Most - if not all - artists strive for some form of attention whether it be adulation, respect, being remembered or being talked about. It may happen as a result of a lot of work out on the road, or as the result of sheer luck, but more often than not it is the result of the fuss.
One of the classic books in this genre is Influence: The Psychology Of Persuasion. It’s written by the social psychologist Robert B. Cialdini and although it dates from more than 25 years ago, the book is still relevant today. It provides insights in psychological principles that can be applied to a broad range of fields, including music.
As a musician or label-owner though, you might not have the time to immerse yourself in the psychology of persuasion. Therefore, to save you some time and to help you get acquainted with these essential principles, here are five proven psychological principles from Cialdini. Being aware of these techniques will help you with selling your music, your merchandising or tickets. Let’s get started right away with the first psychological principle!
Here’s a quick story about change that might surprise you …
Leo and Harry knew firsthand that new technology has the power it turn the status quo on its head.
They were part of an economic boom in the music industry that allowed songs to spread faster and more efficiently to more people than ever before.
The movement they were part of had the additional effect of encouraging amateur musicians to participate in music in ways they had never been able to in prior years. The wave Leo and Harry helped create affected the entire music industry.
However, within a short period of time, an even newer technology came along that disrupted everything. The stable business model these two men built and profited from began to crumble.
I. Where Salvation Lies
Upon discovering that I had relatively poor vision in the seventh grade—difficulties seeing the whiteboard and anything from afar—it was understood that I would need to get glasses. Not just any glasses though, the specific style that I wanted were those worn by the front man of the rock group Linkin Park, Chester Bennington; they were thick-framed, black glasses, and in my mind, they looked amazing—on him. As it would turn out, the glasses looked less than stellar on me and I got a completely different pair.
Back then, I was an adamant fan of Linkin Park. In desiring to align characteristics of their identity with my own, the thought of looking like Bennington and wearing his glasses seemed like a logical expression of self.
I knew all the lyrics, saw every music video, and owned all of the albums.
Members of Linkin Park were not aware of my existence—camped out on a farm in the backwoods of North Dakota—but I felt a compelling bond towards them and their music. Social scientists characterize this kind of one-sided relationship as “parasocial” in nature. I knew everything about Linkin Park, but they were not privy in the slightest way to the particulars of my life. Much of my relationship with the group slanted more towards the illusion of interaction than of actual social interaction. Mass media outlets served as intermediaries between us.
Your new album has just been released, or maybe you’ve just booked a huge show. Time to email everybody you know! Before you add your entire address book to the “To:” field of a new email, consider a few points of email list etiquette. By respecting the recipients of your mass emails, you’ll have far better results from your efforts, build stronger relationships with your fans, and build a healthy email list.
I’ve been maintaining my own email list for about seven years, and along the way have found many ways to gain, and lose, subscribers. I’ve also been added to many email lists, sometimes willingly, often not,but always tried to learn from other artists’ email newsletters.
There are numerous services available to help you maintain your email list. Some are free, others cost money depending on the size of your list and the features you want to install. Look at the bottom of the emails you get from different bands and you’ll find links to some of these services. I highly recommend you find one that suits you to make this whole process easier.
I was asked to write a guest blog on the topic of why it is important to have your own website. Well for whatever reason the blog was never posted and episode two of The Music Biz Weekly podcast reminded me that I still have this blog and that I should post it. This is a topic that I am passionate about. Let me make this clear, you must have your own website. Let me say that again… you need to have your own website.
Great social networks will come and go, and they are all important. You should be active on as many as possible. They are all great places to extend your website, extend your brand and presence. But everything should come back to your website.
Turning TV Placements Into Fan Engagement: Lessons From Mr. Robotic – In Defense of 1,000 True Fans – Episode X - Part 2
AH: How many die-hard fans would you say you have? (Meaning; fans that will buy everything and anything from you?)
Mr. R: I have about 112 that would buy anything from me. They are in a special group in my email list. The rest I know would definitely buy music.
This is great strategy! Mr. Robotic has separated his diehard fans into a special group so he can better communicate with them and they probably won’t mind extra communication since they are in his Community 1 – his Super Fans.
AH: How do you use analytics to your advantage? Do measurements help you with your career?
Mr. R: I use Google Analytics for my website. To see how many visitors I get and if I get a TV placement how many people come to my site on that day. I also use analytics on YouTube to see where the majority of people who are watching my videos live. This helps me see where my fans are to get shows in those areas.
You can’t live without it.
And you can’t live with it, either.
