4 Tips to Become a Successful Indie Music Professional.

I’m often asked about the pros and cons of becoming an independent artist, music professional, or label in today’s music industry. Entrepreneurs often creatively thrive in independent environments, but it’s important to understand the large gap between becoming independent by description and excelling professionally as an independent. Simply put, separating the hobby from a full fledge profession. If you fall in the indie group that constantly blames shortfalls on managers, bands, agents, and essentially “not getting product in the right hands,” you’re chasing a hobby. To the other extreme, individuals that blaze their own path and create business as opposed to wait for business become the successfully indie professionals. However, in today’s internationally driven industry, tactics that prove successful domestically may be harder to apply on a global level. To achieve international music industry nirvana as an indie professional, collaboration is key. Whether you’re an independent artist looking for international exposure, entertainment attorney seeking international clients, or a manager looking to expand your roster, here are 4 “must have” traits in order to efficiently expand in the globalized industry: (1)You Don’t Know Everything, (2) Remain Flexible, (3) Achieving Successful Collaboration, and (4) Don’t Be Selfish.

A quick preface before exploring each topic in order to highlight the importance of collaboration. I recently become involved with a team of individuals around the globe sharing one common objective, to help one Australian artist accomplish her musical goals. The team consists of managers in Asia, producers/managers in Europe, creative experts in L.A., business managers in Australia, and entertainment attorneys in the States. Each and every person brings something unique to the table. The industry, for better or worse, is global. No one individual on this team could accomplish global success in the timeframe the group may undertake. As the market continues to grow, this willingness to embrace other specialties that compliment (or trump) your professional niche is a necessity for success. This is an essential mindset in becoming a successfully “independent.” You can’t accomplish it own your own. Nobody – musician or professional. Even if you posses the skills, achievement will take longer if you hold cards close to your chest, and you may run yourself ragged trying to accomplish success on your own. Independent in 2010 means accepting help, talents, and expertise other than your own.

1. You Don’t Know Everything
Step 1 - Embrace the fact you don’t (and can’t) know everything about the industry. The entertainment world is so vast and it’s important to create niches. Musicians create niches by unique musical fusions that spawn new genres; and professionals seed niches by becoming experts in specific areas. Step 2- collaborate with experts who have different niches than your practice area. Creative juices flow when teams collaborate, all of which bring different specialties to the table. Musicians, this can often be uncomfortable letting go of the creative reins because it is easy to become settled into a musical genre. Let it go and you’ll be amazed at the new ideas you’ll tap into. Professionals, on the other hand, enjoy carrying the persona they know everything on every topic. They don’t. By dropping “the know it all” arrogance, clients may become more attracted to your honesty and willingness to explore new creative outlets with them as opposed to feeling forced into a mold.

2. Remain Flexible (To an Extent)
It is important to have an overall goal, an objective that keeps the drive alive, but collaboration calls for flexibility. When working with individuals who all have different professional and creative ideas, unlikely thoughts will emerge that would otherwise be impossible to plan for. Roll with it.

3. Achieving Successful Collaboration Takes Time
Collaboration isn’t an immediate characteristic, be patient and expect months to years to build a creative community. Take full advantage of social networking sites that are specific to business such as LinkIn. Explore networking sites not with a specific objective, rather to explore and see what unique specialties jump off the page. For example: musicians in the States may want to explore a tailored search to France’s entertainment economy. The search may generate a variety of topics from labels, managers, web designers, and venues all unique in their own right. Find something interesting, then think- “what can I do to help that person in the States, and what can they do to help me in France.” A professional bartering system if you will. You’ll be surprise at the willingness of both parties to explore new and interesting avenues for cross cultural promotions.

4. Don’t Be Selfish
Becoming selfless is a difficult character trait, but an essential one today’s industry. If you develop contacts, share them willingly. Retaining the role of gatekeeper is fine, but remain eager to connect people from around the globe because it only leads to more contacts for your personal rolodex. Further, without even purposely promoting yourself, you unknowing become a global billboard through word of mouth and international collaboration. The trouble for bands and professionals is they want to constantly receive credit for relationships or achievements. Let it go. More will be achieved with professional contacts or music exposure by allowing things to flow in a nature course.

