Now, for those of you who don’t know who I am I’m a digital marketer myself, I specialize in helping artists, like you, guys, get their songs heard through platforms like Spotify, YouTube, Instagram and a bunch of others. Now what I want to talk to you guys about today is a very important step in beginning your marketing campaigns, and that is determining what your product is now, if you’re treating your music career like a business, what you guys should be doing, you will know that Every single company pretty much determines what their end goal is, or what the end product is with every single marketing campaigns, and you guys should be doing the same pretty much.
The way I see is there are two major types of campaigns that you could be running and those are artist, centric campaigns and music central campaigns, I’m going to get a little bit deeper into the tools that you guys can pretty much figure out, which ones make The most sense for you and it’ll help you moving forward with determining what you should be doing in your marketing campaigns and which ones make the most sense for your immediate goals.
Now the first types of campaigns are typically referred to as music centric campaigns, and these are the ones in which your music is the star of the show, meaning that if you’re someone who has a strong single or a strong song that you really believe in then These are the types of marketing campaigns and marketing strategies that you’ll want to focus more so on because of this, it’s best to use when you have a song that you really believe is worth all the efforts and that you really believe can make a lasting impact That will actually help you in your career.
Thank you for artists. Like early on the weekend, when he first came out, he wasn’t really putting his face out there that much or really relying on his brand to build his fan base, but they were going more. So from people who really believed in the song, looking for targeted fans who were actually fans of the song and not just fans of everything else that the weekend still for so, if you’re running a music central campaign.
That means that your music is where all of your efforts should be going towards. You should be targeting all of your resources back to finding fans that wants to actually just listen to the song. I thought of everything else. So typically, what you’ll want to do is these types of campaigns? Look for things like playlists Spotify playlists are one of the best ways to find people who are just genuinely interested in the song, as they can’t really see other things about you without first going past, the song is so you’ll also want to figure out different ways To disseminate the songs within different audiences, maybe reaching out to different influences, are getting your songs placed into their campaigns and there product placements or figuring out creative ways that you can just build around the Tsongas so and the second types of campaigns are typically referred to.
As artist centric campaigns – and this is what you guys get to be the star of the show now in these campaigns, your brand should be the endgame and an appeal to all of your marketing campaigns and all of your marketing efforts. You should be trying to disseminate information and articles and content that relay your brand to your audience, so that you’re bringing in people who are like-minded and similar to you.
Typically, these types of campaigns are usually article focused as you’re, finding a strong visual that represents you and your brand or represent you in your music in the best way and you’re trying to figure out how to get it out there or you’re working on viral content Strategies that help to push you out there and everything that defines you as an artist. These, in my opinion, are some of the most important marketing campaigns, as you can build a strong songs.
All that you want, but you’re not really a major artist or an artist with a strong fan base until you have fans that believe in you and your brand there’s no better way to get it out there than by focusing on your brand itself like. It was a product now, one of the best examples of an artist who running strong artist. Centric campaigns is six-nine every single one of his marketing efforts and our strategy is all playing directly back to him and not necessarily its music itself.
So you should be looking at as the same type of way you were to start. These shows you are the start of these campaigns. What things make sense and bringing people back to your story back to your brand and back to you as an overall artist outside of your music? So, just to recap, with you guys, the first thing that you should be doing in any marketing campaign is determining what your product is: use, your music, the product.
Are you going to be running music, central campaigns in which you’re getting your songs to Spotify playlist and to influence the articles or finding other creative ways that get your music out to the masses and outs of people who actually be fans of it? Or are you the product? Is your brand new product and you’re going to be running artists into your campaigns and what you start to figure out Barbara content strategies that push you your message and your brand out to people who relate to you and be genuine fans of everything that you have Going on and everything that you have planned for the future trust me guys, there’s really no right or wrong answer there, both campaigns that you’ll have to do at some point in time and they’re, both campaigns that are equally as important and can yield equally great results.
There was always guys if you feel, like you learned anything today, please like and share this article hit those post notifications as well as want you guys to miss anything once again. My name is Cobra and I’ll see y’all next time.
If y’all don’t know, lil yachty is supposed to be a Green Lantern in the upcoming Teen Titans movie, which is going to be interesting. And then you have people like Travis Scott, who created this vivid world and a lot of people around him have said he had that strong vision for the world you wanted to create from the beginning. So that’s not you here, a few steps. I was hopping to it figure out what matters to you at the core.
Do you want to be known for your music, or do you want to be known for your aesthetic, some kind of character you create it’s, not that you can’t have both at the end of the day, but we’re talking about the very beginning which one matters to You at the very most your personality as an artist or your music as an artist. Now, if you look at an artist like her people, pretty much don’t even know how she looks.
That is a very music heavy brand. It’s so far to the extreme. On that side, then you have people like lil yachty. Like I mentioned earlier, that’s very faith-driven. He does have music that people like and love, but it’s very much so that personality over a lot of other things. Some once again, if you look at somebody like Travis Scott, it’s very much so the world and aesthetic that entire environment he creates.
So you have to figure out what you’re trying to do or you trying to create some kind of world. Are you trying to be a face? Are you trying to be music first, whatever that is start to think about small things like that and even within music? Do you want to be known for your melodies? Do you want to be known for your lyrics? Do you want to be known for the energy you bring start figuring out a few basic things that you feel like matter to you most and don’t necessarily go towards picking something that you just think sounds good know why this is so important is for one your Brand, it’s not going to be perfect from day one.
