This SlideShare is from Simon Kemp @WeAreSocial on 25 April 2012. The original article can be found here.
Social Is What You Are Selling
April 25, 2012 – 1:50 am
This is a guest post by Benji Rogers, Founder & CEO of PledgeMusic. The original article can be found on HypeBot here.
I don’t want to buy things on Facebook. I reconnect with old friends, share pictures and see what other people are doing. It’s where I get a reminder when it’s someone’s birthday, and when the New York Rangers win, it’s where I go to shout about it. But in all of that, Facebook is not where I will go to buy anything – ever.
The inherent power of Facebook is that it sells all things social. In one sense, I suppose I go to the social media site to socialise with people I’m not immediately near and, sadly, some who I am near but am just too busy to see more often. All in one place, I can see who’s doing what and when and where. When I see that a relationship status has changed or that someone has updated their hometown, it immediately tells me a story. And it’s a story that’s not just of interest to me but also to my father and grandparents and the 800,000,000 plus people I’ve never met who use the social networking site.
But it’s not where I will ever go to make a purchase.
In my opinion, the smartest move Facebook has made in the music space is forcing people to use and to land on bands’ walls or timelines. It’s brilliant because it pushes artists to use this space as normal people would and not as an app. This is so important to you if you’re an artist because you need to fundamentally understand that fans don’t care about what you’re selling. They care first about your music and second about what you’re doing and why. Offering fans more ways to buy is pointless.
Think of it from a fan’s perspective. I have to land on your Facebook wall, click through to your Facebook band page, click the “buy” button, enter my credit card or PayPal details, add my shipping information, agree to a totally unknown third party’s terms and conditions and then wait for something to arrive or begin to download. All that when I could just go to iTunes and click “buy” or to Spotify and click “play.” Not that I do the latter.
The direct-to-fan argument is that you’re able to bring the commerce to where people are interacting and to make it easier for them to make that purchase. But is it easier? To me, it still doesn’t address the fundamental issue, which is that fans don’t need more ways to buy – they need more reasons to buy.
I have one specific memory that might help illustrate this point. When I was in high school, there was one kid who got me to buy more cassettes than anyone else. It drove me nuts. I used to spy into the top of his Walkmen to see what he was listening to. I’d try and catch a glimpse of what he had in his cassette collection, and at one point we got into an argument about it.
“Get your own bands,” he’d say to me. I didn’t even like some of his music, but I’ll be damned if I didn’t buy everything he did just to keep up. In one sense he was right. As we both came down from the late ’80s metal high, he went folk and retro and I went Pearl Jam, R.E.M., Stone Temple Pilots and Lord only knows who else.
I remember bumping into him years after high school and him still being cagey about what he was listening to. I saw him two weeks ago, and I know he still has some gems he’s holding onto just for himself. I’m sure of it. He’s on Facebook now, and though he doesn’t share much, what he does share I find myself eagerly clicking on. I have to…
To any and all artists who are using Facebook or an email list or a Twitter account today, I ask you this one question: Are you being social? What have you done today that is for me? What have you done that will make me want to look into your Walkmen to see what’s playing there? If I were to come across your Facebook wall or browse your timeline, what story would it tell me?
Remember that I already know where I can go and get your music. I don’t even have to pay for it if I don’t want to. But what have you given me as a potential fan that would make me want to even click that play button in the first place?
When I wake up at home, I put on vinyl. I like to set the tone for the day. What story are you going to tell me that’s going to make me get up from my computer to turn off Aretha Franklin or Exile on Main St., Donny Hathaway Live or Nina Simone to listen to your band for a few seconds, when I know nothing about you, who you are or why I should care?
What story are you going to tell me that will make me go put your music on my iPhone and take it on the ferry to work with me when, again, you’re competing with my current playlist of Nick Drake, Otis Redding, Led Zeppelin or Gram Parsons? What’s going to get me to turn them off and listen to you?