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Artist Suggestion - FEBRUARY 26th

With the 2010 launch of international artists tackling American soil, several are quickly separating from the pack. By far some of the most unique acts carving out their own musical genre niche are representing their homeland of Ireland well. Two such recommendations: (1) Seneca – Rock group which you’ll hear me talk about in great detail in the upcoming months, and (2) Imelda May. May, even though penetrating the American market with much success, deserves a bigger explosion. Coined as Rockbilly, her blend of Swing Jazz and Irish dialect takes this musical style over the top. Enjoy.

ARTIST: Imelda May
TRACK: Johnny Got a Boom Boom

How to Select an International Tour Venue

How do you select a tour spot in an international marketplace? Everyone knows it takes more rhyme and reason than throwing darts at a map, but venue selection is so broad where do you even begin? Billboard recently ran an excellent year-end review, detailing 2009 in terms of album sales, publishing, and more importantly touring. The article touched the tip of the iceberg, but I’m here to break it down in detail with additional research and analysis. This post will seem mathematic in nature and maybe even confusing so I recommend approaching it in two ways. (1) Musicians- seriously analyze which category you fall into (this will make since in a second), and (2) Use the links following this post as a helpful guide after determining your venue market. The suggestions take venue selection 101 a step further, and discusses building blocks in venue selection → international marketing → international sales → and international promotions, all of which work hand in hand with venue selection.

Consider where you are in your career. Bands, you may playing 150+ shows a year on the American east coast, which is a nice measuring stick. Start with your domestic appeal and examine it to the backdrop of potential international popularity. You may get a few hundred iTunes downloads in German, so you can realistically call Germany a “potential” tour spot. International bands should evaluate their careers going the other direction. Whatever you think your market appeal in a new country could be in terms of concert attendance, cut it in half (and that’s liberal). Understand you’re essentially starting over in a new market. Depending on your numbers, it’s time to select the type venue in which you could excel. See where you fall on the scale:

Group A = Stadium Tours
Group B = Venues of 15,000+
Group C = Venues of 10,000 – 15,000
Group D = Venues of 5,000 – 10,000
Group E = Amphitheatres
Group F = Venues of 0 – 5,000
Group G = Festivals Tours

Most readers fall in Groups E,F,G, which will be the primary focus; but first lets look at the others. This gives an accurate overview of which countries, cities, festivals, etc..are realistic tour spots. The percentages below represent the most successful in the world in that given category.

Group A:
If you’re a band at the level of stadium tours, God bless you, as many aren’t. But as many assume the U.S. overwhelmingly has the most stadium tours in the world, you’re wrong. The U.S. does house the highest grossing stadium tour, but the allocation among countries pretty even.
20% United States (*highest grossing)
10% Mexico
10% Ireland
10% Sweden
10% The Netherlands
10% France
10% Italy
10% U.K.
10% Argentina

Group B:
In 2009 the highest grossing concerts weren’t in the United States, rather in the U.K. However, the safest bet in terms of high end touring (if your at that level) still sits in the U.S. Out of the Top 10 venues in the world, the allocation among the countries:
40% United States
20% Australia
20% Canada
10% U.K. (*highest grossing venue)
10% Belgium

Group C:
If you fall within the range of 10,000 – 15,000 attendees, consider where the top venues fall:
20% United States
20% U.K.
20% Australia
10% Ireland (*highest grossing venue)
10% The Netherlands
10% Canada
10% Finland

Group D:
The U.S. still reins heavyweight with the amount of venues with attendance of 5,000 – 10,000:
50% United States (*highest grossing venues)
10% Mexico
10% Denmark
10% The Netherlands
10% Ireland
10% Brazil

Now we move onto the real substance. Readers more than likely should be playing Amphitheaters, small concert halls, and festivals- but where? Instead of wasting time putting effort into a Greece tour, consider their venue output. You should clearly flock (or at least consider flocking) to where the successful music spots are located. High numbers essentially mean a higher percentage rate of fan acceptance, greater success, or more album sales.

Group E:
The United States has an overwhelming majority of Amphitheatre hotspots. Hell I would go as far to say, don’t even consider other countries if you’re looking to tour Amphitheatres.
90% United States (*highest grossing venues)
10% Canada

Group F:
If you fall in the range of 5,000 attendees, consider whether a European tour is even worth the effort. Just like Amphitheatres, an overwhelming majority of venues with those numbers reside in The States.
90% United States (*highest grossing venues)
10% Brazil

Group G:
The common school of thought for mid level bands is to play at international festivals. Nice reasoning, but consider where a majority of them reside:
70% United States
10% Ireland (*highest grossing venues)
10% Argentina
10% U.K.