You wanted two primary reasons. This is so important is because your brain is not going to perfect from day one and there’s so many facets to the brand. You confuse yourself, if you don’t just keep it simple. So you know you’re about creating this specific world. Then you know you’re going to attract people. You want to look for people who are interested in that world and I want to be a part of that experience and if you consider yourself a lyricist, you know you’re going to look for people who, like lyrics.
These are the things whatever you choose, your core to be that’s going to be the thing where you have the most quality control, because that’s the core of your brand, meaning that’s got the core of your fans. Outside of that everything else can be developed over time. There might be one two, maybe three, but I would say especially for my beginner. This is your day. One figure out two things, maybe that you really want to put energy in and focus on and just keep building those and bettering those improving that quality.
Everything else will come to the fold and remember, there’s a lot of different cores out there. You also have humor driven artists like little Dicky, there’s so many different things that you can choose as your core. It doesn’t have to be the traditional. Oh I’m a lyricist or oh I’m, a hype, artists or whatever. Now, what you don’t want to do is pick something super broad like positivity positivity is like saying Millennials or I’m targeting people 18 to 30 years old yeah, but there’s so many different nuances to being 18 to 30 years old one.
Some people are college students. Some people didn’t go to college. Some people are into hip-hop, some people are in the country. You can’t just target that broad thing when you say positivity is my niche. There’s a lot of different people, pie, type of people who are positive right, there’s positive people who, like country, there’s positive people who, like hip-hop, okay, even between positive hip-hop people, there’s different styles, so understand that when you pick a niche make sure it defines people and Outside of just the term, the term sounds good, but if you really don’t understand what those people really look like what they like, what their self narrative is for how they like to live, and things like that, then you probably haven’t figured out a niche once again.
Those are just a lot of things. I hope I didn’t confuse it when I said those things but start at the court figure one or two things out that are important to you, build the rest over time. You’ll figure out the rest over time, don’t even try to figure them out by you know, sitting in some kind of room, studying branding and all that kind of stuff. Let the rest of them come to you as you grow your audience and get more experience and naturally just lean toward certain directions or get certain feedback from audiences.
And then you double down into what you think that people liked from you and you see that people liked from you. If, of course, it’s actually authentic to you, because sometimes we do stuff once and people like it, but we probably don’t want to do it again and don’t want to make a whole career out of it. You know what I mean so other than that I would love to hear you guys thoughts in the comments I’ll hop in the comments, as well other than a view like this article Kuwait he did like like it might as well share it and if you’re not Subscribed, you know what to do.
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How to create fans, customers and even a community to spark a movement, so let’s get into marketing funnels and then I’ll be back, alright, alright! So this is what a marketing funnel looks like it’s split up into these five categories: awareness, consideration, conversion, loyalty and advocacy.
Now, I’ve put it into my own words, not, for instance, awareness is basically the discovery phase. This is, however, you find out about something. However, you discover it that could be through social media email search engine optimization, which means when you’re on Google, when something pops up in the browser. As far as the search terms make it be an ad that pops up when you’re reading TV or when you’re on one of the websites, you can be reading an interview on The Breakfast Club and a person.
It’s in the interview – and now you figure out like I don’t know who this person is some kind of collaboration word-of-mouth or you can somehow discover this person’s content, there’s so many ways. But, however, you discover that person is point blank and simple. The consideration phase, which I call to learn more actually is when people decided a little bit more intentionally to learn more now, there could be passive learning more, which means there’s always just more and more information popping up about you to this person.
Maybe they have a bunch of friends who are fans about you, so they tend to hear more, but the learn more tends to be a little bit more active with their now saying. I’m aware of that person I discovered them now. Let me figure out a little bit more about this person now, if you’re, an artist, that’s pretty much going to look like them listening to your music or they could be consuming your social brand.
If you have a lot of funny social content or whatever type of social content you have out there, they might just be consuming that, but tip is going to be the music, or at least you want it to be the music. If you have some kind of brand like a software in this learning more phase, that could be you providing some kind of free content or information like an e-book or something like that, and then they download the e-book same thing could be done for an artist, though You can provide something and get something in return like an email address or phone number as well, and then, even if you have like a t-shirt brand or something like that, that can also just be people finding more about what other styles do you have now that People have learned about your brand.
That’s learning more, it’s kind of straightforward is really just the idea of people figuring out more they’re, going down the rabbit hole of your brand now conversion. This is one that engagement is getting a lot deeper, and this is, when things become a lot more intentional from you as a brand, because you are trying to create fans out of this marketing funnel now. What does that look like when we’re talking about deepening engagement? You have multiple ways, but one way is extremely systematic.
When we talk about sending out emails, if you in the consideration phase, exchanged some form of product or some form of information for somebody’s email, you can create a system and then engage with those people systematically or you can have ads that are targeting these people, who Are learning more about you? They tend to call that retargeting the people who have engaged with your brand a little bit now you’re starting to hit them with ads.
That’s why you see those pop-ups whenever you go to certain websites and then later on, those people start showing ads on other sites. But the freer option really comes from just staying consistent and providing consistent engagement on social media right. So people might find out and learn more about you on social media. That’s how it happens for most people, but then, when you’re deepening their engagement, you just have to provide content after content after content and really needs to be in a variety as opposed just the same type of content, because in this phase they’re really to learn more About your brand in particular and there’s deciding whether they actually like your brand in this phase, so you’re deepening the relationship and by staying constant on what you post on social media.
