Your email list is one of the most powerful marketing tools that an artist or band (or a business or brand) can have. Recently some data courtesy of Dan Zarrella and Pure360 has shown that there is a definite science behind the timing of sending your emails, just as there is for posting on Facebook and Twitter. Here are some tips and tricks for getting your email timing just right.
Entries in Marketing (108)
I’d like to believe that the two recent controversial bills, SOPA and PIPA, were stopped because they were poorly written but the real reason had to do with the power of messaging and branding.
Let’s face it: bad laws are passed everyday. In 2009-2010, Congress passed 8,970 bills alone. Most of the time, things go by unnoticed. SOPA and PIPA had great intentions (even praised by their strongest opponents) to deter piracy but their problem had to do with messaging. Both bills had been making steady progress for months with bi-partisan support and hardly any opposition. However, during the last several weeks, things exploded online when major Internet companies such as Google, Wikipedia, and Facebook got involved. A lot of things were said about the bill that weren’t true…but by then, it didn’t matter. People were buying the new story: SOPA and PIPA would “break the Internet.”
This is what they did wrong from a marketing perspective:
Take down your Christmas tree! Walk away from that last mouthful of turkey! Stop putting cranberry on everything! It’s 2012 folks. Time to get back to business. 2011 was the year of absorbing, observing and conversing about mobile marketing. 2012 is all about getting amongst it. But hold your horses! Before you jump in at the digital deep end, let’s start with the basics. What exactly is mobile marketing?
As you look to the future you may be getting in the mode to set goals for your career.
I am always surprised when musicians I work for at Cyber PR®, are frantically trying to reach more and more potential fans without really focusing on the fans that they already have. These fans don’t need to be found, because they are already your fans.
Studies have proven that it is much harder to make a new client and get them to purchase something than it is to get a client that already knows you and trusts you to purchase from you over and over.
I always suggest that, in measuring fans, the best place to look is at your social networks and at your mailing list.
Your newsletter list is the only place where you can directly engage with your fans on your own terms and ask for money.
Here are 12 fail-safe ways to increase / engage with your fanbase by pulling from fans that you already know and have who trust and like you for 2012.
This is an adapted piece from something that I wrote on my marketing blog.
Permission Marketing Vs. Self-Entitled Marketing
The concept of “Permission Marketing” has been around for some time. Popularized by marketing guru and author Seth Godin, it essentially boils down to marketers asking for “permission” before advancing to higher levels of engagement or a purchasing process with customers. It’s often contrasted with what Godin likes to call “interruption marketing,” the practice where advertisers try and “interrupt” a person’s normal pattern through an advertising blitz (such as a billboard, tv commercial, magazine ad, etc.).
I believe that a better descriptor for interruption marketing and stronger contrast to permission marketing is the idea of “self-entitled” marketing. Self-Entitlement generally refers to the idea that one feels they deserve access, privileges, or rights without regard to others and (whether it is deserved or not). It’s narcissistic. And it’s also the approach that many brands take to spread their message.
Godin’s describes permission marketing by writing, ”Permission is like dating. You don’t start by asking for the sale at first impression. You earn the right, over time, bit by bit.” Self-entitled marketing is like asking for a long-term commitment with the first impression.
Let’s apply these concepts to the world of musicians…
There’s no doubt about it. Mobile marketing is the term “du jour.” Music industry conferences, networking events, the twitterverse and blogosphere are on fire with mobile marketing chit-chat. Bands apps, QR codes, SMS marketing….it’s a never-ending mobile maze. This is the first blog post in a three-part series attempting to demystify the issue of mobile marketing. I’ll be exploring the foundations of a solid mobile marketing strategy for musicians and identifying what tools are out there for the DIY music community. But firstly, what does mobile marketing actually mean to your average, trying-to-do it all local musician?
Posted By: Michael Brandvold (Michael is a 20 year music marketing veteran who has worked with unsigned indie bands and international superstars. Michael owns Michael Brandvold Marketing a site dedicated to providing tips and advice for musicians.)
This is a guest post by Anne Leighton.
The best, savviest musicians listen to their publicist’s expertise. Jethro Tull’s Ian Anderson and Tower of Power’s Emilio Castillo pay attention to what I tell them when I disagree, find a wrong fact in their bio, or if they NEED to do an interview during a vacation. They also tell me when something needs to be fixed. We’ve never had an argument. Sure, we’ve all made mistakes that were based in misunderstood e-mails or my faulty research for an address. All my artists have missed interviews, but we rebound and reschedule. We’re human.