The answer to me is quite simple: It’s not going to be your store or your player or your banner ad. It’s not going to be your tour dates or your data capture widgets or your email signup form or your multitudinous packaging options or your bundles. It will first be your music and then your story and, perhaps most important of all, the way you tell me that story.
If you get the music right, people will share it – either overtly or by accident, they will share it. I lived in a world without Nick Drake until a guy whose taste in books I admired told me on pain of death to go buy it. I did. Then I dove into Nick’s story, scoured the liner notes, digging deeper because I wanted to know more. I was hooked. I wanted to know why his music sounded the way it did. I sought it out. I shared it with everyone. Having more places to buy it was irrelevant. I wanted it all – disappointing outtakes included.
If the music is the “what,” then all you need to work on next is the “why.”
Just spend five minutes following Mieko on Twitter, and you’ll see that in action. Or read one email from Madi Diaz’s email list. Check out one Pledgers-only update from Ginger Wildheart or Matthew Mayfield, and you’ll understand why the “why” is so important. Once I’m into the music, I want the journey. This is how social works. Your Facebook wall should be a narrative, not a sales pitch. I already know where I can buy your music, and I don’t have to buy your music, so tell me why I should dig deeper. Better yet, let other people do that for you. Let them tell me why.
We live in a connected world where we’re able to share what we love. Your player tells me nothing, and your iTunes “buy” button tells me even less. But your Facebook wall – the way you interact with your fans and what you choose to tell them – could tell me everything I need to know. Your music and then your Timeline narrative could be what pulls me into your journey, or it could be what makes me get off at the first stop.
You’re competing with free, so be social. In a connected world, when the music is free, social is what you are selling.
There’s Just One Territory For Releasing Music Now: The World
April 4, 2012 – 12:08 am
This is a guest post by Michael Brandvold from Michael Brandvold Marketing. Michael is a veteran music marketing expert and is featured on many music industry blogs weekly. Find him on twitter @michaelsb.
As I suspected you can already find the album on the torrents for free. Many U.S. and rest of world fans who would buy it today from iTunes CAN’T BUY IT. Why? Because we live in the wrong country. I have my iTunes preorder, but I can’t listen until next Tuesday, but fans in Australia can listen today. Explain why this makes any sense? Don’t complain about your music being pirated when you decided only certain regions of the world are allowed to buy it. Is there a really solid reason why the album could not have been released worldwide at the same time? Does the U.S. label really need until February 7th to get ready? Is the label in Australia that much more prepared that they didn’t need a few extra days? Or is it just because that is the way it has always been done?
Remember, there is only one territory for releasing music now…the world. You can’t restrict music to borders, there are no borders.
Whose fault is it that many U.S. Van Halen fans are now downloading the new album?
Artists At Work + Yes Nice Remixed
February 18, 2012 – 9:49 pm
We’ve got a bunch of things in the works over the next few months. Feb is usually application month. Grants, festivals, etc… you know, the fun stuff. We recently released a remix EP for our lovelies in Yes Nice courtesy of HUMANS, Tribe of Zebras, Germany Germany, and Oh No! Yoko. You can check out below and download the album on their BandCamp here : )
Our boy Jasper is in the studio working on a new album as well… more info on that soon. In the meantime, head over to our Tumblr page for some of the freshest new music around.
Yours truly,
Us
3 Essential Music Sites You Need To Use In…
January 27, 2012 – 12:38 am
This is a guest post by Robin Davey from Hypebot. Robin is an independent musician and Head Of Music & Film Development at GROWvision. View the original article here.
THREE SITES FOR 2012: The music industry has had a desperate flavor to it these past few years. We have been continuously told that there is a pending transition, and that the future of music consumption is just around the corner. There has been ceaseless speculation that a new model is what’s needed, and it is only a matter of time before a huge innovation comes along which restructures the way we consume our music.
With everyone vying for a piece of the future, maybe we have blindly put our faith in a new outside source creating this elusive Holy Grail. Ever since Myspace revolutionized the way bands connected with their fans, artists have been hoping that the excitement of discovering music in a new way will repeat itself, and by signing up for every given opportunity, they will be on the cusp of that breaking wave.
