Having an objective and effective band biography can be a challenge for many bands. Often, the bands write these bios themselves (they are usually better at playing their instruments than at using basic grammar), and so the bios tend to be full of overly flowery explanations of the band’s origin, their mission, their sound, their myriad influences. Sometimes, these monoliths are multiple pages long and include detailed background information about each band member.

Your bio doesn’t need to be so detailed. Save that for books about your legacy and magazine feature articles. Keep it short and punchy. Like a brand statement or company overview. While I’m not claiming to have the answer to the perfect and entrancing band bio formula, I can impart some tidbits of advice that will make your bio much more powerful and relevant.

Why do you need a bio?
Well, they are good to have if you are trying to get the press to talk about your band or if you are sending out EPKs/press kits to book gigs. A well-written, complete and short bio will get you some attention.

In my opinion, a good band bio must contain the following elements:

• A strong, yet succinct statement about the band’s sound
• Some mention or similarity to other popular bands in your genre or bands that your fans like in addition to you (recommended if you like…, for fans of…, etc.)
• A quick introduction of the band members and what they contribute to the band.
• 2-3 mentions of significant events that will give your band more credibility in the industry. Have you won any awards? Have you been part of a festival/event for a charity? Have you been featured in a indie film or a TV commercial?
• References: Mentions of verifiable touring history, sales figures or sales volume are a plus if you are trying to get gigs. Quotes from previous press reviews or fan reviews will help with press.

6 Writing Tips
1) Don’t over hype your band. They know the bio’s from you, so don’t pretend like someone else wrote it. Stick to the facts and let them form their own opinion based on your music.

2) Don’t over describe your sound or each of the players. Be impartial and write for quick impact.

3) Stick to details about this band. Unless your member’s old band is Metallica, The White Stripes or Rage Against the Machine, no one gives a crap.

4) Spell check and read out loud. You don’t have to be a literary genius or an ad whiz. It just has to sound coherent. *I neglect this one myself often.

5) Keep it fresh and update the bio every few months to include your new accomplishments or any changes in sound/members.

6) Keep it brief, 400-500 words max.

Now, get to work. It may take you 2-3 revisions to get it right. If you feel like you are stuck, walk away from it and come back later. Always re-read the morning after before making the final decisions.

Web 2.0 Band Bio: Rockumentaries and Video Blogs
Many bands are savvy enough and create mini-Rockumentaries or video blogs that cover the band’s sound and personality. Bands can center these around special events, rehearsals or everyday life. A mini-reality TV shows about your band. I recommend doing this. You can say more in a 5 minute video that in any bio. Spend the time and learn how to record and edit videos, sync up audio and use social media to promote it. Here’s a sample of one I did for Soulfound.

Hope this helps someone out there.

Enjoy. Share.
Ivan

Ivan Pena writes “Bombardier Manifesto” for Creative Loafing — blog posts about the music industry, being in a band and marketing. Ivan also runs Mohawk Bomb Records. He is also the bass player for Rise of Saturn and former frontman/bassist for Soulfound.

“What a diff’rence a day makes” – María Méndez Grever

The music portion of SXSW has begun and Austin is infested with indie rockers, scenesters, hipsters and musicians from all over the world. The snarky t-shirts and iPhones of the interactive and film portion have been replaced with leather, tight pants and guitar cases. And they’re everywhere.

Try to imagine if every bar, club and art gallery in Tampa and St. Pete tented their parking lots and had full concert lineups on indoor and outdoor stages for 6 straight days. It’s a lot to take in. Not to mention, the stimulation of the local economy here – from stage and equipment rental to groceries and clothing – is staggering.

These Arms Are Snakes at Red Eye Fly. More photos after the jump.

There are many methods of navigating the music portion of “South by.” You can meticulously plot your path, you can wander from bar to bar (if you have a wristband or a badge) or you can do a combination of both. Modes of transport can include car (shout out to Monica Armendazzle), cab, bus, shuttle, bike (they ought to rent these), rickshaw, horse-and-buggy, and finally your own two feet. 