Your publicist interfaces with you: the media, other world and industry tastemakers, or gatekeepers to get you more known in your career.
We work together. Whether it’s you or Ian, artists have to realize the type of coverage (radio, print, TV, internet) they will receive in conjunction with where they are at the time of their album’s release. If you’re at Lady Gaga’s level, most everyone will devote space and time to you. If you had hits more than three to 40 years ago, selected national outlets might be interested, but chances lie more in local print and radio. If you’re still determined to wake up early in the morning, you could get some local TV coverage.
Album finished? Check. Tour dates? Check. Press photos? Check. Press release? Check. Biography? Urgh! If you’re not a spectacular storyteller or wondrous wordsmith, then the task of writing or updating your biography can seem like an arduous task. However, a biography is an essential item in any musicians marketing tool kit. It positions your brand identity, communicates your key achievements and provides background info to fans and media alike. Here are a few pointers to help you on your way…..
Recently, ASCAP’s Daily Brief included an article by David F. Carr entitled, “How Warner Music Turns Social Media Fans Into Customers”. I thought there was one paragraph in there that was extremely insightful that some readers may not have caught. It needed to be expounded upon. If you’ve always wondered how a major label goes about building a fanbase for a new artist - as far as their overarching philosophy on it - there it was!
There’s an item missing from the music-marketing dictionary. What do you call the person that has decided to surrender an email address, follow you on Twitter, or Like you on Facebook? If the word ‘fan’ is short for ‘fanatic’, or as someone said last week: “a fan is someone that buys all your stuff”, then we need an intermediate descriptor that sits between a potential fan that has yet to learn about you, and a fan or fanatic that is already buying your stuff. ‘Pre-fan’ seems like it will work, but why bother?
As more and more labels and artists use advertising to bridge the gaps between social media islands, it’s essential to get the advertising return on investment (ROI) calculation correct. If a potential fan is not yet a fan, and if a pre-fan is not really a fan, then you need to apply TWO conversion rates to your ROI calculation.
In the same way that there is an art and craft to songwriting, there is also a craft to writing and using language in general. And these word-related skills can play a big part in how effectively you communicate with fans - especially online.
Fans become fans because they LIKE your music, but they are naturally curious about the person behind the music and the LOVE getting to know you even more than they like your music. This is an incredibly important lesson to learn. Keep in mind that the same should be true for you in order for there to exist a genuine relationship between the two of you…be more interested in learning about and knowing your fans than SELLING to them. They will buy your music if and only if you’ve established trust and interest with them as an independent artist. Let’s face it - we’re not Taylor Swift or Beyonce who have had millions of dollars behind developing their brand that is mass-marketed to everyone. We are independent artists with limited marketing budgets and time and genuine care will go a LONG way in your social networking strategies.
So how hard is it really? You write songs and sell them, that’s all there is to it, right? Unfortunately the music industry isn’t quite as simple as we’d all like it to be. There are many different sectors through which an artist must pass and even more ways in which these sectors can be negotiated and traversed. To successfully navigate the music industry one must learn what happens in each of these sectors and how they inter-relate. To help you get started we have a ‘Map of the Musical Universe’ courtesy of PRS (click to enlarge).
Running a Facebook ad campaign is confusing. You bid for ad placement, but the price you pay bears little relation to your bid. What’s the difference between reach and social reach, connections and clicks, CPC and CPM? More importantly, is there any way to tell how many people played, downloaded, and shared your song, or signed up for your mailing list? (answer: no, there’s not)ReverbNation’s new Promote It tool addresses those shortcomings, and then some. You pick a song, photo, and budget, and it automatically generates dozens of optimized Facebook ads based on past Promote It campaigns, and continually optimizes your campaign based on the performance of those ads. New fans click through to customized landing pages that track not just clicks and likes, but plays, downloads, shares, wall posts, and mailing list signups. As I’m quoted as saying in the press release, “It’s the ultimate ‘set it and forget it’ fan-making machine!” I was invited to try it out and provide feedback during the beta period, and I’m flattered that some of my suggestions made it into the final product. So far I’ve run six campaigns. Let’s walk through the creation and performance of my latest and most successful one.
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(Updated January 13, 2016)