Op Ed by Dae Bogan of DaeBoganMusic.com
Earlier this week, hundreds of budding entrepreneurs convened at the SF Music Tech Summit XIV to network with potential future collaborators, gain insight from established industry pros, and promote their startups. Hopeful to become the next big thing in music tech, founders shuffled from room to room soaking in as much insight as possible while exchanging business cards along the way with anyone who gave them an ear for a quick pitch.
By Hugh McIntyre on Sonicbids Blog
Social media has become more than just a fun leisure activity or way to keep in touch with friends and family; it's become everything – and the only thing – that matters in many cases. If you're a musician or band, I'd be willing to bet that these days no one cares about your newsletter, but they do follow you on Twitter and Facebook. Twitter is especially great, as it can be very different things for different people, depending on where they are in their careers.
By Jesse Lakes co-founder and CEO of GeoRiot
One of the hardest parts about selling music on iTunes is that there’s not currently a way to see which of your marketing efforts are actually leading to sales. You’re left with questions like: What social media platforms have a higher EPC? What artists/albums/songs are people actually buying? Which marketing channel brings the highest return for the cost? As the leading link management platform for the iTunes ecosystem, GeoRiot has been trying to answer those questions for clients since day one. At the end of last month, we released our Relative Conversion Score, which helps do exactly that.
By Faza on TheCynicalMusician.com
For the benefit of everyone who hasn’t gone outside recently – and folks checking in five years from now (happens more often than you’d think) – a quick recap. Taylor Swift’s new album – 1989 – has gone platinum in its first week of sales. No small feat, given that no other artist has had a platinum-selling album this year and that doesn’t look likely to change. The album wasn’t available to stream on Spotify – which is just as well, ‘coz now Swift and her label, Big Machine, have pulled all of her music from our favourite streaming service. To the best of my knowledge, Swift’s catalogue remains available to stream on other services.
By Angela Mastrogiacomo of MuddyPawsPR.com
So you’ve just wrapped up your first PR campaign and managed to score some pretty sweet features in the process. Congrats! But as the features dwindle, how do you go about maintaining those relationships that you’ve all worked so hard to build? First things first: Don’t let them slip away.
One of the reasons folks like me can consistently work in music marketing is largely due to the fact that the digital landscape is constantly changing. It's constantly in flux with new media platforms appearing a few times a year and others fading into obscurity. In that kind of changing environment, it's all about staying current and concise.
By Max Porter at CallFire.
With less than 10 percent of Facebook posts, and possibly less tweets, ever viewed, text messages have an open rate estimated at 98 percent and 90 percent texts are read within 3 minutes of being received. With numbers like that, it’s hard not to wonder what kind of potential SMS campaigns could see in the hip-hop industry.
While the internet and new technologies propel the world into the future, I'm amazed by how many of us have the online etiquette of a caveperson. Seriously, I just got an anonymous link posted on my social networks with the blurb, "Yo, check my song out." Two seconds later, I got a friend request from someone with no profile picture other than that creepy default blank head. While the following tips aren't groundbreaking, they serve as reminders that just might help us all to be a little more mindful the next time we get online. And like your mom says, “Better behavior gets better results" – in this case, meaning more loyal fans, better gigs, and more placements. Enjoy!
By Angela Mastrogiacomo of MuddyPawPR.com
As a publicist, one of the first questions I ask potential clients is “what do you view as a successful campaign?” This is crucial because it lets me know where their heads are at, and how our visions are going to align. Believe it or not, things like “We’d like to be on Rolling Stone” or “We’d like to have 1,000 more Facebook likes by the end of 3 months” is not all that uncommon to hear.
By Bobby Owsinski on Music 3.0
Indie music aggregator Bandcamp recently launched a new feature that enables fans to subscribe to its artists for a fixed amount per year (like the $32 that the UK band Candy or artist Steve Lawson are charging). During that time, the fan gets access to all the material that artist or band creates. The fan also has the option of paying more than the subscription amount if they so desire. While this might sound like a great idea and a good way for fans to support an artist or band, it's probably a feature that will benefit Bandcamp much more than any artist on the service.
Social media has become as ubiquitous as radio play and touring when it comes to an artist making themselves known to the public. However there is a certain finesse that comes with using social media in music. Social Media success comes with being multi-faceted in your approach. Taylor Swift seems to have accomplished that with her last album, 1989. While album sales in the music industry have been on the steady decline in recent years, Taylor Swift has managed to sell 1.287 million albums in her first week. Jana Pochop explains the main factors that have contributed to her success.
