As with any business, your products and services (whether they be your recordings, tours, merch, or anything else) are the stars of the show. They generate revenue and keep your music career afloat. This is why it's so important to push the boundaries of innovation and creativity and find a variety of ways to satisfy your audience and make sales.Take a song, for instance. It can be recorded and simply released as a single, but that's not all.
I really wanted to make this happen for myself and participate in the extravaganza. All the people and acts from big labels are garnering all their fans to to make it all work for Black Friday and Cyber Monday. But for me, Kosha Dillz, it did not work. I came up with six reasons, and it's all ok…for now. In my first year promoting my Black Friday sale, I have sold a total of 5 shirts. Disheartening at best, I am hoping my honesty will get you to take a look at my awesome shirts anyway. Below are the six reasons why I failed at my Black Friday/Cyber Monday sale.
Design is an essential part of all the content you produce, from your blog posts to your Tweets. It’s also one of the most challenging, especially for those among us who aren’t designers, and can’t afford to hire one. We try our best to create things that are visually appealing but also effective in their purpose. But sometimes, we just miss the boat.
Subscription-Based business have met the demands of binge media consumers by making a vast amount of movies and music for a nominal fee. As much as services like Spotify and Netflix have curbed the appetite of piracy, subscription-based companies are still in their infancy and still have a lot of unknown territiory to discover. Cherie Nelson has had her finger on the pulse of the subscription-based business world and gives her take on how businesses can better their services.
To any musician, all the world's a stage. Whether it's a proper stage on a planned performance date or an impromptu jam session on a crowded street, musicians will find a way to make music. If you're a witness to the latter, the music is good, and you have change in your pocket, odds are (if you're a music fan) you'll be inclined to spare some change for the musician sharing his craft. Street musicians pull in tips all the time, but AppLOUD is putting the ability to support musicians playing realtime in the palm of your hand with their Instagram-like mobile app.
Most artists spend months writing, recording, and finalizing their songs, merch, and live performances for the marketplace, only to make repeated mistakes when it comes to promoting themselves. Don't let this be you. Here are six career-killing mistakes you want to be absolutely sure to avoid.
Musicians, artists, and music business entrepreneurs need cash to start a project and nurture it to fruition. They are hardly unique in this respect, and face many of the considerations that the general public does: i.e. is the need for money for the short term or for the long term, is there a small or a large amount of risk involved? Today, fortunately, there is more flexibility in the marketplace. Resources can be marshaled on a piecemeal basis, as needed by entrepreneurs or musicians to achieve a particular and often tactical goal. Crowdfunding and venture capital are two examples of a new type of milestone or ad hoc financing that both blurs the distinction between short and long money and helps defray risk. The implication for artists, musicians, and music business entrepreneurs could be momentous.
Early on Cyber Monday morning, Virgin America, ranked America's #1 Airline by Forbes Magazine, notified customers via email blast that a two hour window to purchase plane tickets for 40% off was open. At first glance, it seemed to good to be true, and after spending less than five minutes on their broken website, the proof was in the pudding. Their website was unresponsive for most of the promotion - and none of the alternative outlets offered any relief. A strategically timed promotion on a day when consumers are arguably more apt to act on offers left many loyal customers with a bad taste in their mouth, as Virgin America opted not to honor the promotion offered yesterday morning.
What can the music industry learn from their shortcomings? Everything you need to know about the importance of fan experiences.
Knowing what to post, where to post and when to post it can be a full time job, In fact it already is fro those Hypebot readers who do the important work of helping musicians with their social media. This infographic takes some of the mystery out of the process offering tips on tips on what to post and when to post on nine important social networks, including Facebook, Twitter, LinkedIn, Google+, Pinterest, Instagram, YouTube, Vine, and Tumblr.
This piece by Jack Conte of Patreon and Popmplamouse is a must read that is being widely debated on line. It first appeared on Medium.com
Pomplamoose just finished a 28-day tour. We played 24 shows in 23 cities around the United States. It was awesome: Nataly crowd surfed for the first time ever, we sold just under $100,000 in tickets, and we got to rock out with people we love for a full month. We sold 1129 tickets in San Francisco at the Fillmore. I’ll remember that night for the rest of my life. One question that our fans repeatedly asked us was “what does it feel like to have ‘made it’ as a band?” Though it’s a fair question to ask of a band with a hundred million views on YouTube, the thought of Pomplamoose having “made it” is, to me, ridiculous.
