Archive for the ‘Social Media’ Category
I interviewed New Age artists Ricky Kej and Wouter Kellerman recently about how they marketed their newest collaboration, Winds of Samsara. The album debuted in July at No. 1 on the Billboard New Age Chart, and then spent the following 12 weeks in the Top 10.
*** UPDATE December 5, 2014 – Kellerman and Kej’s album has been nominated for a Grammy! It just goes to show what can be accomplished with great music and hard work!
Ricky, Wouter and their team are a hybrid indie artist marketing model: neither the artist nor the label does 100% of the marketing. Most of the marketing strategy, however, is planned and driven by the artists and their managers, with similarities to how Macklemore (Ben Haggerty), Ryan Lewis and Zach Quillen drove the charting success of Heist in 2013.
While Ricky and Wouter are not technically 100% DIY indie artists (they signed this project with a label), they recognized from the start that the label wasn’t going to do everything needed to promote the album. The artists themselves needed to pitch in, especially with social media promotion.
I’ve seen first hand on social media how Ricky, his wife Varsha Kej, Wouter, and Wouter’s manager, Tholsi Pillay, persistently promote Winds of Samsara. All four fluidly mix the creative with business. In addition to being Wouter’s manager, Tholsi played keyboards and synth on the album, and Varsha is Ricky’s manager as well as a sitar player.
I wanted to hear more about how this marketing dynamo planned and executed their marketing, and what has gone into debuting and maintaining Winds of Samsara’s Billboard chart status over the past weeks and months. I also wanted to know what kind of promotional team they have behind them (distributor, PR, etc.)
Stevie and I have been honored to be asked to help judge the last two annual Hard Rock Rising Global Battle of the Bands here in Seattle. In 2014, 10,000 bands entered this international competition, and 750 bands subsequently participated in live battles around the world at Hard Rock Cafes from Dublin, Ireland to Atlanta, Georgia. One winner went on to score an all-expense trip to Rome, Italy to perform in front of 40,000 fans.
This year, Stevie and I were asked to be two of the four judges in the finalist round here at the Seattle Hard Rock Cafe. It was very exciting. Even more exciting: this past May, the band which we helped judge to the number one spot in Seattle, a most excellent female-fronted band called Joyfield, went on to beat all the other bands from around the world, and win the entire 2014 global competition!
Brad is not only a fantastic live event MC, his day job is DJ at local Seattle radio station, Click 98.9. Brad is fast-talking, energetic and funny,. He’s also just a really straight-up, honest, friendly guy, AND (it turns out) he also has a lot of insider knowledge to share about radio and the music business.
I thought it would be very cool to interview Brad and see what words of wisdom he might have for indie artists when it comes to radio as well as media and PR in general. I was not disappointed.
I think you will enjoy this interview. Brad has some great advice to share, from how to get on the radio, to how to market yourself as a musician, to the role of social media for indie artists.
I recently participated in a group discussion with Christine Infanger (@norabarnacle) and a few other music industry people about musicians who send automated Direct Messages (DMs) on Twitter when someone follows them.
The result was a light-hearted compilation of all the reasons we all hate it when musicians Direct-Message us. It was posted on the CD Baby DIY Musician Blog, and I thought you might want to read it if you haven’t already. There’s some good advice here!
I cannot restate this enough- Do Not send bot/automated DM's. It's spam, everyone ignores them, & it's annoying. Trust me, musicians.
— Christine Infanger (@norabarnacle) July 29, 2014
It began innocently enough; a tweet was sent which read “I cannot restate this enough- Do Not send bot/automated DM’s. It’s spam, everyone ignores them, & it’s annoying. Trust me, musicians.” From there, an onslaught of musicians and others involved in the industry in various capacities got to retweeting, favoriting, and corresponding.
This innocuous tweet touched on a subject which seems to have been gnawing its way to the top of many pet peeve lists as artists are becoming further removed from personal engagement and replacing it with automated direct messages.
What transpired was a fascinating two day conversation amongst a group of people all very active in the music industry and all very knowledgable about social media and the common sense behind using social media to interact. The conversation then necessitated more than 140 characters and moved to email where the group decided to compile a list of what to do, and perhaps more importantly, what not to do when sending direct messages on Twitter. [Read more here…]
Tis the season for indie album releases (perhaps the Grammy submission timelines are driving some of this).