It allows you to stay top of mind with them and provide more and more for them to consume quick side numbers, because this is the perfect depiction of why so many one-hit wonders become one-hit wonders think about the fact that if someone discovers you and then they Even start to learn a little bit more, you have a little bit, they can see about you, but then it goes into that conversion phase and you don’t have a bunch of content for them to really grab hold of and become a true fan of you.
You don’t have an established fan base for them to really show what the lifestyle and culture is around you as an artist around your brand. That’s something that’s really necessary to drive somebody to the next phase of a fan, which is where that loyalty is created and, if you think about it from the standpoint of a software by the way now they’re established culture and brand value and social proof is usually Going to be like reviews, product reviews, online people are looking for credibility in this stage outside of just themselves, with a t-shirt company they’ll be looking for other people wearing a brand or what quality? What’s the true value of the brand? Is it in Walmart or is it in some high? I don’t know higher class boutique in LA or somewhere.
These are all the things people start to look at because they want to get a sense of the lifestyle the brand they want to know how to associate. You as an artist or this brand as a person because they want to know if they fit and if you share the same values for the lifestyle that they find value in and if you complete this part correctly with the right people. Congratulations, you got a fan, but now you have to stay consistent for that maintenance.
You have to continue to communicate the values that they decide they related to, and just do that again and again and again, and those people who really like you and Iraq with you. They will then advocate for you, which is what you see at the bottom number five and when they’re advocating that spreading the word about your word of mouth. So then, the vein that you created goes out tell somebody else about it, and then they start them back at the marketing funnel at the top of the marketing funnel, because that person now is aware of you, they can consider you, you have the opportunity to convert Them into a love thing and then they can go out and convert another person for you.
This is why, when someone has a strong core fan base, those fan bases really tend to grow because they’re creating these people who then go out and are ambassadors for their brand and we’ll get deeper into each stage in another article all right now, that’s it for Marketing funnels, but I’m also going to do a article on sales funnels, because people tend to get the two mixed up and, of course, I’ll show you how you can connect it to for yourself, particularly through music other than that.
If you like this article, go ahead. Hit that like button, if you liked it, might as well share it and if you’re not subscribed, you know what to do hit that subscribe button.
This guy has his hands in multiple things. He’s a digital marketer he’s done some other things in music industry being a manager. So you guys are going to get a lot of great information for you, I’m not from him, I’m not going to waste your time. I want to hop right into it. So what’s up Corey, I don’t pretty good man just now.
This heat, a man that he didn’t Georgia dawg all right so, like just start here, there’s always the best place to start tell everybody how you got into the music industry in the first place. So my background, pretty much comes from publicity. I started out being an intern, so I all right more, like an assistant to a publicist. I was more so in the media world. You know getting placements on blogs and like magazines and local press and stuff like that, and that kind of transferred into me working on the publicity and marketing team for like a boutique label, which was pretty much just like a upstart label between some guys with some Money without y’all want to start a label, come work for us, so that to me doing that for about a year to an anthem that kind of transition into managing artists, which I did up until about four or five months ago.
I, which led me into my own marketing thing but kind of freelance marketing working for people, don’t like influencer marketing and Spotify, playlists and stuff like that. Okay, but – and I cared to you guys – this guy is serious. I would even have them up here, especially him. Being in the marketing space, y’all know what I do so y’all going to learn some great things from him. Now, when we talk about this label, though you said, you worked at a label was just like a label.
He said two guys with some money he’s just talking about, they got the check and they said he want to start one where they’re already experienced in the industry, so it was pretty much. Two people saw one of the guys. His name is Jonathan, hey he’s the publicist that I was working for. It was his business partner who was a guy that was new to the music industry, but he had the fun. So I kind of get everything off the ground like I said these two guys were like yo.
You know we kind of have a vision for a label that we want to start. We have something that we want to do. We know can’t come kind of help. Us with it what my like first footprint or like real serious foot, praying the music. Ok came from now for all the marketers out there and managers. I know so many people want to start a label so before we get deeper to your personal story, what’s the biggest thing you felt like kept that label from surviving a lot of people trying to start labels these days, yeah, not really, not really, knowing the cultural Landscape, I would say because, like I said like, it was two guys who they had the money to do everything I that was really any idea like.
I could come up with about. How much is it yeah we could, she could say, yeah Thursday, so this pretty much them not not really knowing what they got themselves into. Like I said, with the other guy, coming from a publicity standpoint, he’s so used to pushing everything from like. Oh, like the the perspective of a publicist or journalists, which you know we all know like it comes it’s a lot more to comes with yeah starting to label.
So I don’t say that’s the only thing. I really saw wrong with them, because I had other things like like took like really not. We say cultural landscape. What you’re talking about there like knowing like you know, which press is good press for the demographics are trying to get into? You know sunlight which, which light influencers are like really making an impact on what you’re trying to get into, or like just observing like the overall like cultural landscape of like who are the people that we’re trying to get out of music in front of.
