Category Archives: Marketing

Ladies and gentlemen, we have reached the nadir. Push marketing of music can go no lower.

Last week U2 and Apple, under cover of hype, conspired to Like Santa, if he chose to deliver only one gift to everyone, regardless of the diversity of their pleading letters.

Listeners get new music. Apple gets renewed audio impetus. U2 gets global exposure. Win-win-win, no?

No.

U2 CD collection — Image Credit: Phillippe Grillot

Somewhere, Over ‘In Rainbows’

Most folks are looking this gift horse squarely in the mouth, with a steely gaze that says it’s time to make glue.

For every delighted fan there appear to be many more reports of spam, leaving Apple to back peddle somewhat and announce a U2 removal tool to rid iTunes accounts of the intruding album. While a part of me feels a pang of sympathy for a renowned band trying to find its way into the ears of a new audience, my remainder screams “messiah marketing gone too far.”

And the cynical side would be right.

For all those who thought the pay what you want experiment of Radiohead’s “In Rainbows” undermined the value of music, this is your new low; an album so stripped of its inherent value that it achieves junk mail status to the majority of recipients. Of course U2 got paid for the whole stunt by Apple, and their back catalog has seen the expected bump in sales on iTunes as a result, but for the wider sphere of artists the album as a piece of work worth paying for has perhaps heard its final death knell.

If one of the most recognized bands in the world is giving a full set away, why would anyone pay for a smaller band’s collection of songs?

Well some will, and they will always form the core of any artist’s fan base, but they’re no longer the norm and this isn’t a new situation.

The current climate has been building for years, as digital downloads liberated the single and unlimited streaming services made playlists the go-to tool for extended listening sessions. The value of music hasn’t so much been decimated as it has redistributed, meaning that artists need to know where to look to soak up new revenue streams.

Look to online ads. Look to associations with other creative partners. Just don’t look to the older artists desperately trying to squeeze blood from a stone.

Push No More

If any doubt remained that music can no longer be battering rammed into the listener’s brain, this should extinguish it. We’re overwhelmed by choice and underserved by time, leaving little opportunity to sample fresh songs and only the slightest space to pull in the new that we love.

With push marketing having run its course for all but the biggest artists, smaller acts are left to navigate the more complex world of pull marketing; being so alluring and/or ubiquitous that the music becomes unavoidable. It’s back to classic word of mouth marketing, the subtle art of being everywhere without being intentionally in your face.

The rules of U2 – and Beyonce and Led Zeppelin and Jay Z before them – are not those of today’s rising artists.

The game has changed and these acts are playing their last few hands before slipping out of the popular spotlight. There won’t be another flash holiday release, because it’s been done. And Samsung won’t stump up another $5 million to release an album on its newest device, because that’s been done as well. And none of these tactics matter to the little guy anyway, because they can’t be replicated at any level other than superstardom.

When your local band releases a surprise album, the only surprising element is that they expected anyone other than hardcore fans to pay attention. With the best will in the world, and a burning desire to see new bands succeed: We. Have. No. Time.

Unless you come highly recommended, of course. If we trust the source or catch your creativity ourselves, then you’ve made the breakthrough. That means making your music available and ready to listen when a potential new fan finally comes calling. Be everywhere, be engaging, and be on the radar of influencers who make it their business to spread new songs that they love.

Most importantly, it means not pushing harder every time like the legacy artists you’ll never emulate, but instead being everywhere and inching into our ears with each subsequent spin.

Let the listener find you and be eager to explore every avenue that you’ve made available, audio, video, and any other medium you can exploit. The fan relationship will be all the better for it, and no-one will be forced to develop an app specifically to get you out of my music library.

Marketing, Opinion

Led Zep, Beyoncé, and Why Neither’s News Matters to Independent Musicians

December 16, 2013 Steve 2 Comments

In short, they’re big news, yet old news.

They made their names at a time when the game was completely different and can trade off their superstar status until they’re gone. How many up and coming indie musicians can say the same?

Fanfare vs. No Fair

Jimmy Page playing guitar — Image Credit: Dina Regine

Led Zeppelin unleashed their back catalog on Spotify, cue trumpets.

