From no-name garage bands to established rockers like The Dresden Dolls’ Amanda Palmer, crowdfunding on sites like Kickstarter—where artists of all stripes offer fan-friendly incentives to get their followers to essentially executive produce tours, albums, music videos, and so on—is becoming an increasingly effective model for bankrolling endeavors in lieu of ever-decreasing record label support.
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These days, merchandise sales make up a pretty big portion of most touring acts’ income. The staples of CD’s, shirts, and stickers have become even more important as income from performing has gradually dropped. There are many tips out there of what bands should order and how they should sell their products, but there doesn’t seem to be much on how to get the best possible pricing from vendors, how to calculate prices, or how much product should be ordered before a tour.
One thing that fascinates me about how bands develop is the ‘leaps’ where a band grows exponentially over a short period of time. Very few bands grow at an incremental rate their whole career – but what causes these leaps?
In practical terms, how can you double or triple the size of your fan base in a short period of time?
I urge you to not just read this post and go back to browsing Twitter. No one builds their fan base by clicking on links all day. You build your fan base by taking action – testing and learning what works, and eliminating what doesn’t. Try something new today.
Let me introduce myself: My name is Corie Kellman. I am a music lover, working at Cyber PR® as the Director of New Artist Relations. I review artists project submissions and work to connect them to the Cyber PR® services that are right for them, getting them one step closer to their goals. However; first and foremost, I am a fan and I understand the value we bring to the success of an artist. Musicians would be nothing without their fans. Fans are just as important (if not more) than the artists’ teams.
“The difference between school and life? In school, you’re taught a lesson and then given a test. In life, you’re given a test that teaches you a lesson.” - Tom Bodett
Music schools might be great for really helping you fine-tune your musicianship skills, but there are some lessons that they don’t cover which you’ll need to know for your career. Here are six things that you should know that aren’t covered in curriculum:
It has become commonplace to hear artists, management, agents and labels complain about how streaming will crush the music industry. This same mentality arose during the transition into the CD and digital downloading eras. Don’t fear the numerous myths that have saturated our industry, streaming is not evil; merely different. And it is about to become the next powerhouse, quite possibly changing music distribution in a way never seen before. This transformation has already commenced in television and film. The music industry has fallen behind, but is quickly catching up with vengeance.
Fran Snyder: House Concerts - You’re Probably Doing it Wrong
Today is my birthday and, each year, I love to take a moment to reflect on the year behind, the state of the music business, and my love for music.
A few months ago, while everyone in the world I know went to SXSW, I took myself to a quiet beach for a few days to think, to write, and to and recharge.
I got back from Australia last week after an amazing 2 week journey on the 3 Wise Monkeys Tour with Ralph Murphy & Tom Jackson. Along my journey I re-connected with artist and social media coach Rose Wintergreen, who guest tweeted my entire 6 hour presentation with gusto. She and I got to chatting after the seminar and she gave me some great insights on her experience as an artist and coaching artists in Australia.
If you treat someone’s home (or your own) like a public venue, you are inviting several types of liability with potentially serious consequences. House concerts should be private events, and this article describes ways to safely build an audience, and the problems that can arise if you go “public.”
As an independent recording artist, do you think of your music as a service or as a product?
When the phonograph debuted in 1877, the traditional service of music (live performance) was transformed into a product (recordings). This product was stored on physical media — wax cylinders that eventually evolved into vinyl records, 8-tracks, cassettes, CDs, digital downloads, and other formats. This single innovation, through its ability to reproduce recorded sound, forever changed the way we experience music.
Now that Twitter’s new music platform, #Music, has been available for public use for almost two months it is safe to make the following assessment.
It is one resounding dud.
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(Updated November 2, 2013)