It was very much just like a thumb spaghetti at the world technique, but they were child going for it, as opposed to like you know. Who is this person that we’re trying to reach? Who is the fans of our music? So they understand how to like identify their needs to demographic in to reverse engineer from that so they’re, pretty much is like like they were. Also every pretty much is like. We also like doing the music side, which everyone from my experience, everyone who gets really involved in the music side doesn’t like to do the other stuff like they don’t like to kind of go that that customer profile you know.
So I honestly that’s really the only thing I see nothing like their artists were like cool artists. They weren’t, like the best like most serious. Are they also had artists, who kind of like took advantage of the situation? Okay, who, like did in the shouldn’t, have been taken advantage of the situation, so those things that I’m sure a lot of you guys are going through, but uh though some things definitely keep in mind when I started label and yet that money is not everything everybody.
I know a lot of people are like looking to get some money or they say all they need is money, but I’ve talked to people who have been on tours with artists that have had millions of dollars back in them, whether it is their own cuz. They got it somehow, or investors and artists, just straight flopped yeah, I’m talking about millions of dollars, so it’s not all just the money. If you don’t know the customer profile, I had a like to do a lot of things that he knows how to do.
You know, then, it’s not as easy as this game. Everybody lies, everybody makes the game see ya, like I said money. Isn’t everything like at some point? There’s only you like, no matter how much money you spend on something at some point it kind of has to like grow us all that isn’t what I’m saying like the money is to get the ball rolling, but once the ball start, the ball has to roll. That’s real like what do you? What are you doing more so today? What some more so your day to day when it comes to the services you offer artists, so I pretty much like you said, like focus more something like digital music marketing yeah.
It’s mostly me doing influencer marketing on Instagram YouTube and then some of it well actually most of it is Spotify playlist thing, so I pretty much figure out ways that we can check out these digital blogs and digital platforms and connecting with people who make sense with The audience that you’re trying to reach and then get you placed into those places, okay, so a lot of artists are trying to get in contact with people like you now for your from your perspective, what are some of the things that keep you from working with? Everybody because everybody, I know who’s taking it seriously, they aren’t scamming out here they filtered, they don’t just work with everything are that reaches out to them.
So what are some of the turn offs that you have when it comes to artists? Who hit you up? I mean with it being the music industry. I personally it helps if I really like the music it just if anyone working with music, it makes it a lot easier when you like this one because like when you hitting that point, it’s kind of saying no yeah, it makes you want to okay. I really do like this song. I believe it’s like, I believe in it.
So let me go so. Personal preference probably comes in two, like 70 %, like the clients I work with and the rest just like how serious do I believe me like I’m something like do. Are you doing this because, like your friend told you that you need to do this or you, it is something like you can’t look into and like you’re building your team, you realize by you I’m either guy that does what you do! None! No! None of us have the time to do it so like seriousness – and I like personally tell you got you the most.
So it’s nothing about like how their brand looks, aesthetically or like if they’re but oh music is mastered or something like that. Yes, okay, so quality. Definitely goes into it too, like I wouldn’t work with someone who, like recorded a song or like a phone soft way, so quality does definitely matter. So I, like the branding stuff that stuff can be changed. You know something like yeah, especially with like I’m, not at the point where, like I’m working with like superstars, I’m usually working with artists with China, I get that fan base started so like, luckily for them, they’re coming to a point where, like most people, don’t know Who they are like know just to be like honest, like you know, you might have like 100 200 fans but still know, there’s a hundred hundreds of millions of people out there who don’t know who you are yeah, so they have the luxury of like kind of Growing a lot developing their brain is that go which is look like what I like the most.
I don’t really worry about that kind of stuff, but even the worst brand or someone with the worst branch still has fans out there. They just have to figure out how to reach those fans and each other they’re, bringing light to that person. So I’m more so like interested in helping you figure out, like alright where’s your niche and whether you have to do like fit in that niche. Okay, yeah. So I know you’ve been a manager before what are some of the issues you see a lot of artists have when it comes to the manager, artist, dynamic um.
I think one realizing like the difference between what exactly a manager does, as opposed to like what artists like to think of as label services like managers are more so like, like strategic advisors in a sense, whereas, like they’re there to kind of help you map out The game plan to everything but they’re, not necessarily the people who, like fund the game plan, it’s pretty much like like in my opinion.
Imagine someone who looks at that network looks at your network and then figure out like how can we put a game plan together and make sense for what we do have yeah, and how can we figure out a way to get to the things that we don’t Have access to so I just thinking like a lot more artists have to just kind of like really like realize. Like? Are you at a point where you need the dynamic like? Do you really need a manager that you have anything going on so why you need to be managed? You know some I do have enough.
Do you have enough people trying to reach out to you in a week that you need someone to count my filter? All these conversations, if not any like honestly, you don’t like a manager in my opinion, is probably like the third thing. You should get like everything. After what a lawyer – and I wasn’t so good at counting – I guess – you’re – not making my manager would be a second. So I was like a lawyer an accountant any like a manager but like if you’re not making money in a lawyer.
First, definitely if you can like and then imagine okay, why you set up um. I just like. I feel, like a lot of artists, give themselves. Hang it up into legal situations just because they’re so stuck in it like it’s so stuck in the now, which is my big thing, is I try to get a lot of artists to think of their careers? Is like a business like you wouldn’t want to make a bad business isn’t decision today because you know say you’re in a tight spot.
