Penniless and Anonymous: Don’t Worry, Be Happy

During a recent Twitter exchange regarding the Taylor Swift/Spotify/streaming debate, I was labeled as  having “become a professional problem identifier.” I was exhorted to instead “Be a problem solver.”

Many more knowledgeable and successful than I have certainly already waded into the fray. Even Dave Grohl! Why bother to add my perspective?  Because every time I hear the argument that musicians should just “get over it,” or “stop complaining about streaming” I realize that many of us are not on the same page. We don’t even agree what the problem really is. I subscribe to the philosophy that solutions are built on consensus and common understanding, not on forcing a solution that doesn’t fit, or a model that only benefits one or two key players in the industry at the expense of the others.

It seems to me that there are a lot of things that get all confused up in this debate, and the refrain I keep hearing that musicians should just shut up and “focus on making great music” ignores the reality of how screwed up the music industry is and how hard it is – even if you’re a great musician with great material – to make a living at music.

I’m not a famous musician, or a tech entrepreneur, or someone with years of experience managing bands or running a record label. I’m just a musician, an anonymous musician who, like most of the musicians I know, doesn’t make a fulltime living as a recording artist. Oh, and fifteen years ago I was the VP of marketing at a startup whose product was distributed software as a service, bringing Microsoft Office to corporate desktops as, essentially, a streaming product.  I do care more about the long term future of musicians and the music industry than going public with my music tech company and cashing out (something I also know a bit about). And I am an engineer by training. I  have a sensitive radar for arguments that don’t square with my version of reality.

[Tweet “Public discussion and debate are as valuable as building a software platform to “solve” a problem. “]

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How New Age Musicians @RickyKej and @WouterKellerman Won A Grammy

Ricky Key and Wouter Kellerman

In fall of 2014, I interviewed New Age artists Ricky Kej and Wouter Kellerman 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!! February 8, 2015 – Kellerman and Kej WON a Grammy for Best New Age Album at the 57th Grammys. Congratulations! It couldn’t have gone to two nicer musicians and a harder working team. ******

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 The Heist in 2013.

Ricky and Wouter signed this project with a label, but they recognized from the start that their label wasn’t going to do everything needed to promote the album. The artists themselves needed to pitch in, especially with social media promotion. That is the powerful story here – all the incredible networking and promotion this team did for the album, in addition to using key industry resources at their label to help strategically promote the album in distribution and on the radio.

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.)

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Suburban Mom Indie Musicians Plot To Walk the Red Carpet At GRAMMY® and HMMA Music Awards

Love and Fire A Dangeroous Combination

I don’t frequently post my own press releases on this website. I prefer to interview and feature artists other than myself. I have a few amazing musicians whom I met through NARAS (the Recording Academy) on deck in the coming weeks with some very successful music marketing and social media stories to tell – so hang in there. It’s also the middle of Grammy season, and believe me, I will have a follow-up post to my Grammy submission experience from last year.

But in the meanwhile, as those other musicians finish laboriously typing their detailed and informative interview answers, I’m making an exception and promoting some of my own recent achievements as an artist. Plus, this post isn’t just about me. It’s all about indie musicians collaborating to make things happen, and it features my good friend and musical collaborator, Elizabeth Butler, whom I have written about before on this blog. As you know, I’m not just a marketer and blogger, I’m a musician. I try to live by my own advice, which includes tooting my own horn once in a while. So bear with me, here’s a bit of self-promotion.

October 20, 2014

Do you have to be 19 and able to twerk in a bikini to receive recognition as a female musician these days?

Grammy AwardSolveig Whittle and Elizabeth Butler are proof that you don’t. These two indie female songwriter-musicians from Seattle, Washington and Houston, Texas, were notified recently that they both have songs and albums up For Consideration in the 57th Grammys and nominated for the 2014 Hollywood Music in Media Awards (HMMAs). The Grammys will be awarded in February of next year, but the HMMAs will be awarded sooner, on November 4th, 2014 at the Fonda Theater in Los Angeles.

The two women have been strategizing for months and working together to promote their music in an industry in which it is notoriously hard to stand out – and one that also tends to favor younger artists. They remain undaunted, however, and now their musical and co-promotional partnership has created some very visible results, such as their Grammy and HMMA nominations.

[Tweet “Collaboration is the new route to success in the music business”]

Like many indie musicians, Whittle and Butler have been hobbyist musicians their whole lives. Only within the last few years, however, have they gotten serious about putting resources and time into pushing their individual music careers forward. By sharing information with each other and honing both their musical and promotional skills, they have proved that collaboration is the new route to success in the music business.