Hot on the agenda for 2012 will be how Spotify performs and is utilized by artists, both established and fledgling. However, the most important sites are likely to be the ones that have already built a strong and dedicated user base. Before we whole-heartedly embrace the new fangled, all-shining, latest taste sensation, it may be time to look at the tools that are already right under our noses.
1. YOUTUBE: Youtube is without doubt the most important and effective tool for breaking new bands and launching the latest music. If you are not creating watchable and engaging video content, you better be touring your way through every venue that will have you. How else will anyone be able to see what you look like, see how you perform, and make full sense of your sound?
Space on radio and TV is extremely limited and the Majors have a firm hold on those. But with the right video you can slowly, or sometimes quickly, build your fan base on a very low budget. Creating regular effective content is the digital equivalent of playing every dive bar in town on the hunt for fans.
We have eyes and ears, and the more senses that can be titillated when engaging curious passers by, the more likely you are to make them want to stick around a while.
2. FACEBOOK: Not because of the band pages – which continue to be drab and faceless – but because its use is ubiquitous. Everybody is doing it – your mum, my mum, your old school pals. It is not so much about getting likes for your own page, it is about creating content on a site like Youtube, that people then share in their own timeline. Viral spread is not achieved because you have 2000 followers; it succeeds because you create something that those 2000 followers just have to share. So, content is king, and the most effective content is hosted on Youtube and shared on Facebook.
Success on Facebook is largely out of your hands, however that doesn’t stop it from being the most vital source for spreading your music. Facebook should be a launch pad for your content, not your main page or substitute for keeping an email list.
3. YOUR OWN WEBSITE: It is amazing how many artists don’t have their own site, or if they do, they don’t see fit to make it easily accessible and constantly updated. Your website should be used to direct those people who follow you, to whichever outlet YOU want them to use in order for them to become familiar your music.
In all honestly, if you don’t have a website, you should point your URL to your Youtube page before anything else. And if you cant, because you don’t have good content, then it is time break out iMovie and start creating.
TAKE CONTROL 2012: will be the year of taking control of your content, not spreading it through every Tom, Dick & Spotify. Find a formula and work it hard, stick with it, and perfect it. If people come to your site and you are not definite with your plan, they will get confused and leave.
Your message needs to be: This is who we are, this is what we look and sound like, and here is how we want you to obtain our music.
D2F Isn’t An Option, It’s A Necessity
January 5, 2012 – 12:20 am
This is a guest post by Ian Clifford from the MIDEM Blog. Ian Clifford is a music lawyer, a manager and runs Make It In Music, a respected music marketing blog.
It seems that the majority of musicians are ignoring the concept and practice of ‘direct to fan’, or ‘D2F’ as the vanguard like to call it.
D2F is the practice of identifying people with an interest in your music, creating a relationship with those fans, promoting and marketing your music to them and going direct to them to finance your career by monetising that relationship.
It is typified by engagement via your own website and social media outposts and by the sale of music, merchandise, tickets and more through that direct connection. This results in a return of the lion’s share of revenue (less only technology partner costs) to the artist.
Instead of adopting this approach to build a platform for their success, too many unsigned artists focus on just getting noticed and then rely on outmoded and directionless efforts (such as spamming on social media sites, overplaying a small local area or looking for management), all of which they do before they have developed any significant fanbase on the strength of their material and by their own efforts.
The belief appears to be that building a direct connection with your fanbase is something that is too hard or too much work, that can be left until you have a record deal (i.e. something ‘the label’ or a manager can do for you), or perhaps that it won’t work in a specific artist’s case as a way to build momentum or sustain a career.
All of these mindsets couldn’t be more wrong.
Understanding the vast advantage that the current generation of musicians have been granted by technology is hard for some but the slow decline of the old mass media / major label paradigm is, in fact, a great opportunity.
At the heart of the D2F apathy may be the conundrum that so many artists are still achieving success from the old model – and not just those who benefitted from a major label deal before the advent of file-sharing.