Yo Carmen comes back on my bike. She now it’s like two or three years later yeah, so I feel like artists kind of needs to go into their situations, knowing, like all the legal things surrounding the things they think they’re. Just like you know everyday normal things for like the artists to do. You know, like I’m, going to take this song, that I have a sample and I’m going to upload a sound car anyway, because in their mind, like yeah, I’m going to be big one day, but this is going to be it then your song goes.
Viral gets two million streams, and then you have, you know, send the artists other artists, here’s about now. You have $ 500,000, losing it hands because yeah, you know something. You didn’t kind of talk to someone about this first and no one is more versed in legal matters than the lawyer like, even as a manager like, I would tell ourselves we’re going to like you’re like this is what I’ve seen from like I’ve heard, or what I’ve read yeah, but let’s not make any moves on it and lets me talk to somebody else.
Who knows you know if I know 20 % when he finds my nose 90 % about hey. That’s a manager. Lot of managers will not do that they’re just going to mislead the only going to our decision educated on stuff. Now and with that being said, I know what a bit of artists that have gotten caught up in some legal situations with their manager because they get in that relationship, for they really get poppin. But then they move into a label and then now the label can’t really move on things, and you know certain stuff gets right with the manager.
If that manager like y’all might be parting ways for whatever reason or the manager might be more demanding or something just harder to deal with, you know the same way of things like jay-z and Dave like their situation. I don’t know all the details, but I always know that Dame Dash was looked at somebody from the label standpoint that was hard to deal with yeah, right and and that could work for you, but some people that might work against them where they say.
I don’t want to be with this manager because they’re not savvy and they’re messing up my business. I got a part ways, but you can’t just part ways. We all have problems if you already got a legal agreement and that’s the best way to think about. It is like divorce. Yes, everybody talks about, never know who you win so y’all get the worst and how ugly these divorces and marriage you get same thing would have managed.
They all got something legal like y’all are legally married in business, and then you don’t like this person. Y’All are already had some disagreements and then next thing you know you know each other or people start acting real shady next thing. You know they they going to want a bigger cut than you think and like just just yeah having a lawyer first like even if you decide to get a manager and don’t have a lawyer.
That’s like long-term, like at least like for the agreement with the manager. Have like go find someone who knows of a lawyer like someone that you trust that can function the direction of a lawyer yeah like never signing, of course, like never sign anything yeah with someone. You don’t know – and I’ve heard horror stories too, about like managers who like to catch artists when they’re like in positions – I don’t know anybody they sign, so there’s no violating agreement and, like you said, like three years later, five years later, whatever yeah you’re stuck with This person, so I it does come down to like, like you said, like I feel like every business relationship is kind of like dating innocence, was like you know you, wouldn’t you want proposal growth, y’all haven’t.
Even when I got coffee, you know someone come up. You, like you out, like your music, I want to manage you. I want to see if I can develop something cool. You know come in yet a couple more of my shows, I was kind of talking to south you’ll, see. Let me figure out, as a person see how what I think this could be give me some some references about who yo yo, whoever says, but who are your three closest friends are like who, who are three artists that just know you that I can call math? Let yo, what’s this guy about yeah, because they’re people in the industry that might not even like that person that person might have, they might even be a decent at that time, but they might have messed up so many of their relationships in the industry.
They’re not going to be to move anyway, so you get a contact, get some referrals and see hey yo you heard of such and such you know this person and they can’t vouch for their character yeah. You know that they can’t vouch for their ability to actually perform and he really putting yourself in a position where you just added another you to the team, all right. Well, switching gears a little bit man.
I know you work with a Spotify playlist a lot and be working any other type of playlist other than Spotify um. No yes, like I’m learning, these are right now yeah and it’s not really as much as because like Spotify place and platform, is a lot more open than like other kind of streaming platforms like Apple has. The people that make sceptile is yeah. Youtube’s account. Oh yeah. I just make out laughs: oh yeah, do not know unless you know what it’s like you can’t.
You got company with the gatekeepers first say yes or no. Okay got you. So what is like? Maybe two pieces. He says when you talk about Spotify playlists, go for the little guy, like don’t cuz. Why I, like Spotify, has a monopoly on the large players, of course, because it’s their platform, yeah and then outside their labels, have the monopoly on the other large player. So, like probably about 80 % of all the players over, like 200,000, followers are owned by you.
The Spotify are these companies that made your labels on. So, like that’s kind of where I even myself, I kind of go into the special alright, who are these regular people that have built up playlists for whatever reason like? How can we find these people in every chart to them? Yeah? No, I didn’t tell clients all the time you know if I can get you a hundred five thousand five other playlists, that’s just as good as me.
Getting you one. You don’t sound like fifty thousand five hundred about the pilot playlist, so it’s kind of like it’s pretty much like micro influencing in the Spotify world is like going for. Those guys and tip number two I was saying is just no way your song fish. So I don’t think that, just because the playlist has whatever amount of numbers that your song is going to fit because, especially with play, let’s play, Spotify playlists are very like either you move curated or, like very tell it’s like a specific sound.
So it’s like you’re a trap: rapper your song isn’t going to do as well and like a chill right, platters, it’s like someone who makes music like sound like a sob or I can make jingles or something like vice versa, like you know, like a pop artists, Song isn’t going to do well on like a country, music playlist, just because it has having many people, thought you’re going to get the listeners which nothing not going to get like the return of listeners, not get the people who are like who generally like care about.