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8 Must-Have Things For Your Band EPK And Where To Put Them


I’m in the process of updating the Solveig & Stevie EPK (electronic press kit) for our new album release. I also have several friends and clients who have just released albums or EPs, and are sending them out for review or airplay consideration. As usual, I thought perhaps you, my dear readers and fellow musicians, might benefit from my learning process. I’ve also included links to more resources at the bottom of this post.

What’s An EPK ?

An EPK is an online, electronic version of the physical, paper information folder that was sent out in the old days by managers (now often by artists and bands themselves) to

  • Venues and festival bookers
  • Reviewers and reporters
  • Radio stations or podcasters

Business Purpose of An EPK

The business purpose of a press kit, whether paper or electronic, is to get a person to book your band, review your new album, interview or write an article about your band, or play your music on their terrestrial or internet radio station.

[Tweet “Don’t forget the business purpose of your artist EPK”]

The reason I mention business purpose up front is because I think that too often, bands forget that the press kit has a business purpose. If your band doesn’t need any of those things listed in the paragraph above, don’t bother creating press kit. That said, most solo artists and bands should have one. And, chances are, you are the one pulling it together (not a manager or PR agent).

If you are ever unsure about what items to create for or include in your press kit, or how to position or choose or write something – just put yourself in the shoes of the person who will be reading it. If they wouldn’t find it interesting and newsworthy, or useful for writing their article or playing your music, don’t include it or rewrite it.

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“Stop trying to get on the radio” And Other Words Of Wisdom From DJ @BradNolan

Brad Nolan

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 Nolan and Ben HaggertyOne of the best parts of participating in the judging at the Hard Rock, however (in addition to seeing bands like Joyfield, of course), is watching our local MC for this event, Brad Nolan.

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.

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8 Remarkable Things Indie Musicians Can Learn From @Sia’s ‘Chandelier’

Sia performing photo by Kris Krug

I have to say, I love the song, “Chandelier” by the female Australian singer, Sia Furler (known simply as Sia). I’ve embedded the Vevo music video at the bottom of this post. It’s a beautiful, simple but visually compelling video, although you won’t see Sia’s face in the video, just her doppleganger.

You may not have heard “Chandelier” yet. Being a female vocalist, as well as a mother, I listen in the car to a lot of current pop music. In the Female-Vocalist-Fall-Back-to-School-Pop-Hit lineup, “Chandelier” is up against some heavy contenders, like Taylor Swifts newest, “Shake It Off” and Katy Perry’s inane “This is How We Do.” Not to mention the octave-defying Christina Aguilera-sound-alike, Ariana Grande, whose numerous collaborations this summer with every female hip hop artist in America (she’s moved on from Iggy Azalea to Nicki Minaj) dominate the airwaves.

One even might ask: Where is Miley Cyrus’ back-to-school twerking video? Oh, yeah, Niki Minaj beat her to it. Or was it Taylor Swift who was twerking?


I think “Chandelier” it’s going to be a huge hit, and one by a non-American artist who has been relatively unknown until now, at least here in the US. I wanted to pick it apart and get to know this Sia Furler person. Her music seemed, well… different.

In doing a little research, I uncovered some remarkable things that I thought were relevant to a lot of indie artists like me, especially those of us who are NOT Justin Bieber, Taylor Swift, Miley Cyrus, or Ariana Grande’s age:

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12 Reasons We Want You To Stop DMing Us

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!

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…]

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Walking The Dog Episode 20: House Concerts and Release Tips

Solveig & Stevie

In this ten minute episode I share my thoughts on house concerts and mention the site, Concerts In Your Home. I also discuss some basic ideas for getting your first house concert off the ground.

I also mention my latest blog post, 25 Music Marketing Expert Tips For An Indie Release, which has a lot of great information compiled from 25 music marketing experts, including Greg Savage, Ari Herstand, Michael Brandvold, Don Harrison, Cari Cole, Neil Kristianson, Christine Infanger, Aaron Bethune, Corey Koehler, Seth Jackson, Bob Baker, Randi Reed, Chris Knab, Andrew Jones, Praverb, Tommy Darker, Alison Lamb, Madalyn Sklar, Wade Sutton, Billy Griseck, Ryan Lucht, Ariel Hyatt, Debra Russell, Carlos Schwilly, Sophia Lovett, and me! I think you’ll find it very helpful if you are releasing your own CD.

At the end of the podcast, I also have a special message for my podcast listeners. Thanks for listening!

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25 Tips From Music Marketing Experts For An Indie Release

Fire And Other Playthings

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:

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How Musician @PollyBakerMusic Got 49K Twitter Followers

Polly Baker

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 promotion so, 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:

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