[UPDATED] This article originally appeared on TechDirt.com
Last year, when Daft Punk released it's super popular single "Get Lucky" the first time I actually heard it was when someone I know linked to a fantastic video of the song put over a danceline from Soul Train. It's pretty amazing how well it works. You can see it here:
Young people prize “access over ownership”. This sounds like the kind of thing a digital music strategist like myself would be saying to support streaming services like Spotify. However, that’s not where the quote comes from. This was said by Sheryl Connelly, who is the head of Global Trends and Futuring for the Ford Motor Company. That quote was in reference to cars and was made two years ago in an article in The Atlantic. If the access model is affecting the business model of automobiles, what chance does the music business have to change that tide?
By Kosha Dillz
CMJ was an amazing week. You were probably supposed to follow up with a bunch of people and forgot or you might not be trying hard enough. Let me tell you that now is the perfect time to do so, because we are far away from SXSW, just enough before Thanksgiving and right after Halloween, which is perfect for a real corny joke in a email. This can be used for any music conference you may have attended or will attend, from NACA to SXSW to CMJ to NXNE to Art Basel in Miami. You can even use it after a long day of shows on the road.
Earlier this week, PledgeMusic announced their appointment of Dan Gosh-Roy as Head of Marketing and Digital Strategy. The newly created position is based in New York City, reporting to CEO Dave Hackett and will be geared towards sharing the PledgeMusic mission and message with with artists and fans based all around the world.
UPDATED SoundExchange, the industry's self-proclaimed "people-powered radio" is putting up some impressive artist payout numbers in Q3 2014. Closing out the quarter at $267 million paid to artists, SoundExchange is boasting a 74% increase in artist payouts to last year's Q3 2013 payout of $153.7 million. As listeners turn more and more toward digital streaming for access to and discovery of new music, SoundExchange is experiencing exponential growth and has the numbers to prove it.
On November 1st, Red Bull kicked off 30 Days in LA – the largest initiative to date in the second year of their Sound Select program geared towards launching new artists into the music industry. During the month long program, several middle of the road, yet buzzworthy indie musicians will take the stage along with a handful of under the radar artists Red Bull is hoping to break big. Hustle and Drone, Tapioca and the Flea, Wrestlers, DIANA,Bad Girlfriend and Avid Dancer are among those artists. Haven’t heard of them? Red Bull is on a mission to change that.
Etiquette, according to Merriam-Webster, is the conduct or procedure prescribed by authority to be observed in social or official life. In plain language, this means behaving well and simply being more socially aware. In my last article, I introduced email etiquette tips that can improve your response rate, build your fanbase, and even lead to more record sales. Now, let's focus on social media. Here are five simple reminders of how to keep it cool, professional, and non-spammy:
[UPDATED] By Cortney Harding on Sonicbids Blog
A few weeks ago, the New York Times ran a profile of theAudience, a firm that connects big brands to social media influencers. Gone are the days when a big ad spend or tons of radio promotion was required to break a band – now, a kid with a big Tumblr following can move the needle just as much as a spot on TV. But for artists who are just starting out and can’t shell out the big fees that firms like theAudience charge, reaching influencers can feel like an impossible task. Don’t despair, though – here's how you can connect with the person who might give you your big break.
We’ve all heard of Kickstarter and some of the amazing success stories that have come from its fundraising platform – LeVar Burton raising $2 million in two days to bring Reading Rainbow back, for example – but how is it done? There are tens of thousands of projects on the site (which has raised almost $1.4 billion in the few years it’s been around), so if you want to make the money you need for whatever journey you’re about to embark on, you’ve got to make sure you do things right. Here are six tips on managing your Kickstarter in a way that will bring in the most dollars.
(UPDATED) By Rob Wilcox, Senior Manager of Alt. Radio Promotion at The Syndicate. This article originally appeared on DailyRindBlog.com
So you’re in a band, or perhaps you’re a manager of an up-and-coming artist — or perhaps you run a record label and have a release you want to create additional exposure for. What do you do to create awareness for a piece of art that needs to be heard? Where do you go? How do you bridge the gap between a local fan base and a national audience? As we’ve all learned, cream does not always rise, and it takes more than just a message in a bottle to make sure you’re being received in an ocean of new and/or already established artists.
Spotify certainly hopes so. After being pressured publicly by Spotify to release her newest album, 1989, to streaming, Taylor Swift not only denied them the album, she removed her entire back catalogue of music from the platform. Some say it's a strategic business move, others say its a brash decision in a ploy to make more money - but no matter which side of that fence you stand on, this decision has sparked a conversation within and about the music industry that is worthy of significant consideration.
By Yannick Ilunga on TheJazzSpotlight.com
How many times have you heard that social media posts and tweets that include visual elements are more engaging and share more often? What do you think when you see some cool pictures being shared by your friends and people you follow on social media? Sure, some of them have been help out by professional designers. Others are probably some kind of Photoshop wizards.But here’s something I wanted to tell you. What if you could craft incredible visual content? What if I told you that you could do that in just a manner of minutes, for FREE?