So many advocates of D2F and supporters of the DIY musician would have us all believe that the days of the major label are over and that mass media, specifically radio, no longer matters.
Yet we all see the evidence that this is a fallacy on a regular basis when a new artist receives a ‘push’ from the label and all of a sudden seems to be everywhere – recent examples might include Jessie J, Bruno Mars, Tinie Tempah, Nickie Minaj and lately Lana Del Rey.
I know that those are pop artists but they demonstrate that material that has mass appeal when married with the marketing muscle (cash) and skills of a major label (or large indie) will still bring success.
The reality is that every artist needs a team and that team takes money to hire and needs money to spend. For those pop artists and for many less commercially viable musicians, although the internet has made it possible for them to find some success, they have chosen not to go it alone all the way, but to have the support structure of a partner.
And, for the most part, that team is still a label.
The most recent survey shows that 75% of unsigned musicians still hope to secure a record deal of some sort.
And it’s no wonder, when the prospect for the unsigned artist is having to do it all and raise the cash to do it as well if you don’t get a deal. By securing a record deal the artist doesn’t have to create all the music and then also develop the skills to produce, package, market and promote it.
Today the artist partner is still most likely to be a label, but in the future it could be another part of the established industry (a promoter or perhaps a distributor) or some new entity emerging in the new model. In many cases it’s likely to be a powerful management company that puts together the services required piecemeal, as many are doing already.
In that future, the chain from artist to fan will be shortened and for many it will comprise solely a marketing partner and a technology partner – thereby removing the traditional label, distributor and retailer entirely.
And that means that D2F will be a part of every artist’s promotion, marketing and sales.
But the landscape has already truly changed for all artists. Even for most of the pop artists referred to above, they had to create a significant level of buzz before any partner came on board and helped them.
And the best way to do that is to build a fanbase that you can display to your suitors.
In fact, the best way to do it is to get your head down, create great music and then let that expression of your art build your fanbase. Properly harnessing the engagement that your fans want during that early phase of acquisition will only make that fanbase stronger, more supportive and more reliable in the long term.
If that attracts a partner or label, then you may choose to take them on, but if it doesn’t you are building your own army of fans who will sustain you.
The truth is that if you don’t embrace D2F, you are very unlikely today to succeed – DIY or signed.
The internet gave the musician MySpace and perhaps their own website as the first routes to put their art in front of a global audience. More recently technology partners (such as Topspin, Nimbit, ReverbNation and many more) have built the tools to make that online presence more effective and easier to administer. Other platforms with better direct communication and ready made eager audiences (Facebook, SoundCloud, Twitter etc) have made the reach much greater.
On top of that endless blogs, online and offline colleges and thought leaders have risen to prominence dishing out advice on how best a musician can build that direct to fan relationship.
So whether you want to sign to a label, find a team to partner with or whether you want to truly do it all yourself, D2F will be part of your career.
And it doesn’t matter whether you want a small hobbyist existence which fulfils your creative urge, a self funded and managed long-term niche career or the full blown superstardom.
In each case you will need to engage more directly with fans than ever before, let them closer and give them more.
The bottom line is that as you start out or seek to move your career on you must embrace the D2F mindset and learn the necessary skills. If you ignore it you lessen your chances of ever achieving the music success you deserve.
Seth Godin on The Four Stages of The Game
December 2, 2011 – 2:39 am
This is a guest post by Seth Godin, he needs no introduction. View the original post here.
1. You don’t even realize there’s a game. (And any contest, market, project or engagement is at some level a game).
2. You start getting involved and it feels like a matter of life or death. Every slight cuts deeply, every win feels permanent. “This is the most important meeting of my life…”
3. You realize that it’s a game and you play it with strategy. There’s enough remove for you to realize that winning is important but that continuing to play is more important than that. And playing well is most important.
4. You get bored with the game, because you’ve seen it before. Sometimes people at this stage quit, other times they sabotage their work merely to make the game feel the way it used to.
And then a new, different game begins.