Just long past is first listen, so those are the two things I was looking, but let’s look for a like way. You make sense: let’s not just picture someone, because you know a lot of people come here like, but do you make sense that that make sense, Fe so last question when it comes to what you’re working on right? I know that you mentioned that at some point. You do want to have a late all right, so what does it take for anybody out there who wants to have a label at some point that maybe not already have some super connected positions like you saying you want to have a label one day and you’re Talking more so in the future, instead of just starting one.
Now, how come you’re not just trying to start one now like most people would just say: hey, I got a label and we get an artist, and after you talk about how it comes, what do you got? What do you feel like you need to do before you push yourself in that position to actually start one? I feel like. Luckily, I’ve been like blessed to kind of come from being inside of a machine, even though it wasn’t like a very large machine.
I still saw like the day-to-day operations of people who work like trying to sell a brand were actually like running a label from day to day yeah. So that means I know, issues work like I know this is like more work than I honestly could put on myself at the moment and then more work than like. I would be willing to like find artist who believes in that citizen. Like I don’t have my structure together, so it’s not your kind of putting like this belief in our structure.
That leaves me even though I were together so my game, frenemies a couple of years is just like. Let me find these people who can help me with the Lego when I do get to that point. Like do things like, I know I wouldn’t know how to do or like things are, like, I don’t know as much about like 20 % things, so it’s like yeah. I know at some point if I have a label like I’m, going to need some he’s going to have to start going doing doing towards the noise show.
I don’t know how to put it all together. So let me do what I’m doing now and let me meet some promoters know some who working with artists, get cool with announcing. Then when I come back in two years, not like y’all have his artists. I know you’re still touring shows up LA. Let’s put my artists on the show, it’s kind of breaking me: let us go from that, so I’m pretty much at the point where I would much rather build the connections and also build like the legal structure in the business structure that comes with you know only Labor, because it still is a business that in today, like I said you got ta have.
I would much rather focus on building those right now and come back in the year, because artists aren’t going we’re going to be ton of the artists every day of every year. You know somebody’s going to be out there right. So it’s just pretty much me like getting my networking my stuff in order before I like launch it out into the world like that. You know I mean coming from the marketing side, like marketing is one of the larger portions of light, how people break an artist, so it’s like even now, once I get I started late, but we don’t have to spend X amount of dollars on the marketing team Because I know what I’m doing I’ll just trained two people in the know kind of don’t it’s nothing.
I was doing now. At least we have a leg up. All right nobody’s got to figure out other pieces to the puzzle. So that’s kind of out look at it, but mmm makes sense. My perfect band of extreme value of the people – I already know you have been definitely y’all got ta. Follow this man at Corey. Does savor Savior, that’s Koh all right. He WA da SAV, oh I’ll, put it somewhere to the screen or something like that, but definitely follow a man.
You know if you need his services or whatever just follow mom. He stays up on game. He moves pretty heavy in Atlanta and I’m sure he’s in other cities as well as they do in the industry. Y’All are you know, bran mash, I’m looking forward to having him one blog again, because he has a knowledge, a lot of knowledge for you guys anything. You want to leave with best thing. One thing I do want to leave everybody with is just take this seriously and treated like a business and everything to move for you really easily.
I promise you pervy way for real for us all right. You know what to do hit that subscribe, but
What’s the trade-off Bateen drop in one album per year versus drop in two projects per year? Is it really worth it, etc, etc, etc? Let’s get to that answer. So, let’s start with the fact that after the content is fully created and ready to go, there is one thing: that’s most important awareness getting it out to the public as many of the right people as possible.
But then, within that awareness there are three ways that you make that happen. No more uno is effort to is money and three is resources. So when I say resources in this case, it’s a little bit more general we’re talking about people and whatever other random assets. You might have that might be able to benefit to you getting people’s attention now. Let me start here: there is no way I can just drop.
Some kind of one size fits all knowledge saying that you should just drop one project a year or you should drop two projects a year or three projects a year, and that fits everybody. But what I can say is these are some things that you should be thinking about whenever you use up all your primary resources, thinking might miss out on some opportunities now. What do I mean by that? Let’s just say that you spend $ 5,000 on your marketing for your project or you’re single.
After all, that money spent all of a sudden. You just happen to meet somebody and get this huge opportunity for this platform, but they say it costs $ 200. But you don’t have any money anymore. You have to miss that opportunity. That’s just a part of the game. You will miss some opportunities here and there. Obviously you want to keep as much in the chamber as possible for you to take advantage of an opportunity and when I say in the chamber I don’t just mean money.
I mean people to leverage other effort to leverage all the other types of resources. So why is that relevant to this conversation? Well, just consider the fact that you say I got two projects that I’m dropping this year and I’m going to split everything in half $ 500 towards this project $ 500 towards this project. Now, hopefully, it’s more money than that. But the point is: if you do that, you might not be able to give this big of a push that gets it to a certain level.
But if you put a thousand on one project – and you don’t put out the next music, then essentially you are taking less, which means you have less of a chance of hitting on something. If you just drive one project, then you technically taking less shots, which means there’s less chances of you making it be. Everything is a trade-off. So am I say what if I drop this one project and then I drop the second project and all of a sudden, some of the things on my first project started taking off, but I already have another one off: that’s all cool! If you have something catching it’s catching yeah, you might not have the money to double down on it, but remember if it’s really good content, if it’s great content, you actually can make it pop again later now that stuff is out in the marketplace.
