By Barry Mazor

There are music makers who find being interviewed—though it’s so often an important part of making their work known—utterly intimidating. 

 Wherever we live, we’ve all heard those local radio moments in which performers who are so at home, charming and outgoing on-stage greet an interviewer with some variation on “Thank you, Ms. Host, I feel so blessed to be here,” and then silence.  Nothing more. Terror. The host is often not feeling a whole lot better right then either, since this person booked for the next 15 minutes apparently has nothing more to say. Not so publicly, during face-to-face or phone interviews for print, similar moments of awkward silence (and other forms of killing precious limited time and opportunities), happen just as often.  And don’t tell anybody, but yes, these things might even happen to bluegrass performers and media.

 I’ve been interviewing performers, songwriters and industry executives, mostly for print publications of varying readerships and size, but also, occasionally, for broadcast for close to 40 years now. Most often these days it’s for The Wall Street Journal, or in preparation for books; there were over 80 performer interviews for my recent one, Meeting Jimmie Rodgers. That volume’s publication and promotion also put me in the less accustomed role of interviewee. So I’ve had reason to consider how good interviews happen and how awkward ones can be saved, no matter which side of the desk you happen to be on.  I’ll share here a few pointers with the bluegrass community, in hope that it’s helpful, as I did on a panel at last fall’s World of Bluegrass Business Conference, along with singing songwriter Donna Ulisse and WSM radio’s Bill Cody.

• Good interviews rarely happen by accident; be prepared.
This is both advice and a warning: No matter how experienced you are, interview someone “cold” at your own peril—and at the reader’s or audience’s expense.  It’s not difficult or even that time-consuming, in the Internet age, to find basic bio information, music samples, previously published or even broadcast interviews, Web posts, blogs or MySpace-type self-presentation basics on your subject. 

 All of that will almost inevitably set off questions you’ll want to ask. I usually draw up and write down my question list in advance, to this day—and in the order I think I’ll want to ask them, or at least, go back to them as the conversation proceeds.  What you do with the prep info you find is up to you.  Every interviewer has “borrowed” a question from other interviews when the answer was great. Personally, I often look at the earlier interviews in order to avoid asking the same questions. More often, what you learn about your subject will simply include things that intrigue you.  And after all, if you’re preparing to talk about the lives and careers and music of people in bluegrass and reading this, we can practically count on that.

What’s easily missed is that if you’re the person about to be interviewed, you need to do some prep, too—and that’s true even for those up at the career level where there might be publicity help around for you. You likely have an upcoming appearance or recording or cause that’s sparked the interview, and it’s wise to be sure you have the basic facts you want to get down in mind, or written down, but in any case, ready. It’s also a good idea to look into the previous interviews and interests of the interviewer; you mean to engage that person with what you need to get across, and that background has to help.

• But don’t let the preparation get in the way.  

All of the most memorable interviews we’ll ever read, heard or seen are live encounters between two people.  The preparation of a list of questions, or of points you want to get out there shouldn’t prevent you from responding to what comes up, to surprises and accidents—which the audience will probably remember most anyhow. The simple secret there is to actually listen to what the interviewer or interviewee is saying.  Don’t just sit there waiting to get to the next thing on your list in turn!  Preparation shouldn’t be a straightjacket; it can free you from worrying about those things so you can be lively and “in the moment” with the encounter.

• Keep in mind the audience for the interview.

If I’m talking about bluegrass to the broad and smart Journal audience, as I sometimes do, I can’t assume that they’re going to get every reference or first name drop a regular Bluegrass Unlimited reader will.  Take care to fill in the amount of background explanation that seems right for the people who will be hearing or reading the interview—in your questions, and in your answers.  An interview for your local shopper newspaper, reaching outside of hardcore fans, is different from what needs to go to your band’s e-mail list.

• Don’t let agendas stymie you. 
The interviewer and the interviewee, sometimes in subtle ways, may not be after exactly the same thing—having an article that’s more interesting than just  “here’s another release by X,” for instance!  I can recall a case of a performer with a new project to promote that was very much in the traditional vein, and in interview after interview the importance of preserving traditional bluegrass was coming up—too predictably and repetitively for this reporter, especially since the same player had been involved in plenty of more experimental work.  So I deliberately surprised the artist with a, “But really, you do plenty that’s modern” sort of comment when the agenda spiel inevitably came up—and as a result got a very interesting discussion—which only my interview had—on the relation between the two sides of the artist’s work.  The background prep, listening—and knowing why you want to ask—all come into play at once in a situation like that.

 • Remember that it’s usually not over when it’s’ over.’
For anything but a live on-air (or Web) interview, you’re going to be able, and most of time, be called on, to edit down the interview to coherence and a demanded length.  That’s good, not bad.  Even when someone else edits you, you need it, because we all do. But this means that you can ask extra questions and cull the strongest answers. You can go on longer with your questions and nudges to get the interviewee talking and cut most of yourself out later. And this should leave you less worried about momentary fowl ups or getting something slightly wrong—as questioner or answerer—since you can fix it. You can even go back later and check before you do.

• Oh, and be really sure that recorder is really on and the battery is fresh. 
Just trust this voice of varied experience on that one.

SIDEBAR…Tips from the Artist (and their Publicist’s) Perspective…

Donna Ulisse:

• When I am preparing for any interview—small to large market radio, print or television—I always try to focus on what I am there to promote. I keep that thought foremost in my mind as I try to maintain a sense of spontaneity and fun throughout the interview. It's not always easy to do, as some of the interviewers have their own agendas. I try to steer the subject back into what I am there to talk about without sounding like I am.
• The great gift of gab takes a little practice and patience! You want to be entertaining, informative and at the top of your game when you are given these golden opportunities for marketing yourself. I always look at any interview as a valuable gift. When you are that grateful and excited to be interviewed and honestly appreciate the time these folks are giving you, it goes a long way toward a good relationship with media—and that translates into getting asked for another interview in the future.
• Be on time! There's nothing that feels worse than rushing into a room looking like you've entered via a slingshot and having to play catch up before the interview starts! Been there, done that, and it's hard to recover.
• Take the time to find out a little bit about who you will be talking with.

Shari Lacy, GoodStuff PR:

• It's very important to talk through an upcoming interview on one of our artists with the person writing the article.  Hopefully, we've collaborated on the angle of the story already and I am then able to convey important information to the artist regarding what the article is about, what angle it will take---will they be talking about the new project?  Career history? Something new that has happened?  That way the artist is never put on the spot without some sort of feeling for what the conversation will entail.
• At times, especially if television is involved, I provide talking points to the media outlet so that they have a guideline to follow—which helps me to steer the interview the way we wish for it to be steered.

Karen Byrd, Karen Byrd Public Relations:

• Know a little about the audience who will be reading/watching/listening to the interview.  Is it a local daily paper?  A small, weekly paper?  A music trade publication?  An alternative newsweekly?  At this point the interview has been pitched and it's confirmed so you know the angle, but knowing about the media outlet and audience will help you know what details to bring out.
• Find out a little bit about the interviewer—what they’re like, what their interests are. Share some other articles or provide links to some previous interviews, or provide a list of other artists they've talked to.  
• The artist should be able to convey two to three main points that cover the purpose of doing the interview.  If the interviewer gets off track or is unprepared to start with, the artist has the perfect opportunity to provide all of the information in the way he/she chooses.
• Have all your facts and details straight.  For example, if this is a tour press interview, know the time, location, ticket price and website to drive people to for more information.  If it's a benefit concert, know about the organization it supports.