How We Tell This Story
Marketing Philosophy
"We don't market the music. We tell the truth and let the music prove it."

Midnight Church Aftermath is not a product launch. It's a reckoning made public. Every piece of content, every caption, every interview answer and email subject line should feel like it came from the same place the songs did — honest, grounded, a little defiant, and completely free of performance.

The marketing lives in the same world as the music: blue hour tones, late-night honesty, kitchen table realness. Nothing shiny. Nothing fake. Credibility is the only currency that matters here, and it's built one true sentence at a time.

The Core Principle
Every piece of content should do one of three things: tell the real story behind the song, create a moment of genuine recognition in the listener, or deepen the relationship between Kris and her audience. If it doesn't do one of these things, it doesn't go out.
What This Marketing Is
What This Marketing Is Not
We Believe
The story behind the song is as important as the song itself
Specificity creates connection — vague content creates distance
Consistency of voice is more powerful than frequency of posting
Listeners who feel seen become fans for life
The album is one long story — every release is a chapter
Authenticity is not an aesthetic — it's the whole point
Kris Bradley / Boomfox Productions Midnight Church Aftermath — Confidential Marketing SOP
Who This Is For
Audience Map

The audience for Midnight Church Aftermath is not defined by demographics. It's defined by experience. They've lived something. They've doubted, rebuilt, come apart and come back together. They are done with polished versions of life and hungry for the real one.