For many musicians, Facebook, Twitter, and YouTube are just different places to post the same thing. This approach can work, but if you really want to grow your fanbase and attract a dedicated following, you need to give each platform its own role and use it to drive traffic to your other channels. In the end, you'll end up with a funnel that drives potential fans to connect, forge deeper engagement, and ultimately become paying customers that support your career.
In a recent interview with Grammy U and All Def Digital, Def Jams' Russell Simmons spoke about the recent shift in the music industry - a shift he believes has taken the industry away from a royalty based formula. Simmons discussed All Def Digital, his new project with Steve Rifkind in partnership with Universal Music Group and Samsung. He highlighted the platform's matchmaking capabilities for artists to match with users, helping them to foster meaningful connections and find new ways to earn money - a formula for success that Simmons advocated in his interview.
We live in an age where feedback can be garnered easily for musicians. Artists can post a song on YouTube and ask people to comment, rate and subscribe. Artists can send out tweets to check out a new song and get intstant feedback. But how do we quantify feedback on those platforms? How do we make sure that our songs are being heard by the right people that can give the best feedback? Brian Hazard has done leg work to give a comprehensive look on websites designed to give musicians the feedback that they are looking for in their music.
[UPDATED] By Mike Gendel.
As 2014 comes to a close, musicians can find little to be optimistic about. The decline in sales continues and it appears that the only album that will have platinum sales this year will be Taylor Swift’s 1989. By this time last year, we had only five platinum releases and according to some, none of them would have been in the top 10 sellers just a decade earlier.
The musician's life isn't always glamorous. But the average fan doesn't have an understanding of what that life is really like – and they're often eager to find out. Sharing your story by blogging can help build a lasting fan relationship. None of this has to be complex; a few good sentences or a photo that offers insight into who you are and what you're doing will keep your fans interested whether or not you're releasing new material.
There has been a significant amount of industry chatter surrounding the abandonment of the national release day in order to make way for a globally unified release day. Retailers and independent labels are in agreement that a global release day may be in the best interest of the music industry as a whole, but are pushing for a reconsideration of the proposed global release day falling on Friday. Worried that a Friday release could cause the industry to incur unnecessary additional costs, and ultimately defeating the purpose of approaching releases globally, the following organizations are endorsing a Monday global release day.
Today more artists than ever before are making a living touring original music. Many small and mid-sized venues are thriving, and creative acts are finding new and intriguing ways to expand their reach beyond their local scene. Thanks to dozens of new technological tools, bands are finding it increasingly easy to find an audience – but coaxing the necessary dollars out of the wallets of your adoring public is still a challenge, and filling up the tank of your beaten-up tour van isn’t getting any cheaper.
Bandcamp is a platform I came across by accident in 2008. A platform I was seeking nonetheless, by asking everyone around me “Why isn’t there a way to sell music directly to fans easily in a way that makes sense?” A colleague had mentioned a platform with the name Band in it. I googled like crazy until I landed on Bandcamp (only to find out later the colleague had been referring to something else altogether). I emailed the contact on the site and instantly receive a response from Bandcamp’s founder, Ethan Diamond. Ethan had built a platform because he too was frustrated with how to compensate the artists he loved directly. Similarly, his musician friends were equally frustrated. Thus, Bandcamp was born.
Live Nation Entertainment announced that Phil Seward has been hired to serve as the senior vice president of relationship and loyalty marketing. Seward is a marketing veteran who has held executive roles at a number of firms, most recently leading the customer loyalty team and the Elevate frequent flier program at Virgin America.
Streaming services, most notably Spotify (by far the largest) use what could be called a parimutuel royalty system: all the money collected goes into a big pool, Spotify takes their 30% off the top, and whatever is left is distributed to artists based on their share of overall plays. Spotify explains how it all works right here. It sounds perfectly fair and reasonable: if an artist wants to make more money all they need to do is get more plays. But there’s a major disconnect in this economic model that has not been discussed widely: Spotify doesn’t make money from plays. They make money froms subscriptions.