If you don’t fall within one of these groups, no worries, as the globe is packed with great live music spots and bars that function as a springboard before playing to the masses. The below articles give direction as to finding those markets, promoting in those markets, and developing beneficial international fan appeal.

The Next Big Music Markets
Tips to Successfully Market Music Overseas
Ways to Promote a Concert Overseas
Ways to Organize an International Tour
U.S. Immigration Policies & How It Will Change Music
Essential Tools to Penetrating a Global Market

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Indie Guide: 10 Essential Tools to Penetrate a Global Market in 2010

Before fully ringing in 2010, let’s reflect on the lessons learned in 2009. With out a doubt ‘09 represented the year of the foreigner. Mainstream acceptance for international musicians peeked in the U.S, which trickled down into global market acceptance. Highlighting this point, in the 2009 Grammy Awards all five nominees for record of the year were associated with foreign countries. So indie musicians, labels, and music professionals, reset the radar as 2010 is the year for global expansion. The obvious question – how? This particular article is geared as a guide for indie level groups, however the advice cuts across all levels. It's insight into aspects that are either taken for granted or not fully identified. So without delay, the 10 essential tools to penetrating a global market in 2010. Follow them from top to bottom and start implementing them immediately.

1. Get an Attorney
For some strange reason attorneys are still classified as “the suits” within the music industry. Debunk this immediately because an entertainment attorney will prove to be the most valuable chess piece on your career board. Why? Besides having the means to infiltrate the industry decision makers whenever necessary, attorneys are also essential in global expansion. Without a doubt, international red tape will arise while attempting to expand a business (ie: your career) across borders. Attorneys are your roadmap in minimizing the financial causalities, and insurance you’re tapping into the correct global market. Also, attorneys have adapted to today’s indie driven market. For attorneys to eat, they’ve got to grow with their artist. The days of teaming with a one hit wonder and banking-in are over; rather it takes sustainable growth and partnership from both parties essentially “in it together.” Finally, attorneys can be effective as your manager as well. This in essence gives you a power piece without paying two parties (ie: attorney & manager). Invest in an attorney on the front end. At some point you’ll need one and it’s better to gain them in the beginning as opposed to the back when it will cost you an arm and leg. Not to mention, an attorney can help you accomplish about 8 of these 10 steps!

2. Get a Passport
This is a no brainier. International growth is 100% impossible without hitting the ground in a target country at some point. Sure, some groups may hit the lottery by tossing out a few free MP3’s that get a listen in Poland, but this doesn’t mean effective growth. It will fizzle, believe me. Get a passport now to set the stage for international tours, promotion, or marketing efforts in the next six months. Remember, passports are not an overnight ordeal so get on it now.

3. Artist Development Plan (A.D.P)
Fore creative thinkers there will be resistance with this step, but you must take a page out of the business playbook. Just as a business follows a business plan, artists should follow an artist plan specifically tailored to their goals. An ADP (Artist Development Plan) helps artists organize a growth path, get goals down on paper, and have an overall game plan to guide when times get difficult. Entertainment attorneys prove a tremendous asset here. They will help you produce realistic goals based on market trends by objectively evaluating your career. Need help, no problem. I do a specific amount each year, or can funnel you to the someone for help.

4. Get Organized. Really Organized. Like Crazy Man Organized!
To gain global success you must first know where you’re going. Global music is different, not by much, but there are several nuances you must learn. Target a country, study the market, know what is successfully, the popular artists, the typical fan base, etc… This takes patience and organization; but when you can lay the information out next to stats on your own band the information is invaluable.

5. Revaluate Your Stage Show
Sadly, stage shows have fallen to the wayside. Compared to the 1960’s, attention to stage performance, creative stage performance for that matter, have been in the toilet; but when expanding overseas this will be a deal killer or deal maker so pay attention. The expectation level for success when expanding markets runs at an all time high, especially for American bands crossing the Atlantic. People expect something different. Do what everyone else does in terms of performance and your dead. Time to re-tune, re-think, and reinvent your stage show to reflect some creative thought.

