sales and merchandise tent.

When it comes to the lineup, I want it to be a representation of the artists being played on KB Radio. With KB Radio being based in Canada, the majority of our listeners are from North America, so my thoughts are as follows;

3 Bands/Artists from Canada

3 Bands/Artists from the United States

4 Bands from World

When you look at these numbers and think of the number of musicians we play and have played it seems very small. But if and when we get to it, we will probably have quite the task going through who wants to play.

Here is the part that I want help with, and it isn’t financial, though we will be looking for sponsors. It is not missed on my part that there is significant cost to travel and perform. Plus, I also believe that the artists should get paid for this. I have talked to many who say they will play for free just for the exposure, but truthfully I don’t believe in that. Everyone’s time is worth something. But there are also different costs between a solo artist flying from California and a full band flying in from Sweden as two examples. In one conversation with an artist he talked about hiring backing musicians when he got to the event. My thoughts on that, something I hadn’t considered is, if you are coming to perform you want to give your best showing. You should have musicians you know and can count on, so be bringing them with you.

To me these are the things I want to know about. I know about air fare, hotels, food, rental cars, trucks to move equipment, etc. I want to know about the things I wouldn’t know about or consider, because I am not a musician. So I have created a simple survey. No” check this box or that”, It just asks for your email in one box and then your ideas in the other. We really want to see this come to fruition, and I think this city is the perfect place to have it.


Al Yardy

KB Radio