As some of you know, we recently mastered our second Solveig & Stevie CD, Fire and Other Playthings. Before we release it, of course, I am writing up my promotional plan. In the midst of my best practices research process, it occurred to me, wait…
What about consulting the collective brainpower surrounding me in the virtual online cocktail party that is the Internet of All Things, those brilliant music industry people (some of whom I am now honored to call Friend and many of whom I have met In Real Life over the past several years)?
Then came another Lightbulb Moment: I should compile these tips into a blog post to share with you, my faithful readers!
All of these folks are people I have interacted with on social media or in person in some way or another, so they are real people with real experience in music marketing. Many have written entire books (or at least ebooks) on the subject, which I have downloaded or purchased and read.
The links below are not affiliate links, they’ll just take you to the author’s website or blog. All I ask is that if you do visit my friends, please let them know I sent you.
Don’t forget to read all the way to the end – there are some real gems here. Some are a bit more, ahem, detailed than others. Some are practical lists, and some more philosophical. I didn’t want you to miss anything, so I edited just a bit for obvious redundancies. There are some recurring themes.
[By the way, if you’d prefer this post as a PDF, I am thinking of creating an ebook from this blog post. Let me know in the comments or email me via the contact form to let me know.]
So with no further ado, in no particular order, except as they came in to me, here they are:
I recently came across a young female country artist, Polly Baker. I checked out her music, and her music videos, and it was good catchy stuff – nice. Then, as I am wont to do because I teach social media, I checked out her Twitter profile. Okay… She’s been on Twitter since March, 2012. Wait, wow – 49.3K followers?
I was immediately curious to see how many of Polly’s followers were fake. I ran her Twitter handle through the SocialBakers FakeFollowersCheck tool.
This is a free app you can use to check anyone’s Twitter handle to see how many suspicious, “empty” or inactive followers someone has on Twitter. It’s a pretty reliable indicator of whether someone has bought Twitter followers (I wrote a post about How To Grow Your Twitter Following and explained why buying Twitter followers is a bad idea for musicians).
To my surprise, Polly’s Twitter followers were 97% good. That is an amazing number. 49.3K Twitter authentic followers? In just over two years. Impossible to do organically.
I have friends who have been on Twitter for 6 years or more, and they tell me it was much easier in the beginning to grow a following of tens of thousands in the early days. Now? Not so easy without buying followers, using automation tools, or hiring a social media agency with a college intern to sit and follow people for hours a day.
Now I was intrigued.
Curious to know how Polly got this large authentic Twitter following in such a relatively short time, I emailed her and asked her to share a bit about herself, her social media practices and perhaps also some of her Twitter secrets. She graciously agreed.
Here’s our interview:
In today’s 35 minute episode I talk with my friend, music business consultant, newly published music marketing author, and just a lovely, genuine, and interesting human being, Aaron Bethune (@PlayItLoudMusic).
Aaron and I talk mostly about his new book, Musicpreneur: The Creative Approach To Making Money In Music (you can get a few chapters for free by signing up on the book website).
Eric Alper, Director of Media Relations for eOne Music Canada, has said, “This book might just be all you’ll ever need to read.”
Aaron and I discuss what makes his book different from most of the other music marketing books I’ve read, including:
- Why Aaron started the book with a personal story about the time he came within 200 meters of one of the world’s seven summits, Cerro Aconcagua, and what that has to do with a career in music
- Fan profiling, storytelling, being authentic and how to connect with fans
- The reason 99% of musicians don’t manage to make a living in the music business, and how to be one of the 1% who do
- The biggest obstacle to success for most indie musicians
- Real life examples of how Aaron approached marketing two very different musicians whose music is in the same genre or format
- How to identify possible sponsorship opportunities
I think you will enjoy our conversation as much as I did. Let me know in the comments!
In this week’s 12 1/2 minute episode, I talk about a local resource, Songwriters In Seattle, a group that organizes open mics and songwriting workshops for musicians via Meetup, an often overlooked social media resource. I also discuss a Slideshare presentation by Stan Smith (link below) with helpful tips for musicians trying to get their music and their message out in an online world crowded with competitors.
[If you listen all the way to the end, you’ll also hear my simple trick for figuring out what makes you unique. This is a critical element in defining your story and marketing your music.]
Tomorrow I’ll be attending a Songwriters In Seattle songwriting group. Workshops and songwriting circles are a great way to
- hone your songwriting skills
- network with other musicians, and
- find co-writers.