Primary Listener
Men and women, 25–65. Country/Americana listeners with a rock edge. They value lyrical depth over production gloss. They've had a version of the burnout story. They're spiritual but not necessarily churchgoing. They're self-aware and a little tired of pretending otherwise. Miranda Lambert, Brandi Carlile, and Chris Stapleton are already in their playlists.
Secondary Listener
Anyone who's been through a reckoning — neurodivergent people who finally see themselves in a lyric, people in recovery (any kind), people rebuilding after a collapse. The album's themes are universal even when they're specific.
What They're Looking For
The Midlife Authenticity Thread — A Recurring Content Pillar
Entering midlife forces authenticity — not because you get wise, but because you run out of energy to be anyone other than who you actually are. This is the thesis of the album said from a human developmental angle that everyone over 40 recognizes immediately and everyone under 40 files away for later. It doesn't require the music. It's just true. And when it lands, the music becomes the proof of it.
Midlife Authenticity Hooks — Standalone Content
  • "I didn't choose to be authentic. I just ran out of energy to be fake." ⭐
  • "You spend the first half of your life building a version of yourself everyone can tolerate. You spend the second half quietly taking it apart." ⭐ — will be screenshotted by everyone over 40
  • "Maybe you didn't have to hit midlife to get here. Lucky you. I did." ⭐ — KB's exact words. Don't change them.
  • "Midlife doesn't break you. It just runs out of patience for the version of you that was never real."
  • "Midlife forces authenticity. Not because you get wise. Because you get tired. Too tired to be anyone other than who you actually are."
  • "There comes a point where the mask gets too heavy to hold up. For some people that's midlife. For neurodivergent people it's usually a diagnosis. Either way — same moment."
The Neurodivergent Parallel — Same Feeling, Different Timeline
  • "Neurotypical people hit this wall in midlife. Neurodivergent people hit it earlier, harder, and usually without knowing why. It's called burnout. It's actually unmasking."
  • "Maybe you didn't have to hit midlife to get here. Maybe you're neurodivergent. Either way — you know this feeling."
  • "The midlife authenticity crisis and the AuDHD burnout are the same thing happening to different people at different times for the same reason. The mask got too heavy."
The Self-Aware Funny Angle
  • "Midlife authenticity isn't a glow up. It's more like — I simply no longer have the bandwidth to pretend."
  • "I used to be a lot of things for a lot of people. Then I turned 40 and the budget ran out."
  • "40s hit different when you're neurodivergent. By then you've been masking for 40 years. The body sends an invoice."
When to Connect It to the Album
  • "I made an album about what happens when the mask finally comes off. Midnight Church Aftermath. This is that."
  • "The whole album is about this moment. The exhale after decades of performing okayness."
  • Timing note: Run the standalone hooks first — they perform on their own. Connect to the album after the audience has already nodded along. The music becomes the proof, not the pitch.
  • Song connections: Shapeshifter (masking), Walking Contradiction (AuDHD identity), Fireproof (burnout), Renovate Me (the breaking point). This thread runs through all of them.
Secondary Audience — Musicians & Creatives
The PLAB Bridge Audience — An Emerging Content Pillar
  • Who they are: Musicians, producers, independent artists, and creatives — many of them former PLAB students or followers — who are watching KB apply her marketing knowledge to her own artist career in real time. Disproportionately neurodivergent. Multi-passionate. They couldn't fit into a normal career path either.
  • Why they're engaged: They already trust KB as someone who built something real. Watching her turn the lens on herself — applying everything she knows to her own music — is more valuable to them than a course. It's a live case study they can't buy anywhere else.
  • The key distinction — transparency, not teaching: This is not a return to education. It's sharing the process honestly as it happens. Not "here's the framework" — but "here's what I'm actually doing and why, here's what's working, here's what isn't." The difference matters for KB's identity and for how the content lands.
  • Why it's authentic: The PLAB audience is already engaging with KB's content and asking how she's doing what she's doing. This isn't a pivot — it's responding to a signal that's already there.
  • Content angle: "I spent years teaching other people how to build audiences. Now I'm building my own. It's harder than I thought. Here's why." — that line alone is a piece of content.
Content Hooks — For the Musician / Creative Audience
  • "I taught music production for years. Now I'm applying everything I know about marketing to my own record. Here's what's actually working."
  • "Here's what I'm doing to market my first single as an independent artist — and what I learned from building a seven-figure education business that I'm applying right now."
  • "I used to teach other people how to build audiences. Now I'm building my own. It's harder than I thought. Here's why."
  • "I built a business teaching musicians how to produce. Now I'm the student. Here's what that feels like."
  • "Everything I taught in PLAB about building an audience — I'm doing it for myself right now. Here's what's different when it's your own art on the line."
  • "The hardest marketing I've ever done is for something I actually care about. Here's what I'm learning."
Content Formats — Transparency Series
  • The behind-the-marketing post: Share what you're actually doing — the stitch strategy, the six-week cycle, the POV format, the hook library — not as a course but as "here's what I tried this week and why." Creatives will share this heavily.
  • The honest numbers post: When it's time — share what's working and what's not. View counts, saves, what flopped. Transparency about the reality of independent artist marketing is rare and valuable.
  • The "I used to teach this" post: Specific moments where KB applies something from her PLAB knowledge base to MCA. The meta-layer is the content.
  • The neurodivergent creative thread: This audience and the AuDHD listener audience overlap heavily. Content that speaks to the neurodivergent creative experience — the hyperfocus, the all-or-nothing, the resistance to picking a lane — serves both audiences simultaneously.
  • Timing note: This content pillar runs alongside the music content — not instead of it. It's a secondary lane that deepens the relationship with an audience that's already watching. Don't lead with it. Let it emerge naturally from what you're already doing.
Kris Bradley / Boomfox Productions Midnight Church Aftermath — Confidential Marketing SOP
Existing Audience → Artist Brand
The Bridge Strategy

You have an existing audience from PLAB — ~1,500 email subscribers, 5,000 Facebook friends, 10,000 Instagram followers. These people already trust you. The bridge strategy is how you move them from knowing you as an educator and producer to knowing you as an artist. Done right, they become your most passionate early champions.