Finally, one of the biggest rock bands ever is available to the hundreds of thousands of fans who use the streaming service, love the band, but previously had to dig out some physical release to listen to them. No new music is required to make this announcement worthwhile, as the triumph of having Zeppelin’s entire discography at the click of a button, at home and on-the-go, is enough to release a wave of pent up frustration at that previously limited access.

This simply doesn’t exist for releases by newer independent artists, whose work is cast into the vast archives of the streaming services. There they compete for listening time with other new releases by better known artists, not to mention the inimitable discographies of music legends. No fair, indeed.

Note that there are only now a few holdouts in the streaming space. They generally fall into one of two camps; classic acts still wringing the last few quid from physical music formats, and more contemporary acts finding fault with the payment model of Spotify and its ilk. Both have valid arguments, but the former will dry up within the next few years, as CD revenues become negligible and vinyl continues to occupy the same specialist niche it has comfortably maintained for years (thank goodness). And when the likes of the Beatles, AC/DC, and Garth Brooks finally flip that switch, the fanfare will be there for them too, as will a significant royalty check from the burst of listeners pouring over their respective canons.

This will not – and may never – be the case for independent musicians on their way up.

Why would it? Even the most hotly anticipated new releases barely make a dent on mainstream media in the current climate of music, meaning there is no rush to listen. Release dates matter less and less, albums are increasingly difficult to market as an overall listening proposition, and it’s the individual tracks, more than ever, that drive a deeper dive into a new artist’s work. Having an unexpected hit, a la Lorde with ‘Royals’, is a more likely route to some form of wider recognition.

Now, on the subject of surprises…

Beyoncé Is the Exception, Not the Rule

Beyonce silhouette — Image Credit: José Goulão

The superstar dropped a surprise album last week, cue a flock of media attention.

Unlike Led Zep, a new release was indeed the draw here (except for Target, who have thrown their toys out of the pram). Add to that the masterful avoidance of leaked material, or any benefit from pre-release hype, and surely we have a marketing master class? Sure, but only for Beyoncé and, perhaps, others with her level of recognition and guaranteed media attention.

Again, there are few examples of this in the current ranks of rising artists and certainly none who could pull it off without a series of previous successes. Beyoncé built her reputation before the collapse of album sales and relied on plenty of long-term, expensive marketing campaigns for much of the discography that precedes her latest effort. Independent musicians struggle every day to get their releases, surprise or otherwise, noticed by even the smallest of music blogs.

What hope is there of attracting any sort of fervor to a release by a relatively unknown indie act? Next to none, unfortunately. Or perhaps it’s a good thing, as we’re forced back again to the crux of the matter; crafting a career in music based on longevity, rather than sudden hype or momentary gimmicks.

Where to Look for Lessons in Music Marketing

Not up, but around.

The superstars and classic acts have already built their base and have full marketing teams at their bidding to exploit it effectively. You, the independent musicians doing it on your own time, do not. But when you see those of a similar size and stature around you gaining attention and beginning to break out, ask yourself what it is they’re doing that you can replicate and improve upon by making it your own.

And while you’re looking around, don’t forget to think about how to distinguish yourself. What is everyone doing that causes them to blend together, to . As much as you want to eschew short term gimmicks, don’t overlook the value of having a hook. Something as simple as the way you look or the places you play may be enough to set you apart, if not on first impression then after listeners have multiple encounters with your music.

In the end, perhaps the one thing we can learn from the superstars is that independent acts can’t achieve that single, huge fanfare for attention. The good news is that a slower development of several smaller, noteworthy moments can build to a crescendo of similar proportions, while at the same time making for a more sustainable career than any overnight superstardom would permit.

Concepts, Marketing

The Importance of Not Missing Your Moments

June 17, 2013 Steve 3 Comments

Very few things are scarce in the music industry as it stands today.

From vast online libraries of digital downloads – legal or otherwise – to over 20 million tracks available for on-demand streaming, abundance abounds in an industry that once traded on limited distribution and highly anticipated release dates.

All of which makes it crucial for today’s musicians to seize the day when a moment of scarcity arises for your art.