6. Get a Local Contact
As much as you want to control all aspects of your career you’ve got to let something’s go. Get a local contact. Local contacts help with navigating the unforeseen issues, and further can help gain a foothold with venues, radio, promoters, labels, etc…

7. Focus on Radio
It’s not completely dead! If you’re an immigrating artist, radio is somewhat easy to pierce as opposed to social media outlets. Why? International radio stations are looking for something different, and as a foreign artist you’ve got that something different. Radio is driven by listeners and advertisement, and you can help obtain both. If you’re persistent with stations and willing to participate in on-air interviews, chances are this will attract international stations as they stand to gain from airing unique musicians. This possibly equates to more listeners which spawns higher advertisement rates for the station. More importantly for you, it attracts potential local partners interested in branding opportunities or licensing agreements.

8. Team With Local Talent
Forget about reinventing the wheel and going solo on tour, rather team up with local talent and benefit from their success. Local musicians, if musically compatible, benefit from partnering with international acts because it provides cross-promotional potential. Take advantage of this system and begin researching (Step 4) which acts are well-suited in terms of music and touring schedule.

9. Festivals are Great, Holidays are Better
Many bands view festival season as an opportunity to expand their international appeal. Let’s be realistic for a second, sure festivals are great but it’s also an absolute bitch to be the band selected out of thousands also submitting material for consideration. Another alternative is to identify the local holidays. I’m not talking about mainstream holidays, I’m talking about the local holidays specific to a particular town, city, or national tradition. Penetrate this market and you’ll get authentic fans who will prove to be timeless buyers.

10. Make Sure to Have Product, but Buy Local
Weaving through the international labyrinth is important, but making sure you have product on the other end to sell is what makes it beneficial. Consider this, if you have T-shirt designs, album layouts, or poster mockups, do NOT ship them. Shipping will cost a fortune and customs will be a nightmare so identify local businesses that can fulfill your demands. This will prove less of a hassle and economically beneficial when it’s all said and done.

Here’s to 2010

Cheers

Questions or contact: www.frascognamusic.com OR marty@frascognamusic.com
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The 4 Dangers of a Self Released Album

“Self release” is all too common of a phrase in today’s music market. If we’ve learned one thing over the last decade in the industry, musicians and upcoming music professionals want to bypass the label as everything as turned “independent.” I’m about as independent as they come, but I’m also a realist. As a self-release is artistically liberating on one hand, it is also completely dangerous on the other. Approach a release incorrectly, and not only are you out money and time, but it has a negative ripple effect on a musician’s reputation and marketing appeal. To clarify, “independent release” for the purpose of this post, refers to a musicians self released album without using the resources of distributors, labels, marketing professionals, and other industry leaders. To disarm the naysayer, there is always an exception to the rule. As a musicians may latch on to the OK-Go Youtube model to prove a self release can be successful, “you’re right” but it’s not a realistic model to follow. That’s like a college graduate arguing they’re not going to work because they plan on winning the lottery. The chances you’ll nail it with a self release are limited at best; but before reading further I suggest viewing WHY YOU NEED A RECORD LABEL in order to understand my mindset with this post.

Set ego aside for a minute and become deeply aware with the common pitfalls with a self released album. If you can avoid the following traps you’ve already set yourself apart from the millions of other bands around the globe. Be smart. Don’t hang yourself on a negative release.

1. Match It With Marketing
People get way too excited about a self release, so it is important to distribute the energetic buildup. For musicians, they spend time writing, editing, recording, editing, mastering, editing, and eventually album manufacturing. From start to finish, thousands of creative hours have been poured into to one product, so clearly excitement is running high to get the album on shelves. Problem- where are those shelves? Whatever the amount of time it took to produce the album, the industry rule of thumb is to spend at least equal amount of time marketing the album before it hits the shelves. Example: if you spend 18 months writing and recording, at a minimum you should spend 18 months marketing the album. To have a financially beneficial release, along with elevating your artistic reputation, it is essential to focus on the marketing effort. I get it, really I do……you want to put out the album, but slow it down. Musicians are musicians, they are creators, but they aren’t marketing experts. Start by establishing a small buzz about a future release within your current fan base, and massage that buzz until it turns into a frenzy months before the actual release. Spend time finding distributor outlets, organizing future release parties, and maybe even a cross promotional partner. Bottom line, spend the time marketing.

2. Global Release? Really?
If I see an independent musician that’s described as “international recording artist” in their bio, I immediately dismiss them. Industry executives look for a variety of key aspects when evaluating an artist, one of which is realistic expectations and business planning. Don’t get confused, if you release an album, a release itself doesn’t mean you’re international icon. About the only thing international about it is the fact it can be found on the internet. YouTube and iTunes does not equate to an international singing sensation. If the intention is to have a global release, have an actual global release! Going global is possible, but it takes additional marketing time, researching market trends, and generating a fan base internationally. If this is the plan, first target a particular country. “Global” isn’t a blanket concept within the industry, as it means targeting new markets in far away countries. This is difficult but doable. “Global” is more a marketing trend as opposed to selling two downloads in Tokyo. Get some tips at 5 WAYS TO GO GLOBAL.