You see. What’s working take a step back as you get the money that you need, you can now put it in those places that work the best translation, whichever songs are moving the best on their own, which everyone seem like. Oh snap, this one might be a hit. I didn’t realize it: that’s the song that you’re going to put all your resources back into once you get the opportunity to again it on the bright side, slash not so bright side a lot of times.
We think a project or these songs are going to be huge. This junk is my best material. Oh snap, I had my hoodie on. I was writing all Deeping all that stuff and when we get out to the market, it’s a good and it’s good. It’s good. I got it out the way now I can move on to my new stuff. So that’s a positive in that way. If you win or you lose, you just have to stay agile and that’s the most important part right.
You always want to be able to use some of your resources to get the amount of information you need, but hopefully have enough in the chamber to double down on what you need to. But if you can’t do it immediately, at least you got the information on what worked for you and which singles might be worth pushing further than you already pushed them, and now you got ta put in that work. That’s just a reality of the game.
Let me go find some money somehow I don’t know what you do for your money but go and do it and then bring it back to your project. More specifically, the singles that are working right now to push a whole project at the very beginning and how all of the gifts out there once is not the most effective use of your money. The most effective use is yeah drop, a project, but let’s see which of these singles are worth pushing further and then, when they see they love.
This thing will they’ll check out the rest of it. We all know how that goes at this point and we know LMA song took off over a year later and we know juice world song really took off, maybe like six to eight months later, you have time to go back, REE up and then bring it back Home, so what I say for the newer artists, especially if you aren’t really in the system with a manager – that’s well connected or you’re able to get on a lot of these big playlist cuz.
You have all these industry connectors or whatever just drop more music to projects, and one year is not really that much, especially since two projects just means, like 14 songs, for a lot of people these days. The only thing that’s truly important is how you’re able to manage the resources that you have. Let the people decide whether they like the music or hate. It they’ll figure that out it’s up to you to take that information and use your resources to give them more of what they like and even more than that, take what they like that you’re doing and give that thing to more people.
But of course, y’all get that already y’all, so smart looking job and don’t forget every Sunday for the rest of this year 2018. I will be answering questions on IG, so follow me at brandman, Shawn and other than that. You, like this article, go ahead that like button even like it, you might as well share it and if you’re not subscribed, you know what to do hit that subscribe.
I believe this is a significant shift in the market. Now Warner Music has teamed up with an agency that specializes in influencers influencers okay, so this is showing what the market is valuing, they’re valuing what influence can bring to the table.
Reason being is because, with this deal, Warner has signed on 60 top social media influencers along with 3,000 micro influencers, and not one single mention of a musician in this story. So what does this mean for? You may have been trying to gain notoriety in the industry. You may have been trying to become a popping artist make music that you think is trendy. What this is telling is that the market is valuing being able to cultivate an audience, build a community and influence their engagement and purchasing decisions.
Those things are highly valued in the industry. I mean it’s everything that an artist could truly truly want to be able to do. You want to be able to cultivate a fanbase. You want to be able to build that community and you want to be able to influence them to actually engage in your content or consume your products in your music. Ultimately, so these are things that artists can learn from an influencer.
How are they cultivating this audience? How are they building the community and what methods are they using to influence the engagement and consumption of this community? Ultimately, influencers are obtaining things that artists desire, so that leaves a lot of room for things to be learned from influencers by artist. So take note where you can outside of that. Let us know your thoughts in the comment section below.
Did you ever have a mind shift of like wow? I need to become an influencer now or do you just really kind of dismiss it in the end and just think you need to focus on the music. My personal opinion is: there’s a lot that can be learned, but definitely remain the artist that you are but see what you can incorporate from influencers. That can benefit you in the end. Beyond that, be sure to share with a friend like a subscribe.
Once again, my name is to go from music id TV, and this is you, the news Saturn
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Com, because I saw it myself and, as a matter of fact, this article right here was inspired by a conversation I had in brandman network.Com a Few days ago, hey it was just a few people. It was like five artists and, like a manager, was chopping it up having a conversation right and this artist expressed that she didn’t like the fact that she could drop something and then just like a week or so later, people forget about it completely.
I don’t even know it existed or they’re just done. They moved on to the next thing and then I made me ask her: how long do you promo? I just thought about. Okay, how long do you push your stuff and then you know she answered and then I started to hear other people talk, and I really came to the conclusion that you know what a lot of people that I hear they don’t push. They don’t do their campaign as long enough, so how long enough is a good campaign? How long should you be working to push us your stuff? Well I’ll tell you this me personally, a lot of things, whether it’s my festivals, when I first started that when I was a little certain artists, just a lot of things, I do like three or four months, three or four months I’ll, just keep it at that Straight simple, three to four months, is how long I push things when I’m pushing out of security out of obscurity, and that means unknown to known and getting people to convert right, unknown to known and getting to people to version each of those are phases.
So you have to keep pushing because when people see something one time, that’s probably not the time that they’re really going to soak it in or check it out. I see articles by artists. They drop articles that I know, and I actually like that. I don’t even read the first time I see them when I’m like scrolling through YouTube’s, and things like that cuz. I might be on for a different reason. So you have to keep that in mind because alright, so I’m going to break a few things out.