The Core Insight
  • These people don't need to be convinced you're credible — they already know you are. What they need is an invitation into this new chapter.
  • The biggest mistake: treating the existing audience like strangers and starting from zero. The second biggest mistake: assuming they'll just follow along without being explicitly invited.
  • They need one honest moment where you say "this is who I also am" — and then you consistently show them that person. The music does the convincing. You just open the door.
Phase 1 — The Bridge Email (Send Before Any Music Drops)
  • One email to the PLAB list. Personal, warm, no sales pitch.
  • Tell the real story — the burnout, the reckoning, the album. What it cost and what it gave back.
  • Acknowledge the transition directly: "You've known me as the person who taught production. I've been making my own record this whole time."
  • Invite them to follow the new artist Instagram and/or join the MCA email list — don't assume they'll find it themselves.
  • No hard ask. No "buy my album." Just: "I wanted you to know this exists, and I wanted you to hear it from me."
  • This email should feel like telling a group of old friends something you've been keeping close to your chest. Because that's exactly what it is.
Phase 2 — Social Bridge Content (Ongoing)
  • On the PLAB Instagram and Facebook: begin weaving in artist content naturally — not as a pivot announcement, just as part of who you are now.
  • The hired gun → artist story is the bridge content. "This is what I was building while I was teaching you to build." That narrative lands with a production-educated audience harder than it would with anyone else.
  • The manifesto content (Rick Rubin, double album, real musicians, Nashville) is especially powerful for the PLAB audience — they understand the craft decisions and will respect them immediately.
  • Share Nashville behind-the-scenes on both accounts. Let the existing audience feel included in the journey, not excluded from it.
  • When Fireproof drops — send to the PLAB list. Frame it: "This is the first song from the album I've been making. I think you'll hear everything we've talked about in here."
Phase 3 — The FanFinder Ad (Paid Bridge)
  • What it is: A low-budget paid Facebook/Instagram ad running an acoustic performance video of Fireproof. Psychographic targeting — no hard CTA, designed to feel like organic discovery.
  • Who it targets: People who look like your existing PLAB audience PLUS Americana/country/singer-songwriter listeners in the 25–65 range. The algorithm finds them — you don't have to.
  • Why no hard CTA: Because the goal isn't a click — it's a feeling. Someone watches the whole video, feels something, goes looking for more. That's a fan. A "stream now" button turns it into an ad. Let it feel like discovery.
  • Visual: Acoustic performance. Kris, a guitar, natural light. Nothing produced. The rawness is the point.
  • Budget: Low — even $5–10/day for 2–3 weeks around release can seed significant organic reach if the video connects.
  • Who manages: Kris's husband handles website, landing pages, funnels, and Facebook ads. Brief him with this page.
Kris Bradley / Boomfox Productions Midnight Church Aftermath — Confidential Marketing SOP
Your Most Valuable Marketing Asset
Email Strategy

You have 1,500 warm subscribers from PLAB. These are people who already trust you, already bought from you, and already believe in what you build. That list is worth more than 50,000 cold social followers. This page documents how to use it.

"Social media rents the audience. Email owns it."
The Four Email Types — MCA Campaign
  • 1. The Bridge Email — sent before any music drops. Introduces the artist side of Kris to the PLAB list. Not a sales email. A story email. "You know me as the person who taught you to produce. Here's what I've been building while you weren't looking." One email. Warm, personal, no hard ask. See Bridge Strategy page for full approach.
  • 2. The Story Email — sent release week, one per single. The real story behind the song in Kris's voice. Raw, no polish. 300–500 words max. Ends with a link to the song and one soft CTA. This is the most important email in each six-week cycle — it converts listeners to fans faster than any social post.
  • 3. The Keep-Warm Email — sent in weeks 4–5 of the cycle. No release attached. Just Kris — what's happening, what she's thinking, what she's working on. Keeps the relationship warm between singles. Short. Conversational. Feels like a text from a friend, not a newsletter.
  • 4. The Album Email — sent at album launch. The full story. The why. The arc from disc one to disc two. Links to buy. This is the one email you spend real time on.
Email Tone & Voice Rules
  • Always written in first person, always sounds like Kris talking directly to one person — not broadcasting to a list
  • No "Hey everyone!" openers — start in the middle of the thought
  • Subject lines are specific and human — not "New Music Out Now" but "I wrote this on a plane and it was embarrassing"
  • Short paragraphs. White space. Easy to read on a phone at 11pm.
  • One link, one ask per email — never more than two CTAs total
  • Always ends with just "Kris" — no sign-off flourishes
  • Never apologize for being in someone's inbox — you earned that spot
Subject Line Examples — Use These As Templates
  • "I wrote this at the bottom of a burnout. It's called Fireproof."
  • "Something I've never said out loud until now."
  • "This song started as a whispered voice memo on a plane."
  • "26 songs. Here's why."
  • "The thing nobody told me about making a record."
  • "I went to Nashville. Here's what happened."
  • "For the person who holds everything together until they can't."
  • "You know me as [PLAB]. Here's who I actually am." [Bridge email only]
Email Cadence — Mapped to Six-Week Cycle
  • Week 1: Optional tease — "something's coming" in 2–3 sentences. Not required every cycle.
  • Week 2 (drop day): Story email. Always. Non-negotiable. Most important send of the cycle.
  • Week 3: Optional follow-up — share one audience response or comment that landed. Keep the song alive.
  • Week 4–5: Keep-warm email. Personal, no release attached. One per cycle minimum.
  • Week 6: Optional — start seeding the next song with one line. "Something else is almost ready."
  • Total emails per cycle: 2–3 maximum. Never more than one per week. Respect the inbox.
Kris Bradley / Boomfox Productions Midnight Church Aftermath — Confidential Marketing SOP
Rollout Strategy
Release Framework