Co-writing music is a hot subject these days, and very common in music-centric cities like Nashville and LA. This article, Tips For Finding & Creating Successful Co-writes, from the Nashville Songwriters Association website has some good tips about songwriting. I also follow Brent Baxter (@razorbaxter), who has a lot of good songwriting tips and ideas on his blog, Man vs. Row.
Finding your unique story is an important part of your music marketing. The online marketing presentation I reference in this week’s podcast is called 25 Ways To Get Noticed by Stan Smith of Pushing Social. Stan poses some great questions to think about when you are crafting your personal brand as a musician, such as what makes you unique? and what challenges have you overcome?
The three key parts of Stan’s presentation are:
- Defining what makes your story unique
- Delivering your message in a unique way (content and process)
- Being consistently persistent in getting your message out
Listen to the end, and you’ll hear my simple advice for defining what makes your story and your music unique.
Please feel free to leave your feedback on this podcast below, or suggest other resources my readers may find helpful.
In today’s 13 minute podcast, I mention that I will be traveling to Portland, OR this weekend to attend the World Domination Summit 2014, an “unconference” for creative types and internet geeks that was started by Chris Guillebeau, author of a book called The Art of Nonconformity.
The main subject of today’s podcast, however, is women in music. Now, I have written a blog post about the challenges of being a female musician, touring, and having children, but the issue that I wanted to address in this podcast is the intense focus on sex and titillation versus the focus on brains and musical talent that seems to follow female musicians in the press more than male musicians.
For those of you who don’t follow the music press much, Taylor Swift wrote an editorial piece this week in the Wall Street Journal about the future of the music business, and was promptly slapped in the industry press about her naivete. I also read a pretty scathing response from industry insider Loren Weisman on his Facebook page (see below).
Now, I am not here to critique the content of Swift’s piece, but rather the manner in which her opinion piece has been trashed. I think it is part of the undue focus the press has on female artists and their relationships, what they wear, and scandal around them instead of on their music and what they have to say.
Kudos to Taylor Swift and her team (because let’s all acknowledge that she didn’t get where she is by herself) for having something intelligent to say – whether you agree with her assessment of the industry or not. And kudos to all the other female musicians like Amanda Palmer and Sinead O’Connor and Zoe Keating for trying to articulate points about issues that go beyond how much they are wearing or who they are dataing.
What do you think?
The headlines I referred to in the podcast are:
I received an email this week from a fellow musician and music marketer that caused me to unsubscribe from his list. I was so incensed that I didn’t just unsubscribe, I wrote him to tell him why.
The email was a solicitation for me to buy a spot at a conference called the Ultimate Millionaire Summit organized by a woman named Loral Langmeier. I’m not going to link to either his or her website from here, for obvious reasons – I don’t want to give any extra SEO to someone I feel is using dubious marketing techniques. You can Google Loral yourself.
Be Careful Who You Sell Or Give Your Email List To
This musician clearly sells or gives his email list to third parties – in this case, Loral Langmeier. He says in his email that he is performing at this “Millionaire Summit”, and told me all the reasons why I should Act Now! to join Loral (for just $297!) in Florida to “rub elbows” with millionaires and learn their secrets for accumulating my own millions! Yuck.
The email sounded so scammy that I did some background research on Loral and found that she has been sued for misrepresenting her product and refusing to give refunds to customers who complain. Yet she has also been linked to Dr. Phil and has a great PR team who continues to get her coverage on local television so she can promote her “seminars”. Apparently these TV station interns don’t do much fact checking before inviting Loral on their morning TV shows.
[Photo by Atom Moore]
A few facts to introduce this interview:
- Molly Lewis’ (@molly23) ukulele cover of Britney Spears’ Toxic, which she first played at her high school talent show, went viral on YouTube in 2007. Now Molly writes witty, original ukelele songs and opens for Jonathan Coulton.
- Molly Lewis is a YouTube star, but she doesn’t much like YouTube anymore, at least not as a way to earn a living (via advertising). But she likes Patreon a lot.
- Patreon, an online arts patronage platform founded by Jack Conte, announced a $15 Series A round of funding this week. They now have over 25,000 creators signed up, 180 more signing up every day, and have grown their revenue 10x in 5 months. On Monday, they held a webcast for their creators and patrons, with hundreds participating and asking questions about new features and product direction.
- Molly Lewis makes $2535 (as of this writing) from her 402 patrons on Patreon every time she releases a new original song.
Intrigued? So was I. So I interviewed Molly via email.