Some indie bands are purposely obscuring their names, hiding their faces, and refusing interviews as a means of image-management. Is this a good idea for your band?
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Entries in marketing (95)
Artists are giving away way too much free music. The belief that giving away free music will result in future sales are too far-fetch. Also with the advancement of new distribution models cutting down the dollar value on music (Cloud/Subscription models), we are entering a stage where the public is becoming too accustomed to free music. Sure illegal downloads are here and will continue to be here, but artists must not fall into the trap of allowing their fans to dance to the tune of music is a free commodity.
What bands tend to forget, not everyone at the show knows who they are. Some people are just there to hang out and could care less about the bands. Knowing this, you have to use every tool at your disposal to get your band recognized. It’s no good to entertain a crowd of people and then let them leave not even knowing the name of your band. (It happens…trust me…)
1. Large banner on stage
Displaying your band’s logo prominently while you’re playing has to be the number one way for everyone to know who you are. At any point during your set, people will immediately see who you are.
Simply announcing the name of your band during your set is not enough. You never know at what point someone will or will not be in your audience. People wander in and out the entire time: getting beer, smoking, going to the bathroom, just got to the club, etc. There is no gaurantee your new, potential super-fan will be in the room when you say your band’s name.
Yes, even if someone really digs your band, they can still wander out and miss who you are. Why? Well, there are usually two things that trump your show: alcohol and getting laid.
Author David Meerman Scott made a honest and realistic quote, “if you want 20,000 fans you must do 2000 different things that each generate 10 fans.” This was my favorite quote from 2010 and I am going to take this on as a challenge for 2011 for an ambitious project to give you 2000 different things you can do to generate 20,000 fans.
Balancing the different facets of being a musician, along with our social, personal and professional lives can be very difficult. How do we do it, and do you have anything useful you can share with others?
Some of these items will apply better for larger acts, some items will work for any act. Some may work for you, some may not… not yet. Some these can be done with little effort, some will take some web development, some might even require some significant development. Some of these have successfully worked for me over the years. The point is to create a list of items that would cover a wide range of acts and abilities.
The end result of all this will hopefully be more Facebook likes, Twitter followers, email list subscriptions, more sales and more traffic to your website… more fans!
We’re proud to name Natalie Cheng as Music Think Tank’s first ever Community Manager. Natalie has toiled away in the shadows here for months; editing comments, tagging posts and in general keeping things flowing. This acknowledgement of her efforts is long overdue.
So, who is Natalie Cheng?
A general rule of commerce is this: You cannot demand money until you have generated demand, or at the very least, the perception of demand. And a sure way to generate demand is by using a loss leader. Your music is your business. And in business, in order to spike sales and increase the bottom line, you have to pick and put into play a loss leader. A loss leader is a part of your whole product offering that you will lose money on (or not make money on) in order to get potential customers through the door. Once they are in, their experience with your “brand” should cause them to buy other products you also offer as well as become repeat customers. This adds to your bottom line. This is what a loss leader does.
I used to be afraid of always talking about my music to people, whether it was online or offline. Mainly because I was afraid I would annoy and lose them. I found myself in a dilemma of sorts because the promotion of my music was inconsistent as result. And inconsistency doesn’t breed success. So I had to check myself. I was taking this music thing too personally. I needed to step back and be a bit more objective with my career. I needed to think like a businessman. After all, I’ve spent 6 years building my own marketing company.
As I understood business, when you have a good product, the main task at hand is to figure out ways to let your target audience know it exists and raise your product’s profile in their lives. That is your focus. You are the owner. You are the marketer. The success of that product is in your hands. And, being in music makes no difference. If I ever want to make this passion my “9 to 5”, I had better pull things together. What I’ve found is that it took just as much creativity to be in business as it did to make music. Both requires you to take what is seemingly nothing and make it into something. Except when it comes to the business side of things, your job is to make your music, which at the start is nothing in the mind of a consumer, become something meaningful to that consumer. And the key to great marketing is one word: frequency.
This is a matter that I’ve struggled with, going back and forth. Should I release full length albums in this new music era or should I be releasing singles once per month? I was leaning towards releasing a single each month for one reason: consistent fan engagement. It’s good to always have something new to talk about with your fans!
But then, I ran into a problem - a few weeks isn’t enough time to promote a song in any kind of impactful/effective way, especially when you are an independent artist. You’ve barely promoted that song before you’ve moved onto the next one. And from the fan engagement standpoint, I found many of them didn’t know I had certain songs out. For whatever reason, all of the fans don’t pay attention all of the time. So if there’s no sustained attention/focus on the promotion of a particular release, it’s hard for people to know it exists.
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.
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…
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(Updated May 3)