Singles are released in order of priority, not necessarily in album sequence. Each song gets its own moment — a content window, a story arc, a reason to exist in the feed before it exists on a playlist. Nothing gets released without a story attached to it.

The Three-Phase Window Per Song
Phase 1 — The Tease Before release. Plant the story. A lyric, a behind-the-scenes moment, a "this song exists because of..." post. Build anticipation without revealing the full song.
Phase 2 — The Release Launch day and week. The full story drops. Music video or visual asset goes live. Email goes out to the list. All platforms activate. This is the moment.
Phase 3 — The Long Tail Weeks after release. Audience response content. Lyric pulls. Cover versions if they happen. Playlist pitching. Keep the song alive past the drop date.
Always Running Behind-the-scenes from Nashville. Vlog content. Maui performance clips. The album-as-journey story that runs underneath every individual release.
Release Priority Tiers
Kris Bradley / Boomfox Productions Midnight Church Aftermath — Confidential Marketing SOP
Repeatable Release Framework
The Six-Week Cycle

This is the repeatable template for every single release across the MCA rollout. Apply it to all 10 singles. The song changes. The structure doesn't. Weeks 1–3 are single-focused. Weeks 4–5 are album story and ongoing content. Week 6 begins the tease for the next release.

Week 1 — Pre-Release / Build the Story
  • Primary goal: Plant the song in the audience's awareness before it exists. Make them feel like they already know it when it drops.
  • Post 1–2 stitch videos using sourced creator content → hard cut to lyric. No announcement. Just the moment.
  • Drop the key lyric as a standalone visual — plain text, song audio underneath. No caption or just a period. Let the comment section activate.
  • Share one piece of the story behind the song — not the whole thing, just a fragment. "I wrote this because..." One sentence. Let it hang.
  • If you have a work tape — this is a good week to tease it. 10 seconds of the raw recording, no reveal yet.
  • Email: Optional — a short "something's coming" note to the list. Keep it personal, not promotional.
  • Do NOT announce a release date yet. Let the curiosity build first.
Week 2 — Release Week / Full Activation
  • Primary goal: Maximum reach and conversion on drop day. Every platform activated, every asset deployed.
  • Drop day: Song goes live. Smart link goes out. All platforms post simultaneously.
  • Email to list: The personal story email — raw, no polish, written in Kris's voice. This is the most important email of the cycle. Tell the real story. Link to the song.
  • Post the full Story Behind the Song as a blog. Link to the song or sneak peek page depending on release status.
  • Work tape reveal — raw recording transitions into the finished track. Best-performing format for drop week.
  • Talking-head video — "before I play this, here's why I wrote it." 60–90 seconds. No polish.
  • Stitch content continues — source new creator videos that respond to the song now that it's out.
  • Ask the audience something. A question in the caption that invites them into the story. Let the comments become content.
Week 3 — Long Tail / Keep It Alive
  • Primary goal: Extend the song's life past the drop date. Most artists abandon a song after week 2. Don't.
  • Repost or reshare audience responses — comments, covers, people sharing their version of the story the song tells.
  • Pull a different lyric from the song that hasn't been featured yet. Drop it as a standalone visual.
  • Post a second stitch angle using a different lyric moment and a different sourced video.
