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Baby Robot Media is a music publicity and media service agency with employees in Los Angeles, Memphis, Atlanta & New York and represent musicians from all over the world. We specialize in promotional ( PR ) campaigns for albums, singles and videos, tour press, radio, music video production, music marketing, social media campaigns, Spotify campaigns and creating promotional content. Our mission is to help great unknown bands reach a wider audience and to help already successful artists manage their brand identity and continue to thrive. Our music publicists have over 50 years of combined experience in the music industry. We are known as one of the best in the business.

by Baby Robot Media

Americana Highways Reviews The New Album By The Mallett Brothers Band

“Americana music is many things, but it’s not typically known as an ethnic stew. But on Vive L’Acadie, The Mallett Brothers Band, sporting influences from Northern New England, French-speaking Canada, the Cajun South, Texas and even Ireland, has cooked up a sort of poutine gumbo that’s spicy enough to melt your turntable.”

New Kate Vargas Single Shared Over At Keep Walking Music

“We’re crazy over New York based artist release ‘This Affliction‘. Kate Vargas acoustic approach compliments a unique and intriguing vocal ability.”

Glide Magazine premieres Beechwood’s new single, “Our Love Was Worth the Heartbreak”

From two-minute pop perfection, to the sound of drug-induced nightmare psychoses, Beechwood’s music hits you where it hurts. The NYC-based trio consists of Gordon Lawrence (guitar/vox), Isa Tineo (drums/vox) and Sid Simons (bass/vox), all of whom draw their rock n’roll line in the dirt and ask the world, which side are you on?

On June 8 the band will release their new album Inside the Flesh Hotel on Alive Naturalsound Records (Iggy Pop & James Williamson, The Black Keys) and will celebrate with a European tour. The album is the follow-up to the recently released Songs From the Land of Nod LP, which garnered enthusiastic reviews across the board. This time around the band went for stronger production and catchier sing-a-longs. They mix garage, psych, and glam rock into a sound that is at once a throwback to a golden period of rock and roll as well as a sign of hope in a time when we see less and less guitar bands and true rock. It’s no surprise that they have drawn comparisons from an eclectic range of acts, from The Handsome Family and Conor Oberst, to the Rolling Stones and Jim O’Rourke.

Today Glide is excited to premiereBeechwood’s newest single, “Our Love Was Worth The Heartbreak”, an anthemic love song and a medley of indie-folk and Americana, with a touch of Nicky Hopkins-inspired piano. The band gets romantic, hanging on simpler, more tactile memories. Alas, youth is an alibi, and Gordon Lawrence pleads his case, singing “Our love was worth the heartbreak that came later / Now time keeps moving fast, but my boots ain’t built to last / Our love was worth the heartbreak that came later.” The song is less of a charged up rocker and more of a commiserating folk rocker with a loose, whiskey-passing vibe, making it one of the more fun tunes on the album. READ MORE…

by Baby Robot Media

Texas Monthly Exclusive: “Abhi the Nomad Wants to Settle Down”

Even by South by Southwest standards, Abhi the Nomad is in for a hectic week. Along with an official showcase put on by his record label, the rapper—who moved to Austin last fall—also signed on for a half-dozen unofficial shows to promote his debut album, Marbled. Like many other musicians, he’ll be using the weeklong frenzy of shows, parties, and “brand activations” for networking opportunities with industry types and other artists, looking for connections that could help get him to something bigger. He, like the other artists who will spend the week navigating the Sixth Street throngs, is hoping for the SXSW success story.

But for 24-year-old Abhi the Nomad, the stakes are a lot higher than the average musician’s. For him, it’s not just Apple, or Pitchfork, or C3 Presents that needs to decide if he’s the next big thing as an artist—it’s the Department of Homeland Security.

Abhi Sridharan Vaidehi was born in Madras, India, in 1993. Sitting at a coffee shop in North Austin, where we met a few days after the release of Marbled, in February, he gestures to the cramped room of people pecking away at laptops on tiny tables; until he was four years old, he, his parents, and his paternal grandparents all slept on the floor of a room smaller than the one we’re in. But his life changed when his father, a diplomat, was assigned overseas. Suddenly the nomadic part of Abhi’s existence began: he lived in Beijing, Hong Kong, New Delhi, the Fiji Islands; returned to Beijing and Delhi a few times; and finally—fulfilling his dream of living in the U.S.—landed in Ventura County, California, as an eighteen-year-old student studying music production at California Lutheran University.

Abhi’s journey to music was a little more direct. When Abhi was in high school, his dad—who liked working out to hip-hop—first introduced him to rap through Kanye West. Shortly after, the teenager began using GarageBand to make beats on his laptop. He admits that he was more enthusiastic than he was skilled at first. “My friends were always just, like, ‘whatever’ about it for the first few years, and I don’t blame them. It wasn’t good,” Abhi says.

He eventually found a groove. His tastes are omnivorous—he likes modern rap stalwarts such as Jay Z, Chance the Rapper, and Kanye West, but also the Foo Fighters and Phantom Planet. Those influences collided when he put together a college capstone project, a rap EP called Where Are My Friends, which he put on Spotify and other streaming services at the end of 2015. After spending much of his college career playing small shows around campus, Abhi was surprised when the EP found a sizable audience. Spotify’s algorithm identified him as an alternative hip-hop artist, and recommended his music to listeners of Chance the Rapper, who dominates that genre. Soon, his moody, melodic hip-hop and pop songs racked up a staggering number of plays—hundreds of thousands of monthly listens—making him the rare independent artist to secure meaningful checks from streaming music royalties. READ MORE…

by Baby Robot Media

Dallas Observer features Pedigo’s Magic Pilsner

If you’ve been even remotely plugged into the Dallas music scene, you’ve probably encountered John Pedigo. The Dallas native has spent time playing grunge, rockabilly and punk rock for rowdy and inebriated audiences of 10 and massive festival and theater stages where the crowds swelled to thousands.

Most recently, he’s been one-half of the O’s, an energetic, roots-influenced duo that has released four full-length albums and spent the better part of the past decade on an unceasing touring schedule traversing North America and Europe. Along the way, Pedigo’s music has earned comparisons to many leading lights of the alt-country and Americana genres, and he’s carved out an impressive group of well-known champions, including Old 97’s frontman Rhett Miller, a past tour-mate.

While the O’s are still going strong, Pedigo’s latest project is a deeply personal affair written while in the grip of tragedy and grief. Pedigo’s Magic Pilsner — named after an infamously bad batch of homebrew that his father concocted at home one year — is the name of the album and band that serves as a tribute to his father, who was diagnosed with terminal cancer in 2016. As he was processing the shock of this news, Pedigo set out to write and record a cycle of songs that would pay tribute to his father’s legacy.

With the idea that the songs could also serve as a form of entertainment while the health battle was at the forefront of his family’s attention, Pedigo began work soon after the diagnosis, and the prognosis reports, for a while, at least, seemed promising. However, Pedigo’s father died in May 2017. Rather than shelving the project, Pedigo pressed on, a process he found beneficial.

“I hate to use the word cathartic, but it certainly was that to a certain degree,” Pedigo explains in press announcements accompanying the album’s release. Soon, he was calling friends and tracking the songs into a cohesive album structure.