Ivan is in town now, as well as some folks from Creative Loafing Atlanta, so we’ve been coordinating via text. This has worked to avoid overlap and to catch wind of “secret” parties such as last night’s Playboy Party held in a warehouse on E. 12th in which Jane’s Addiction played a surprise hour-long set. Word on the street is that Metallica will be doing a similar stunt tonight to promote their new Guitar Hero game. We’ll see.

Wednesday was the day it all kicked off, and we started the day at Yard Dog Gallery around 2 p.m. for the Florida Bandango, a showcase hosted by BAAMO, that featured Tampa Bay acts Rebekah Pulley, The Beauvilles, Have Gun Will Travel, Damon Fowler and Mojo Gurus - interspersed with a sprinkling of national acts like Hoots and Hellmouth and Exene Cervenka to keep the crowd from wandering. No indie rockers here, mostly hippies and cowboys. A fine turnout and good banner placement ;-). Lone Star 16oz in a can, gator chili and being surrounded by your friends from home - a beautiful day. And a big congratulations to Dawn Morgan and Ronny Eliott on their recent engagement!

After that, began a 24-hour marathon of trying to see as many bands as possible. It’s become a saying here that “it’s a numbers game,” and we’ve fallen into a nice rhythm of catching two songs per band, having one drink and moving on. 

In the past 36 hours I’ve seen the following bands: Ivison at The Parish; White White Lights, Scorpion Child, Shunda K and Belaire at The Beauty Bar; The Monster Big Band at Elephant Room; Priestess and Dirty Projectors at Emo’s; Modern Skirts at Cedar Door; Past Lives and These Arms Are Snakes at Red Eye Fly; Mock Tigers at Apple Bar; 3 Kisses at Spill; Me Talk Pretty, The Vettes and Mother’s Anthem at Austin RockFest; Bob Schneider, The Fireants and The Dicks with David Yow at the Austin Music Awards. Not to mention visiting the legendary Waterloo Record Store and scoring a front row seat for Quincy Jones‘ two-and-a-half-hour keynote address. Definitely a busy two days.

Video will be forthcoming on the madness in the streets, footage of most of these bands actually performing and a rather intimate session with Quincy Jones. Mr. Jones actually cried at one point reflecting on a tender moment with his old friend Ray Charles.

It’s 8 p.m. now and Ivan is anxious to get back in the streets. Stay tuned.

@jorantampa

OK, here’s my list. Stay tuned for Top 10s by Snider and Leilani.

1. Lucinda Williams: Little Honey (Lost Highway)
On Little Honey, alt-country queen Lucinda Williams returns to the more focused, rock-oriented sonics of her breakthrough 1998 album Car Wheels on a Gravel Road. In doing so, she reveals a newfound sexual confidence (”Honey Bee”) and celebrates domestic bliss (”Tears of Joy”). The singer/songwriter also manages to mine pathos for humor on the superb Elvis Costello duet “Jailhouse Tears.” Williams can still break your heart, though. “Little Rock Star” plays like a much-needed note to Amy Winehouse, penned by a sympathetic female singer who has already survived the perilous, do “whatever it’ll take to get them to listen” phase. Williams closes Little Honey with a fun treat: A surprisingly awesome swamp-rock cover of the AC/DC road warrior anthem “It’s a Long Way to the Top (If You Wanna to Rock ‘n Roll).”

2. Lil Wayne: Tha Carter III (Cash Money)
Lil Wayne’s stoned, whisper-y flow and high-drama delivery is spellbinding. The dude opens his mouth, and you listen, hanging on each dazzlingly whack rhyme. On Tha Carter III, Weezy’s scattered-brain brilliance is in top form – as is the big budget production that dutifully follows Weezy’s serpentine flow like a hypnotized lover. The New Orleans native’s boasts, observations and musings are weirdly striking at nearly every turn (”I’m a young millionaire, tougher than Nigerian hair.”) Wayne still bulks at straight story telling, but to fault him for this would be like dissing Dali or Picasso for rebuking realism.