3. Social Media Isn’t the Final Answer

MySpace, Facebook, Twitter, and YouTube are all great tools to couple an album release, but it isn’t the promotional answer. You ask an independent artist how they plan on marketing/promoting a self release and 9 out of 10 will say social media. This isn’t unique, as everyone takes this approach in today’s market. It should be a component of your marketing effort, but as you try to stand out with a product in order to upstage your competition, social media follows the same trends as everyone else. Further, when you do use social media, be unique. I follow may too many bands on Twitter, MySpace, and chain e-mails that exhaust people with album alerts. There is fine line to walk between tactfully informing people of an upcoming release, and wearing people the hell out. For example, if you have 30 post a week, and all 30 Twitter updates say “New album out, check it out on iTunes.” you’re draining a fan base. Your goal is to gain followers, not to lose them. If every one of your posts is geared towards an upcoming album release, you aren’t doing anything to attract new clientele because there’s nothing on your site to keep people coming back. Be unique with your social media efforts, use them sparingly, and only invest time into social media to enhance release, and NOT to focus on a release.

4. Concert Fans Don’t Equal Album Buyers

Perhaps the most important element to keep in mind while planning a self release, is that concert goers don’t mean buyers. Another rule of thumb, less than 20% of your estimated fan base will actually purchase an album, and this is pretty liberal. Musicians get trapped into thinking that people who attend their shows will buy albums. Wrong. Any live music fan base is split between people who enjoy live music, people who enjoy going out, people who enjoy local events, and finally- the people who actually care about your music. Finally, don’t use your gigs as a gauge. Local musicians who constantly play the same venues, which constantly recycles the same customers, lose their marketing demand. As having gigs on your calendar is good on one hand because it keeps a cash flow coming, playing the same venues is also a self release killer on the other hand. You lose uniqueness by playing the same venues because you are recycling the same material. Regardless of what they tell you (or what you think you hear) fans get stale fast. The same set list, stage show, and production elements becoming exhausting. Just because you inject a new album into the mix doesn’t mean there’s new energy. In short, do NOT gauge your estimated album sales on the amount of fans who attend the concerts. It's an unrealistic measuring stick.



UPDATES:
As frequent readers are aware, I’ve got three books and one book contribution hitting the marketplace this year. For legal readers, the ABA is releasing “Entertainment Law for the General Practitioner” in the upcoming months. As the marketing push has already begun, be aware I was a contributing author to the project by writing the chapter on the music industries global implications. As for the other three books, I keep getting e-mails asking “where the hell are these things.” No worries people, they’re coming. A couple major publishers are now interested in the project. Good for me, delay for you. Once they hit the market, believe me, this series will be amazing for major touring artists or the everyday band. They are practical, easy to read/use, and will definitely allow bands to expand their fan base into international markets while increasing sales along the way. There is also interest to build the series of three into a series of five. In short, know they are coming and I’ll keep you posted when you can purchase them.

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Artist Suggestion - DECEMBER 4th

Lying somewhere between indie, folk, and Americana you’ll find Johnny Bertram and the Golden Bicycles. His music is delightfully simple, yet laced with skilled songwriting and creative instrumental combinations. The lyrics and music, if coupled with a creative label, has the potential to scream licensing agreements across the globe. If you don’t hear him embedded in mainstream commercials, start here with Lonesome Road, as the track’s ingenious just like the group name.

Artist: Johnny Bertram & The Golden Bicycles

Track: Lonesome Road

Bonus: Video from Mississippi Happening featuring the song “Where I Begin”

U.S. Immigration Policies & the 4 Ways It Will Change Music

In a time where globalization is so prevalent, governmental policies and the U.S. music industry are inadvertently stomping the globalization brakes with a heavy foot. International musicians are dominating the Billboard charts, global artists are in high demand in American stores, and fans demand tour dates in the States, however with all that said there is about to be a tremendous decline in international music and it starts with immigration visas and its effect on touring.

