I’ve written about the platforms StageIt and YouNow, where indie artists can stream a live music performance and even make money doing so. Concert Window was launched in 2011 by Harvard grads and musicians Dan Gurney and Forrest O’Connor to provide the same service. Still running a bit under the radar because they’ve only been live for about 9 months, Concert Window is gaining praise and growing quickly through word of mouth buzz in the indie musician community.
Last week, I attended a streaming performance on Concert Window by Austin singer-songwriter Alex Winters. It went so well that I thought it would be interesting to interview Alex about her experience and try setting up my own artist profile.
Alex and I met through GoGirlsMusic, and while she was here in Seattle recently, she mentioned she was about to do her first Concert Window performance. I signed up on the website ahead of time as a viewer so I could tune in. One of the things I noticed right away was that I could watch Alex’s performance on my iPhone while away from my desktop. I think this is a smart feature, and no doubt increases audience views significantly. Mobile is where it is at.
After a few minor glitches on both her end (Alex’s PRO TIP: “When you’re ready to broadcast, hit the BROADCAST button!”) and on my end (my AT&T phone signal was weak at first), I was able to enjoy her concert on my earbuds with no problem. Note that all the viewer features of the desktop version are not there on mobile, such as chat and tipping.
This post has three parts. First, an interview with Alex about her experience with Concert Window. Second, my walkthrough of setting up an artist profile and a performance on Concert Window. Last, I give my assessment of some of the features that make the Concert Window platform stand out.
Every Friday morning, I walk my dog and record a podcast about music, music marketing and whatever is on my mind that week.
In this week’s 19 minute episode, I talk about two things:
- Concert Window, a streaming performance platform for musicians much like StageIt, which I reviewed a number of months ago, and
- tips and tricks from Kim Garst for using Facebook to promote your music – without paying for advertising.
Look for a more in-depth review of Concert Window, including an interview with musician and songwriter Alex Winters, in a later longer blog post form on my website. In today’s podcast, I cover an overview of what Concert Windows is and a few of the features that stand out to me to differentiate Concert Window from StageIt.
The majority of today’s podcast discussion comes from a free ebook available from social media consultant, Kim Garst of Boom Social, entitled “9 Ingredients For Dominating Facebook’s News Feed… Without Giving Them a Penny… Shhhh”. I love Kim’s blog posts about Facebook marketing. She does research and shows examples of her experiments with her own Facebook page, and she also works with clients, so she focuses on real life data and situations.
Frankly, there is also something perverse in me that enjoys the idea of sharing Kim’s tips on using Facebook WITHOUT paying for advertising. Plus, the meta-lesson here is that or order for you to download her ebook, her landing page is, well…. on Facebook! She’s using her own marketing principles to drive traffic to her Facebook page for free. Smart.
In last week’s podcast, I highlighted an article from Social Media Today about why it may be smart to ignore Facebook as part of your social media strategy, or at least why you should only consider it as part of your integrated marketing plan for your music.
As a social media marketer, I remain professionally ambivalent about Facebook, to say the least. I enjoy using it personally, but I hate it as a marketer, and I don’t respect the way the company treats its customers. And it also scares me a bit how much personal data Facebook collects online.
I cannot, however, in good conscience, suggest to musicians that they completely ignore Facebook as a marketing tool. However, with
- 1.26 billion users worldwide
- 757 active daily users
- 138 million active daily users in the US alone
you can’t ignore the fact that
Listen to my podcast to hear Kim’s 9 tips and tricks for maximizing engagement with your Facebook fans and see how you can make the most of Facebook to market your music – without paying for advertising.
After two plus years working at this thing, wrestling with the beast that is the music industry, I’ve finally figured out the secret to success.
It’s not how many Likes on your Facebook page, or how many Twitter followers you can get. It’s not how much you spend on your website, or your PR campaign, or making a viral music video.
It’s pretty simple: Be better than everyone else.
Yup. That’s all. Just be better. Be a better singer, a better guitar player, be better looking, be sexier, be a better storyteller, be more shocking, be more thoughtful, be more profound, be more evocative, or be more provocative.
Make it impossible for your audience not to feel something.
Be Remarkable and Be Unique
Here’s the caveat: you have to be a lot better – not just as good as, or slightly better – than everyone else. You have to be really amazing at doing at least one thing, whether it’s vocally, instrumentally, lyrically, sartorially, or as a performance artist. I suspect you also have to better at more than just one thing in order to be unique, because there are a lot of good musicians out there.