  • Share a behind-the-scenes clip from the recording session for this song if available — Nashville footage, vocal takes, the room.
  • Pitch the song to playlists this week if not already submitted. Spotify editorial, independent curators, neurodivergent / Americana playlists.
  • Email: Optional follow-up — share a response you've gotten to the song, or a lyric that's been resonating in comments. Keep the conversation alive.
Week 4 — Album Story / Breathe
  • Primary goal: Step back from the single. Let the album world breathe. This is Track 2 content — no release pressure, just Kris being Kris.
  • Manifesto content — the Rick Rubin angle, why you made a double album, why real musicians, why Nashville. One piece this week.
  • Influences content — the Judds to Led Zeppelin story. Walk through the sonic DNA of the record. Discoverable across multiple communities.
  • Behind-the-scenes from Nashville — the studio, the players, the process. Doesn't have to be tied to a specific song.
  • A personal post — something that has nothing to do with releasing music. Just Kris. This is the content that builds parasocial connection and keeps followers engaged between releases.
  • No CTA required this week. Just show up. Consistency without pressure is the point.
Week 5 — Ongoing Content / Stay Visible
  • Primary goal: Maintain presence without burning out. This week has the least pressure of the cycle — use that.
  • Pull a piece of content from the pre-pro book or album story that hasn't been shared yet — an Easter egg, a production note, a behind-the-scenes fact about the album architecture.
  • A "day in the life" or process video — writing, recording, the Maui life, whatever is honest and real right now.
  • Revisit an older song or unreleased moment — a throwback work tape, a live clip, something from the vault that ties back to the album world.
  • Engage in the comments of your stitch content. The algorithm rewards conversation. Spend 15–20 minutes actively responding this week.
  • Email: Optional — a personal note to the list. Not promotional. Just keeping the relationship warm.
Week 6 — Next Song Tease / Bridge to the Next Cycle
  • Primary goal: Begin planting the next song without making a formal announcement. Create curiosity before the next Week 1 begins.
  • Drop one piece of the next song's story — a lyric fragment, a "I wrote this because..." moment, a stitch video using sourced content that maps to the next song's theme.
  • If you have a work tape for the next song — this is a good place to tease it. 10 seconds. No reveal.
  • The transition should feel organic, not promotional. The audience shouldn't feel like they're being cycled — they should feel like the story just keeps unfolding.
  • Then Week 1 begins again for the next single.
At a Glance — Six-Week Cycle
Week 1Pre-release. Plant the story. Stitch content. Lyric drops. No announcement yet.
Week 2Release week. Full activation. Email. Blog. Work tape reveal. Talking-head video.
Week 3Long tail. Keep the song alive. Audience responses. Second lyric pull. Playlist pitch.
Week 4Album story. Breathe. Manifesto content. Influences. Nashville behind-the-scenes.
Week 5Stay visible. Low pressure. Process content. Easter eggs. Engage in comments.
Week 6Next song tease. Bridge to the next cycle. Then Week 1 begins again.
Kris Bradley / Boomfox Productions Midnight Church Aftermath — Confidential Marketing SOP
April 2026 → July 2026 — Pre-Launch Content Brief
Content Calendar

Fireproof drops late July 2026. That gives you three months to build the audience, warm the story, and make sure people already care before the song exists publicly. The rule: no song content until songs are registered. Plenty of story content in the meantime.