Make Moments for Your Music Fans — Image Credit: Kmeron

Making the Most of Your Moments

I define “your moments” as any opportunity to connect with a fan in a way that is unlikely to arise again for some time, if ever.

Sometimes this will be limited to deepening your relationship, but often it will include a rare chance to offer them something that supports your art monetarily. Some examples:

Talking to fans after a live performance at the merch table is a moment,
The day you release a new piece of music is a moment,
Filming a music video is a moment,
The buzz a fan feels after purchasing a ticket for your future show is a moment,
Collaborating with other artists on a new project is a moment.

Making the most of these requires you to actively nurture the nature of the moment, turning an already important interaction into something even more lasting, be that emotionally, materially, or both.

To transform the scenarios above, for example:

Creating a unique recording of that live show and offering it for sale before the adrenaline fades makes the most of the moment,
Offering limited edition versions of your new release in a physical format with creative artwork or merchandise is making the most of the moment,
Inviting fans to participate in the filming process, perhaps even helping to inspire and refine the concept, is making the most of the moment,
Capturing that excitement and channeling it into a social share or offering a VIP experience is making the most of the moment,
Planning a unique launch event for the collaboration and inviting a select group of passionate fans is making the most of the moment.

Eyes Wide Open

More important than following specific examples such as these is keeping your eyes and mind open to opportunities around you. As you create, network, and interact with fans, always keep one eye on the potential to develop a unique moment.

Anything that closes the gap to your listeners is what you’re looking for, but especially those with the potential to create a memory that can’t be replicated.

Making those moments gives you a long term, inimitable connection to the individuals with whom you live the experience, something that could be worth its weight in gold in an environment where it’s increasingly difficult to make your music stand out for a single spin, let alone the span of a career.

Where have you seen musicians creating moments that live long in the memory for you as a fan?

Share and inspire us, if you’d be so kind…

Case Studies, Fail Files, Marketing

Facebook Fail? How To Improve Your Music Ads & Shares

April 5, 2013 Steve 3 Comments

What’s a ‘Like’ worth?

Less than a share, if you agree with the latest marketer analysis, but plenty of artists are seeking the thumbs up across social media, with the king of social networks being the most vibrant hub of activity.

Facebook’s place in the realm of music marketing has topped my mind this past week for various reasons. It also seems to be a popular topic for you, with my 25 tips for a friendlier Facebook fan page being the most regularly visited piece here, so I thought I’d focus once more today on the platform everyone that loves to hate.

First Up, A Fail

In my opinion at least, this Facebook music advert that I came across recently fails in a few places. Take a look and consider the case for and against:

Pros:

Relates to an existing listener passion point with the Dave Matthews link,
Integrates an easier call to action with the ‘Like Page’ button (although this is all Facebook, not the artist).

Cons:

No mention of genre, style, location, or some other bridge from Dave Matthews to this unfamiliar name,
Poor copy writing, with mixed calls to action (conflicting with like button) and awkward flow,
Immediate command (to an unfamiliar listener, remember) to buy the album… hold my hand before you grab my bottom, won’t you?!

So it’s easy enough to critique an unappealing ad, but what makes for a more effective Facebook advert?

First things first, consider your options…

The Difference Between Facebook Ads & Sponsored Stories

Although Facebook explains its advertising options to a limited extent, both the ad components and the layout of the site itself change on a (frustratingly) regular basis.

Adverts are more explicit statements about your page, often with copy that you write yourself with a specific goal in mind (such as the reader clicking a link or liking your page). They stand out from the usual flow of a user’s Facebook news feed and are labeled as “Sponsored” in the lower post details, both of which can make some people wary of their presence.

The onslaught of ever-evolving ad units since the site’s flotation on the stock market last year has created some resistance to clicking on (and therefore encouraging) obvious adverts, but you can still make some headway with them. For me, they provide the most direct, short and sharp shot into a potential listener’s social feed.

There are also various sub-types of adverts, from the simple “Suggested Page” option that is a basic accelerator for page likes, to promoting specific posts to reach existing fans (and their friends), in addition to the more customized ads discussed above.