Some procedural background: International bands looking to tour/play in the United States can’t just jump on a plane and hit up the club circuit, rather they must first obtain a visa. Despite having a slew of visa options for U.S. non-citizens, the visas relevant to international musicians are often types “O” and “P.” Varying slightly in some specific areas (most commonly in the length of time a musician can remain in the U.S.), one thing remains consistent - visas can cost a lot of money, and burn up time, energy, and patience in order to acquire. International musicians, American labels focusing on international bands, domestic/international agents, and overseas labels rely heavily upon a slow and steady grassroots marketing approach to develop a fan base. This technique could potentially be butchered. Here comes the boohoo bad news: The U.S. Citizens and Immigration Service (USCIS) is now imposing stricter application requirements, along with stringent procedures that will severally limit the flow of international musicians. This will ultimately lead to 2 sets of problems: (1) touring effect and (2) a consumer market effect.

TOURING EFFECT:

As the new visa requirements will eventually cripple both international musicians and U.S. bands, here are the immediate effects, especially for oversea musicians:

1. An attorney relationship is required

Type O and P visas require a U.S. based “sponsor” that must vouch for the international parties visiting the States. Prior to the immigration amendments, musicians typically relied upon an agent, manager, label, or venue/concert representative to serve as a sponsor. Now the USCIS is limiting who will be considered “sponsors” or a “qualifying agent” by relying on more reliable and testable sources. Attorneys are now seen as the major component to maneuver the USCIS red tape OR, the unrealistic candidate of management companies who have deep relationships with the USCIS. For international musicians, teaming with a U.S. attorney is now an essential element of touring in the States.

2. Diluted Number of International Bands Performing at U.S. Music Festivals

Due to the new harsh visa procedures, visa sponsors are now required to strictly detail where and when the international band will perform. This component essentially eliminates international acts picking up random U.S. dates or returning for follow up shows once a successful tour is finished. Further, popular U.S. music festivals like SXSW, which carve out a specific number of slots for international musicians, will soon dwindle. For an international musician who relies upon U.S. exposure generated from domestic festivals, the risk/reward and financial component involved is now a savings account suicide. Labels will unlikely bankroll for a band to come play one festival without a significant number of set concerts following the date.

3. Social Sanctions are a B*tc*!

American musicians may not feel the immediate effect of strict visa requirements for international musicians, but in the world of international law social sanctions are soon to follow. If the U.S. continues to keep its talent in house by limiting the exposure of international acts, the world’s entertainment economy will follow suit which will severely impact American talent (more specially, mid level bands). For example: If Greek musicians are in immediate demand on American soil but they are unable to tour in the U.S., Greece will see a decline in their entertainment exports. If Greek musicians don’t have the opportunity to tour in the U.S., they can’t build a fan base, which means they can’t sell albums, partner with U.S. companies, or establish beneficial licensing agreements. This all causes a slight ding in entertainment exports. The way the international community typically works, instead of changing particular laws, which can take years to accomplish and are often seen as drastic, countries take calmer approaches and issue indirect social sanctions. In the example above, Greece may issue incentives for Greek musicians/labels that play festivals and concerts in their homeland OR issue penalties/special taxes for venues that book American bands. This is essentially what the movie industry has been experiencing with state incentives for filming in particular states. So to American bands, in short, if there isn’t opportunity to international musicians in the States, in the future your opportunity to play outside of American borders may be limited. Call it a social sanction backlash thanks to your governmental policies. Regardless, it’s how the international community responds to a disapproving black-eye.

MARKET EFFECT

4. Less Cross-Over Appeal

When there are less international musicians being exposed at American festivals, this equates to less airplay on American radio, less exposure to potential fans, which trickles to limited market demand, promotions, marketing, and eventually album sales. When there isn’t a demand, cross-over marketing opportunity with businesses and products come to a halt. This model swings both ways, as American musicians looking to partner up overseas will see limited opportunity because the markets will be saturated with domestic musicians.
UPDATES (as of 3/9/10) The backlash has begun and it starts in the world's hottest upcoming market - Australia. The Department of of Environment, Water, Heritage, and the Arts, headed by minister Peter Garrett highlights plans for "Bringing Aussie Musicians Centre Stage." Under the plan, if international touring artists (currently heavily saturated with American acts) perform in Australia, the plan allegedly assures Aussie musicians the opening act. On the surface, the plan promotes Australian bands by teaming with better known acts. Although not new to the industry by any means, the strong push to implement the plan is seen as backlash to the recent U.S. immigration policies making it harder for international musicians (more specifically the growing Aussie market) to tour in The States.

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