3. My Morning Jacket: Evil Urges (ATO)
Genre-hopping indeed rock outfit My Morning Jacket’s juiciest disc to date features a smattering of styles, all of which are rendered outstandingly natural by the Louisville band. There are moments of extreme sadness (”Librarian”) and utmost silliness (”Highly Suspicious.”) Leader Jim James’ versatile voice convincingly sells everything from guitar-blazing, kick drum-intensive arena rock (”Aluminum Park”) to somber country-pop (”Sec Walkin.) Unlike other ultra eclectic offerings, Evil Urges never comes across as show-y. You just get the sense that My Morning Jacket is doing what they love. And doing it damn well.

4. Robyn: Robyn (Konichiwa/Cherry Tree/Interscope)
This year former Swedish pop tart Robyn finally witnessed the U.S. release of her 2005 self-titled disc. Britney and the rest of our countrys’ brain-dead blowup dolls blew Robyn away in terms of sales, but the woman born Robin Miriam Carlsson in 1979 proved the most compelling of the bunch. By far. Over thick disco beats, jittery high hat, deep space bleeps and icy strings, Robyn subverts pop platitudes. She exudes sexiness, smarts, poise and vulnerability in a way rarely seen in a world where hottnes is defined by Paris Hilton.

5. Bob Dylan: Tell Tale Signs: The Bootleg Series Vol. 8 (Columbia)
The magnitude of Dylan’s late-career resurgence is brought into sharp focus here with a collection of “rare and unreleased” tracks recorded between 1989 and 2006. The two-disc set is a dud-free treasure chest featuring previously unreleased gems like the Time Out of My Mind outtake “Red River Shore” (an epic folk tale with spiritual overtones), the unreleased 2005 lament “Can’t Escape From You” and the superior Oh Mercy session version of “God Knows.” Another testament to Dylan’s genius is hearing drastically different “alternate takes” that are every bit as fascinating as the ones that made the final cut. Sequenced judicially, Tell Tale Signs plays like a stellar double-album by popular music’s most vital elder statesman.

6. Gnarls Barkley: The Odd Couple (Downtown/Atlantic)
Gnarls Barkley blew people’s minds with their 2006 debut St. Elsewhere. Its synthesis of producer Danger Mouse’s R&B-rap-future funk-fusion and Cee-Lo’s confessional vocals were unlike anything on the market. The duo’s follow-up, The Odd Couple, lacks a chart-shattering single like “Crazy.” But on balance, the new album is every bit as absorbing as its predecessor. With Danger Mouse’s spooky production egging him on, Cee-Lo continues to explore his fragile psyche and emotional well being, making for a mesmerizing foray into what we’ll call nocturnal soul.

7. The Hold Steady: Stay Positive (Vagrant)
The Hold Steady’s booze-y brand of classic rock for the indie set gets expanded, and frontman Craig Finn’s mouthful vocals become clearer, on Stay Positive, the Brooklyn band’s latest collection of gutter reports and tales of sing along song redemption. It’s a more polished Hold Steady. But a band this splendidly raw benefits from professional touches like pushing the vocals and occasional guitar solo up in the mix. And on “Joke About Jamaica,” we’re treated to the revival of the talk box. Ironic bullshit? Not to my ears.

8. Sonny Landreth: From the Reach (Landfall Records)
For nearly two decades, Sonny Landreth has been one of the most respected guitarists on the planet. But the Louisiana-based artist is also a capable singer/songwriter, and on From the Reach the slide guitar virtuoso shows he’s capable of a studio album that does more than frame his axe achievements. A cohesive blend of bayou rock, blues, jazz and touches of prog (”The Milky way Home’), the disc is a gripping showcase of excellent musicianship and emotive songs. Famous friends Jimmy Buffett, Eric Clapton, Robben Ford, Dr. John, Eric Johnson, and Mark Knopfler all make guest appearances – but no one outshines Landreth, who is at the top of his game here as a triple threat entertainer.