"The song should feel like the payoff of a story they've been following — not the introduction to someone they've never heard of."
Late April — Right Now / Nashville Departure
  • What this period is about: You're leaving for Nashville. That's the story. Document everything. No song audio, no lyrics, no finished music. Just the world being built.
  • Post the departure — "heading to Nashville to record a 26-song double album. Completely normal behavior." One sentence. Let the number do the work.
  • Document the airport, the flight, the arrival. Raw. DJI Pocket 3 in hand from the moment you land.
  • First Dark Horse footage — the room, the gear, the energy. Let people feel what it's like to be in that studio.
  • Introduce Eric and the players as characters — not formally, just naturally. The people in the room become part of the story.
  • No song clips yet. No lyrics yet. Just the journey beginning.
  • Copyright note: File registrations for fully written songs NOW — before any lyric content posts publicly.
May — Deep in the Sessions / The Record Being Made
  • What this period is about: You're in the room making the record. This is peak behind-the-scenes content. Post 2–3x per week minimum. The studio is the set.
  • Studio moments — players mid-take, control room listening sessions, vocal booth close-ups, the in-between moments (laughing, adjusting, reacting)
  • Work tape reveals start here — not the finished tracks, just the raw voice memos. "This is what [song] sounded like before we recorded it." No audio from the session yet.
  • Introduce the sonic world — the instruments, the textures, the Americana warmth. Without playing the music, describe what it feels like to be in the room while it's happening.
  • The "why real musicians" content — one talking-head piece about why you chose live players over production software. The AI contrast. Timely and true.
  • The "26 songs" content — one piece explaining why a double album. The Rick Rubin angle. Make it feel inevitable, not indulgent.
  • Send "we finished the record" email to list at end of May — personal, warm, no hard ask. This is the moment they've been following along for.
June — The Manifesto / Building the Why
  • What this period is about: Nashville is done. The record exists. Now you build the story that makes people care about what's coming. This is manifesto month.
  • The hired gun → artist story. The full version. This is the cornerstone piece of content — written version for the blog, talking-head version for video, shorter version for email.
  • The influences content — "I grew up on the Judds, Led Zeppelin, and nineties country and all of it is in this record." Walk through the sonic DNA. Discoverable across multiple communities.
  • The album title story — what does "Midnight Church Aftermath" mean? Why those words? This is one of the most compelling content pieces you have and it doesn't require a single song to be out.
  • Begin seeding Fireproof specifically — not the audio, not the full lyric, just a fragment. "There's a line in this song that I've needed to say out loud for years." Let it sit.
  • Set up Spotify for Artists, DistroKid, pre-save landing page — these are infrastructure tasks that run parallel to content.
  • Copyright registrations should all be filed by end of June.
  • FanFinder ad setup — brief your husband, get the Facebook Business Manager ready, pixel on the website.
Early July — Fireproof Pre-Release Window / Week 1 of the Six-Week Cycle
  • What this period is about: The song is coming. Start planting it with intention. This is Week 1 of the six-week cycle — see the Six-Week Cycle page for full detail.
  • First stitch content drops — source the neurodivergent burnout creator videos, hard cut to the Fireproof chorus or bridge lyric. No announcement. Just the moment.
  • The bridge lyric goes out as a standalone post: "you don't have to burn yourself down to the ground just to be loved." No context. Let people claim it before they know it's a song.
  • Submit Fireproof to Spotify editorial via Spotify for Artists — this must happen at least 7 days before release, earlier is better.
  • Announce the release date to the email list — include pre-save link. Personal, warm, the real story of what the song is about.
  • FanFinder ad goes live — acoustic Fireproof performance, psychographic targeting, no hard CTA.
Late July — Fireproof Drops / Week 2 of the Six-Week Cycle
  • What this period is about: Release week. Full activation. The audience has been warming for three months. This is the payoff.
  • Drop day: song goes live everywhere simultaneously. Smart link out. Email goes to list — the real story, raw, no polish.
  • Work tape reveal: raw voice memo → produced track transition. Best-performing format for drop week.
  • Talking-head video: "before I play this, here's why I wrote it." 60–90 seconds. No polish.
  • Story Behind the Song blog goes live — handwritten journal card lyric treatment, links to the song.
  • Continue stitch content with new angles now that the song is out.
  • Then Weeks 3–6 of the six-week cycle begin — see the Six-Week Cycle page.
The One Thing to Remember
You are not waiting to start. You already started. Every Nashville post, every manifesto piece, every work tape tease is marketing. The audience is being built right now, in real time, by the story you're already living. The song is just the moment it all pays off.
Kris Bradley / Boomfox Productions Midnight Church Aftermath — Confidential Marketing SOP
Getting the Songs in Front of New Ears
Playlist Pitching

Playlist placement is one of the few organic discovery channels still working at scale for independent artists. The goal isn't chart placement — it's getting Fireproof in front of the right listeners who have never heard of Kris Bradley. This page covers when to pitch, where to pitch, and how.