Sponsored Stories are more integrated into the fabric of Facebook , showing off activity on existing content from your page rather than the direct copy that you can customize for an advert.

The bonus here is that they “fit” more naturally into the news feed and actions that people are already undertaking, such as commenting on a friend’s activity or liking articles they read, which lessens the resistance that comes from out-and-out adverts. This focus on engagement can be useful for those of you wishing to drive interaction even further on your page, although the content itself is selected by Facebook and you have less customization than you may require.

The other important aspect of sponsored stories is the connection that they make to friends of those you reach, for example “Joe Schmoe likes Band X”. Simply placing a familiar face or name next to an unfamiliar page can bridge the trust gap that paid advertising creates, hence the rising popularity of social media ad campaigns. If you’re trying to reach new listeners, connecting through your existing fans and on to targeted friends of theirs can be a key advantage of a social ad.

Important Note: Facebook is changing rapidly at the current time and, at any point, distinctions between different types of ad unit may become blurred. Always check the ad preview to understand exactly how your paid promotion is going to appear!

The video below is tailored to deeper business marketing types but still has some valuable snippets for more advanced music advertising, if you’d care to delve even deeper.

Click here if you can’t see the video above.

Key Questions to Ask Before You Advertise Your Music on Facebook

Answer the following questions to understand what you direction you want your Facebook advertising to take:

What is my main goal from this advert? Examples may be increased page like, engagement, website traffic, music player spins etc.
Do I want to reach existing fans or new listeners?
Is the ad a standalone test, or part of a wider campaign?
What is my daily (or weekly) budget?
What is the “call to action” of my ad? (i.e. the step you want people to take and
What metric will prove that the action has been taken and can I measure it? (e.g. a Like, which Facebook will report to you, or a spin of a track, which you will need to monitor more closely yourself)

It can be tempting to just dive in with Facebook’s newer ad offerings, as they have plenty of “press play” options popping up alluringly in your page admin section. This simplicity is helpful but you will still benefit from taking some time to consider what you want from your ad spend, where it fits with your other promotional efforts, and how you will measure success.

Dig Deeper

This is really only the tip of the iceberg with advertising on Facebook. We can take in-depth looks at ad copy writing, split testing, ad optimization, cross-platform campaigns and results analysis, to name just a few of the areas that may be of use to enthusiastic music advertisers.

What I’d love to know is what level of Facebook ads you’ve undertaken as an artist and whether (and which of) these deeper topics are of interest to you?

Do you want to read detailed how to pieces or just “press play” on those easier ad options that Facebook is now inserting into your fan page?

Let me know in the comments below or e-mail me at [email protected] with your specific questions. I’m here to help!

Marketing

Next Steps Towards Your Virtual Merch Table

March 26, 2013 Steve 1 Comment

Take some notes — Time to review notes & catch up! | Image Credit: Internews Europe

As we close out the month and move into the next phase of Manning Your Virtual Merch Table, let’s take a second to recap and gather together what we’ve learned so far.

For any artists just joining us, this is a great time to catch up on the more conceptual posts, before we dive into practical examples and case studies during April.

This is where we’ve been:

Defining the 4 Ps Music Marketing Mix

Place & People: Finding your fans online

Product & Price: What to sell and how much to charge for it

Promotion: Adding personality to your music marketing

Be a VIP

This month also saw the first Inner Circle newsletter go out, including a private link to bonus material reserved as a special thank you to subscribers.

Get access to that and future updates by subscribing here or entering your details below. You’ll have close access to both the material and, well, me, as I’ll individually check in with every new subscriber to see how best I can customize the series to your needs.

Next Steps

It’s all very well understanding the methods behind music marketing via a virtual merch table approach, but what about real world examples of how artists are implementing these ideas?

That’s exactly what I’ll be dedicating April to, unearthing case studies of independent artists using this approach (some unwittingly, perhaps) to build an online presence that nurtures listeners through to becoming lifelong fans. The research for this is underway now, so let me know if you have any exceptional examples of musicians successfully marketing themselves online.

Thanks for reading and don’t forget to sign up to the newsletter and pass this on to any artist friends who may find it useful!

Above The Static |