In the past week, if you have been trying to access the Facebook page for The 1861 Project and wonder why you keep winding up at your own homepage, I have a tale of woe for you. Bear with me here, it’s a bit of a shaggy dog story…
Two weeks ago I created a Facebook “Fan” page for The 1861 Project. Within the “page,” I added some features using a service called DamnTheRadio (DTR), which adds audio and video to a Facebook page, along with the option to lock some of the content behind the “Like” button.
If you’re a musician or in a band that’s trying to get your music out to the world, your website is a valuable marketing tool. Your website helps your fans, bloggers, and journalists find out who you are, what you sound like, and where you’re playing. It’s important that your website contains content for all types of visitors, from fans - current and potential - to booking agents and media outlets. Below are ten essential elements that every band’s website should have.
This is a response to Ariel Hyatt’s recent post ‘The Musician’s Guide To Affordable, Effective Websites’. In this article, Ariel outlines the fact that all musicians should have a website, and goes on to detail how you can set one up on a tight budget. In this article however, I want to elaborate on some of the points she makes, and give you an alternative method to setting up a lot cost website. As I’m sure you know, there’s more then one way to skin a cat, and today I’m going to show you a method that has worked well for me.
I’ve already outlined step by step how to build a music website, but today I’m going to be looking at the reasoning behind each of these decisions, so you can yourself decide if they’re right for you. I will also be looking at the set up cost, so you will know how much something like this will set you back. Considering what it costs to get a ‘professional’ to set up a website for you, I’m sure you’ll be pleasantly surprised…
Turning TV Placements Into Fan Engagement: Lessons From Mr. Robotic - In Defense of 1,000 True Fans – Episode X
A few weeks ago I got a tweet from Mr. Robotic, asking if I could include him in my In Defense of 1,000 True Fans series. I love meeting people via social media, and what follows is the first artist who has approached me to tell his own story. It’s the perfect roadmap of how to take full advantage precious TV placements. Instead of the usual interview, I’m combining my “How To” article format (Sound Advice) with this In Defense of 1,000 True Fans piece, giving you an action plan. This article is so long it will be delivered in 2 parts.
When I teach master classes to artists I often get asked: How do I leverage a TV placement?
Creating more fans and friends from a hard earned TV or film placement takes a combination of fast action and solid strategy. In the end as evidenced here by Mr. Robotic, this combination can really pay off!
First: A back-story and a word of precaution: I have stood by and watched helplessly now as two of my Cyber PR® clients (who shall remain nameless) have been included in NATIONAL TV spots (one on an Apple commercial and one on a car commercial) and completely squandered these massive opportunities to make new fans.
While artists may wish the capital M in this industry belonged to music, the truth is there is many other elements which have to be in place to successfully launch and nurture a career.
The record execs and publicists would have you believe that the M stands for marketing. They love to take credit for how they masterminded the strategy that broke the band.
In reality when it comes to successful acts, the dominating M is not music, or marketing, but marketability, and that ultimately lies in the hands of the artist themselves. The most successful acts in both the mainstream and the more niche genres, understand this as the key to growth and sustainability.
So many artists fall down because they put too many eggs in one basket. They woefully neglect other key ingredients, which, unless firmly in place, will lead to missed opportunities and ultimately, failed careers.
I got a slap in the face in Perth, Australia two weeks ago. I went there to talk about Apps, Foursquare, and advanced web marketing strategies.
I had many one-on-one sessions with artists and a vast majority had a big problem:
They didn’t have web sites.
When I say they don’t have web sites, I mean they’re only using MySpace and Facebook. Which is a critical mistake. See here why: http://bit.ly/musicadiumpaper
I’m not saying this to make anyone wrong or to be righteous. Websites, as I soon found out in Australia, are very expensive to build with local web designers. A few artists showed me quotes of $5,000 for a website. It’s not 1997 anymore and those quotes are not OK.
An effective website can be created $20 or less a month with no upfront costs.
Social media gives you the opportunity to create genuine relationships with the members of your growing fan base, helping to create more super fans and ultimately working to strengthen your fan base as a whole.
At first, this is the best possible situation: as you grow, your fans will demand more attention and more access from you, and thanks to social media, you can now supply them with it. And again, thanks to the level of transparency that social media offers, the experience of the artist/ fan relationship is more authentic and personal than ever before.
And this is all good. Both you and your fan are happy. You continue to grow and your fan continues to gain more access and attention in return for support.
But as you and your fans go down this path together, you will inevitably run into the situation where you couldn’t possibly continue to manage all of the existing relationships that you’ve formed with your fans. No one can. Sorry.
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(Updated April 6, 2015)