Timing — When to Submit
  • Spotify for Artists editorial pitch: Submit 7 days minimum before release date — earlier is better. This is the only way to be considered for algorithmic playlists (Release Radar, Discover Weekly, editorial playlists). Do this first, before anything else.
  • Independent curators: Pitch 2–3 weeks before release. Give them time to listen and schedule. Don't pitch on drop day — that's too late.
  • In the six-week cycle: Curator pitching happens in Week 1 (pre-release). Spotify editorial pitch happens the moment the song is uploaded to your distributor.
Target Playlists — Fireproof Priority
  • Spotify Editorial targets: Americana Afternoon, New Boots, Wild Country, Women of Country, Hot Country, Breaking Country — pitch all of these through Spotify for Artists editorial tool
  • Neurodivergent/mental health adjacent: Search Spotify for playlists around burnout, mental health, emotional healing, ADHD — these are curator-built and highly engaged. Fireproof fits here perfectly.
  • Mood-based: Late Night Feelings, Songs to Cry To, Sad Indie, Powerful Women — broad reach, high streams per listener
  • Independent curator platforms: SubmitHub, Groover, Playlist Push — budget-friendly ways to reach curators outside the Spotify editorial system
  • Country/Americana blogs: Saving Country Music, The Boot, Whiskey Riff — pitch for editorial coverage alongside playlist placement
Pitch Copy — What to Say About Fireproof
  • One-liner: "A blues-rock Americana track about neurodivergent burnout — for everyone who was called strong one too many times."
  • Two-sentence pitch: "Fireproof is a blues-rock Americana track about the moment a high-achieving woman finally runs out of runway. The bridge lyric — 'you don't have to burn yourself down to the ground just to be loved' — is the emotional center of the song and the line the late-diagnosed burnout community has been waiting to hear."
  • Sounds like (Fireproof / single-level): Chris Stapleton meets Jason Isbell meets Bonnie Raitt. Use this in all Fireproof pitches and single-level press copy.
  • Sounds like (MCA album-level): Miranda Lambert meets Chris Stapleton with the emotional specificity of Brandi Carlile. Save for album drop campaign.
  • ⚠️ The "Led Zeppelin met the Judds in a dive bar" line = album-level ONLY. Do not use in Fireproof pitches or single-level content. Save for MCA album drop.
  • For neurodivergent/mental health playlists: Lead with the burnout angle and the late-diagnosis community connection — that's the most relevant hook for those curators
Marketing Expert Notes
  • Spotify editorial is free and non-negotiable. Every single gets submitted through Spotify for Artists the moment it's uploaded. No exceptions. Miss the window and you're out of consideration for the release cycle.
  • Independent curators are relationships, not transactions. Follow them. Engage with their playlists genuinely. A cold pitch from someone who has never interacted with their account gets ignored. A pitch from someone who clearly knows their playlist gets considered.
  • SubmitHub has a free tier. Use credits strategically — don't blast every curator, pick the ones whose playlists already sound like Fireproof.
  • The neurodivergent playlist space is underserved for music. There are playlists specifically for ADHD focus, autistic listeners, and mental health. Fireproof could become a go-to track in those communities — which are deeply loyal and share heavily.
Kris Bradley / Boomfox Productions Midnight Church Aftermath — Confidential Marketing SOP
For Anyone Writing Copy in KB's Voice
Brand Voice Cheat Sheet

This is the quick reference for anyone writing captions, emails, blog posts, or any copy that sounds like Kris. The voice is specific. These rules protect it.

Always — This Is KB
  • Warm but direct — no fluff, no filler
  • Specific over vague — always name the exact feeling or situation
  • Conversational — writes the way she talks
  • Honest first — truth before polish
  • Self-aware humor — especially about the double album, neurodivergence, ambition
  • Short sentences. White space. Easy to read.
  • Opens in the middle of the thought — no warm-up
  • Ends clean — no flourishes, just "Kris"
  • Ellipses for trailing thought... not em dashes
  • Contractions always — "I'm" not "I am"
Never — This Is Not KB
  • Corporate or brand-speak of any kind
  • Vague emotional language ("this one hits different" without saying how)
  • Em dashes — not her punctuation
  • Fake urgency ("Don't miss out!" / "Limited time!")
  • Over-explaining — the song speaks, the copy opens the door
  • Performing vulnerability — only the real thing belongs here
  • "Hey guys!" or any group opener
  • Excessive hashtags — 3–5 max, always relevant
  • Overly polished or "PR voice" language
  • Apologizing for being in the inbox or the feed
Opening Hook Formula
  • The "If you've been..." format: "If you've been [very specific situation] — this song is for you." The more specific the situation, the harder it lands. Vague = scroll past. Specific = screenshot and send to a friend.
  • The direct address: "For the person who [does the exact thing the song is about]." Not "for anyone who" — "for the person who." Singular. Intimate.
  • The confession: "I [did/wrote/said] this and I'm not even sorry." Self-aware, slightly defiant, completely KB.
  • The mid-thought start: Start a caption already in the middle of the idea. No setup. No "so I wanted to share this with you." Just the thing itself.
The Gut Check
  • Read it out loud. Does it sound like Kris talking to a friend, or does it sound like a brand talking to a customer? If it's the second one, rewrite it.
  • Is there a vague word that could be more specific? Replace it.
  • Is there anything that sounds like you're trying to impress someone? Cut it.
  • Would Kris actually say this sentence out loud? If not, it doesn't go out.
Kris Bradley / Boomfox Productions Midnight Church Aftermath — Confidential Marketing SOP
Internal Site Planning — midnightchurchaftermath.com
Site Architecture