9. Metallica: Death Magnetic (Warner Bros.)
Rick Rubin miraculously returned Metallica to its thrash glory this year, which means the best metal act of the 1980s again reigns supreme. Metallica’s trademark recipe of whiplash-inducing riffs, slippery machine gun rhythms, and burly vocals about the innate horrors of the human existence results in a timeless mode of escapism. Especially for the male species. Glad to have ya back, fellas.

10. Jamey Johnson: That Lonesome Song (Mercury)
With a mighty pen and a gruff, expressive voice that straddles the line between George Jones and Waylon Jennings, singer/songwriter Jamey Johnson has become a key player in the latest movement to return Music City from Rascal Flatts fluff to the mature, sad country songs popularized by the so-called Nashville “outlaws” of the 1970s – most famously, Willie & Waylon. Johnson isn’t afraid to show his manly emotions on songs like the poignant, cocaine cautionary tale “High Cost of Low Living” or while singing about his WWII vet granddaddy (without getting sappy) on “In Color.” And on “Women,” Johnson has a hoot poking a little fun at the fairer sex. It’s country. The way it should be. Johnson performs tonight at Dallas Bull in Tampa.

• Top 20 songs of 2008.

• Honorable mentions: more best songs of 2008.

My “Top 20 Songs of 2008″ feature is in the Creative Loafing that streets today. Here are my honorable mentions:

“All Nightmare Long,” Metallica
Metal masters are back – with a fierceness.

“Anyone Who had a Heart,” Shelby Lynne
Dusty would be proud.

“Be Mine!” Robyn (pictured)
Britney with brains.

“Better Get to Livin,’” Dolly Parton
Feel-good country pop from everyone’s favorite drag queen.

“Chemtrails,” Beck
Trippy dude.

“Discipline,” Nine Inch Nails
More Reznor industrial wickedness of the highest order.

“Don’t Change,” Lyrics Born
Positive alternative rap with a disco beat.

“Dust My Broom,” Cassandra Wilson
Greatest vocalist alive lends her sublimely smokey contralto to this Robert Johnson blues classic.

“Furr,” Blitzen Trapper
A splendid Dylan rip-off.

“Getting’ Up,” Q-Tip
Rap word master is back with a smooth, mellow, masterstroke.

“I Wish I Knew,” Hank Williams III
Hellbilly renegade turns in a high, lonesome, first-rate tearjerker.

“Juliet of the Spirits,” The B-52s
Original college rockers return with a clubby cool ode to Fellini – and fallen women.

“Just Us Kids,” James McMurtry
Moving tale of a couple blue-collar guys reflecting on their real-life working man blues.

“Life Has Its Little Ups and Downs,” Raul Malo
Former Maverick faithfully and wonderfully updates this countrypolitan, Charlie Rich chestnut.

“Lonely Me, Lonely You,” The Gibson Brothers
Gorgeous close-harmonies that teem with hillbilly charm – and genuine heartache.

“A Lot of Days Are Gone,” The Hacienda Brothers
A fitting farewell to underground alt-country standout Chris Gaffney.

“Outlaw Shit,” Waylon Jennings
The late, great honky tonk hero says goodbye – his way.

“Pretty Runs Out,” Amanda Shaw
Catchy Cajun pop from precocious teen fiddling sensation.

“Salute Your Solution,” The Raconteurs
Awesomely gritty garage rock with ample swagger.

“She Loves the Sunset,” Old 97’s
Steel guitar and sweet vocals celebrate the joys of romance.

“Stay with Me,” Al Green
The reverend’s best cut in years, sounds like something criminally left off that Green’s greatest hits CD we all have – or should have!

“Street of Dreams,” Guns N’ Roses
“November Rain” rewrite still ranks as best power ballad to be issued in years, by anyone.

“Supernatural Superserious,” R.E.M.
Athens allstars bring back the blazing guitars and elate fans with a song that recalls the band’s glory, I.R.S. days.

“Waitin’ For Some Girl,” Ry Cooder
Slide-guitar-ace-turned storyteller offers another amazingly literate character study.

“When I Still had You,” Sonny Landreth
Reigning king of the slide guitar Sonny Landreth displays his melody-writing chops.