Seth Godin said: Be Remarkable. I say:
This week on Walking The Dog, I talk about Performance Rights Organizations, or PROs. In the US, the PROs are ASCAP, BMI, and SESAC. Musicians can register with one of these three PROs as songwriters (music composer/lyricists) as well as publishers of their own music. Once you are a member of a PRO, you can then register your songs, which has the advantage of allowing you, the musician, to use the services of your PRO to collect royalties whenever that song is performed.
In this 15 minute episode, I refer listeners to a website called MusicalRedHead hosted by Christiane Kinney, who is an entertainment lawyer as well as an indie musician. I met Christiane a few years ago at SF Music Tech, and also follow her on Twitter (@musicalredhead). Her blog has a lot of great information for musicians.
In addition to giving a brief overview of what the function of a PRO is, the two issues I talk about in this episode are live performances, especially in smaller venues, and music licensing for television shows and commercials, and where PROs figure in the equation.
Please leave your comments and rebuttals below!
I first wrote about them in October 2012 on this blog, but the world now knows that a combination of strong, socially conscious messaging, a well-defined visual persona, an electrifying live show, and great music characterize the hip-hop duo Macklemore and Ryan Lewis. Amplified by impeccable marketing execution and excellent timing, they have become the poster child group for DIY indie artists around the world and put Seattle back on the map of music industry innovation.
Zach Quillen (@wexington), who began managing Macklemore and Ryan Lewis full time in 2012, was interviewed this past Saturday live and in person by Larry Mizell Jr. (@lar206), DJ from KEXP Seattle. This happened at Seattle’s EMP Museum at the Pacific Northwest Chapter of The Academy’s Songwriter’s Summit 2014. I was fortunate enough to be in the audience.
As both a marketer and an indie musician, I was fascinated to finally hear Quillen talk in person about the details of marketing The Heist. I’ve been waiting to meet Quillen for almost two years, and I wanted to hear straight from the source what his biggest challenges and most difficult decisions have been. I was not disappointed.
There Has Always Been A Plan
My key takeaway? There is a plan. There has always been a plan. It’s a plan you can trace back to the early 2000s, but the additon of Quillen brought music industry marketing expertise, experience and connections to the mix. The seemingly meteoric success of The Heist has been planned by Ben Haggerty, Ryan Lewis and Zach Quillen for years. Marketing for The Heist has been strategically thought out, considered, discussed, rehashed and then tactics executed boldly – with adaptations made on the fly as opportunities arose.
Most every morning I walk my dog. That’s where I do a lot of my thinking about my own music and social media, about music marketing and about what’s happening with music and technology in general. I thought you all might want to come along and hear what was on my mind this Friday morning.
The subject of today’s podcast is gear. What is the role of gear in your music career? Have you recently purchased some new gear and has it made a big difference in your recording or live performance?
In this 5 minute episode I talk about my own experience and also my observations from watching Stevie produce local bands. I didn’t admit it in the podcast, but I’m not immune to the siren song of gear. I’m like a kid in a candy shop at Guitar Center. In fact, I purchased the JamMan Looper/Sampler pictured above in October of last year. I haven’t yet figured out how to use it.
It often seems that musicians are more willing to purchase expensive musical gear than to spend the same amount of money on music lessons, professional performance coaching, song critiques, marketing, or legal services. In my mind, expensive gear is a social signal – but what it signals to others is not necessarily what I think many musicians believe it signals.
I’d love to hear your experience and your opinion on this issue in the comments section below. I’d also love your feedback on this format!
I recently made friends via Twitter with musician Eric John Kaiser, a native Parisian who now lives in Portland, Oregon. Like many who make a living full time from music, Eric is a busy person, juggling several different sources of income, as you will read below.
Eric has managed to successfully carve out a niche for himself in the Portland musical ecosystem playing “French music” several days a week. I thought it would be helpful for other musicians to read some of the smart and practical things he does to find, classify and promote his local and regional gigs. I also feel it is worth highlighting how Eric does business as a musician: he treats bookers and the other musicians he works with respectfully, fairly and professionally.
Question 1: Tell our readers a little about yourself: your music, where you are from, and how you ended up in Portland.
EJK: I’m a professional singer-songwriter originally from Paris, France, now based in Portland, Oregon, USA. After doing over 350 gigs in France and several records, in the summer of 2006, I followed a girl from Portland whom I met in Paris. Now I tour mainly on the West Coast, Idaho and Montana, in Louisiana and in Quebec and some parts of Canada. I also go back to France to tour once a year. I have released, at this point, three full length albums and three EPs. It’s been a great musical adventure so far.
Over time, I’ve learned that I needed to be flexible and be able to play solo gigs, as a duo with my accordion player or play with my full band.