This page documents the planned structure of the MCA internal hub at midnightchurchaftermath.com and serves as the brief for Cowork when it's time to build. Everything here is password-protected and for collaborators and team only.

Current State — What's Already Live
  • midnightchurchaftermath.com — domain is live and active
  • /pre-pro — Pre-Production Book is already hosted and password protected. Contains song-by-song pre-pro sheets, sonic palette, production approach, Easter egg map, thematic thread, and full album overview.
  • Password protection — already in place for team and collaborator access
Next Build — What Cowork Adds
  • midnightchurchaftermath.com/marketing-sop — deploy the Marketing SOP HTML file (this document) at this URL behind the same password as the pre-pro book. No rebuilding needed — the file is ready to host as-is.
  • Add navigation between /pre-pro and /marketing-sop so team members can move between documents easily
  • Same login / same password as existing site — no new credentials needed
  • As the SOP grows (more song sheets added), Cowork updates the hosted file periodically — simple file swap, no structural rebuild
Current Philosophy — Separate Documents by Role
  • Pre-Production Book — producer hat, player hat, engineer hat. Everything sonic, arrangement, and session-planning lives here. Co-producers Blue Foley and Eric Torres work from this document.
  • Marketing SOP — marketing hat, content creator hat, videographer hat. Everything story, hooks, release strategy, stitch content, sync, and blog lives here. This is the document for anyone wearing a marketing or content role.
  • Why separate: People can go deep in their lane without being overwhelmed by information that isn't theirs. A videographer doesn't need the sonic palette. A producer doesn't need the TikTok stitch strategy. Clean separation = cleaner collaboration.
Future State — The Song Business Plan Pages
  • Eventually, each song gets its own unified page — a single URL that pulls together everything about that song from both documents: pre-pro notes, marketing sheet, story behind the song, hooks, stitch strategy, sync targets, credits, and links.
  • Structure: midnightchurchaftermath.com/songs/fireproof, /songs/small-talk, /songs/walking-contradiction, etc.
  • Use case: When pitching a sync supervisor, prepping for an interview, or briefing a new collaborator on a specific track — send them one URL and they have the complete picture. That's the song's business plan.
  • Navigation: A song index page at midnightchurchaftermath.com/songs listing all 26 tracks with links to each individual page
  • When to build this: After Nashville sessions are complete and the record is locked. No point building individual song pages until the pre-pro decisions are finalized.
Planned Site Map — Full Picture
/pre-proPre-Production Book. Live now. Producer / player / engineer access.
/marketing-sopThis document. Next Cowork build. Marketing / content / videographer access.
/songsSong index — all 26 tracks. Future build post-Nashville.
/songs/[title]Individual song business plan pages. Unified pre-pro + marketing per song. Future build.
/storiesStories Behind the Songs — blog source documents. Future build.
/budgetProducer budget tracking. Optional — currently in Google Sheets.
Cowork Brief — Immediate Next Step
  • Task: Host the Marketing SOP HTML file at midnightchurchaftermath.com/marketing-sop
  • File: MCA_Marketing_SOP.html — download from this conversation and hand off directly
  • Password: Same as existing /pre-pro password protection — no new credentials
  • Navigation: Add a link between /pre-pro and /marketing-sop so team can move between them
  • Ongoing: As new song sheets are added to the HTML file, Cowork does a simple file swap to update the hosted version
  • Do not rebuild the design — the HTML is already styled and complete. Host as-is.
Kris Bradley / Boomfox Productions Midnight Church Aftermath — Confidential Marketing SOP