This articles off the fly, but I want to make sure you get everything you can at least from this article in terms of doing it for three months, all right. First, the way I even learned this was like a harsh personal experience, probably like seven years ago. Now I don’t know but um I did a panel. I actually talked about this a blog, but I did a panel so I’ll keep it short. Three people who want to panel three CEOs were on the panel and yeah.
Four people showed up to the event three people in the panel and, like some legit CEOs were on the panel on within in tech industry, mostly so I’m music, but four people showed up three of those people that showed up. Quote-Unquote was me and two people who are helping me me and two people that were helping me that third one was a, I mean the fourth one was a guy will just randomly walking by. I was like yo.
What’s going on, oh snap, this is dope. I’m going to get in so why was that for me? First of all, I didn’t put enough effort into marketing that particular event. This is where I go by the 10x rule that Grant Cardone talks about so much. So it’s a great book or just hearing him talk about that concept. For y’all we don’t know, but the rule is basically most of the things like it’s not this whole inspirational thing.
Yeah you want to 10x your life, that’s cool, but the the the part that I love it. The meat of it is most of the things that you’re trying to achieve are going to likely take 10x. The effort that you think it’s going to take. Why? Because you actually don’t know how much effort is going to take so you’re planning and say I’m going to do this this and this, but you haven’t done it before so you don’t know how the effort that it actually takes all right, so kind of plan.
For that and the reason that event you know I had some successful events a couple of days before in a couple days afterwards, which was a second lesson for me personally, but because I did have some except successful events. I was actually surprised to have like one of my first huge, huge failures, but part of that was because of resources right trying. That’s what I talked about focusing in on, where you want to put people’s attention to and where I learned that personally, because I had 300 people show up to this one thing: hey 120 people show up to this other thing, and then I had four people show Up to this other thing that I would have preferred most of the people show up to that like for real for real, so, but I didn’t have the resources to market that, like, oh, okay, I didn’t have the resources to market all three well right, so you Have to be able to understand the resources that you have at the moment to to you know, determine what you’re going to direct people’s attention to that’s another thing now, when we talk about this three months situation, everybody doesn’t have the resources to do it three months, Because we need the consistent, real legitimate push happening for three months.
So if you cannot start with like three months – and this is just this is just a number of course – it will vary. I so don’t start saying hey. I did this in one month and got these results, and I did it took me really six months. Of course results may vary, but three months is really a good time if you can start thinking and planning. But if you cannot do three months, whatever you have going on right now, I mean typically going to week pushes then you need to start thinking about.
How do I do three and four week pushes all right and now let me see if I could try to extend it to two months and then continue to grow your plan. That way, because maybe you can’t wait till you have a lot of money every single time like maybe only you’re going to take you’ll only be able to do it like once a year. If that’s your situation, I don’t know what the situation is, but what I can say if a lot of artists will find themselves in better positions a lot of times, especially when you’re, like no connections you’re in your room.
You’re is really just you. You’ll find yourself in a better position. Is if you take time you strategize you build up your resources, you get your catalog, you get you all your promo together, you get like all the money. You know you save a lot of money for the budget right, you don’t just! Oh I’m going to throw out $ 50 here and throw out $ 50 here, like that. That’s cool with your testing. But when we’re talking about your campaign and trying to build to actually make sure things get like traction, then you’re better off saving all that money and then being intentional about where you spend it.
To make sure you can add that to the push to the push to the push and you keep pushing that track throughout your campaign or keep pushing whatever that content is throughout your campaign and honestly, I mean regularly it’ll still do this right, so it’s not really Just a if you don’t have a resources is really the best way to go about it: okay, you’re trying to create a groundswell and a what’s the word, a buzz there.
We go a buzz it’s because all a lot of energy in a concentrated area right is going to have a greater impact. Let’s keep it at that. So please consider lifting your campaign. I don’t care. If it just means you can only do it two more weeks and usual, and maybe that’s going to make you think differently as well. It should because now you have to get creative well. What can I do to do a little bit of this or to keep things going? If I don’t have the money to bring four or maybe I need to wait an extra two months before I even drop this project because who’s waiting on the project most likely like, especially if you’re starting from nowhere right, nobody’s waiting on the project.
It’s only Hubie Nancy about getting it out. That’s why patience right is a huge thing we hear so many people talk about patience and mindset and all that stuff and patience, patience, patience. Well, it’s a real thing. If you talk about executing correctly, because this plan and extending the plan and making sure you put the right amount of effort, energy into the plan is literally that’s that’s the part where people win.
So many people have information and right read these reading these articles and things like that, but the execution is where it’s all one at the end of the day, that’s just what it is so I’ll leave this article that once again this was on the fly. I don’t want to add too much other information and random stuff, maybe we’ll get in deeper to some of that type, some of that strategy and planning in another article but uh yeah other than that.
Once again, this article is brought to you by brain man, network.Com cuz. I signed myself if you like this article, go ahead like better, maybe like in my school shared, not subscribed, you know what to do. Get-Get subscribe,
Com, because I signed myself now I got ta say something man you’re going to read who you get your advice from, and I don’t mean this in. Even a negative way, but there’s a piece of advice that I’m seeing a lot more frequently lately and by lately, I kind of mean, maybe over the last four or five, maybe six months, and I think artists have to be able to take it.
With a grain of salt here, it is, and I’m going to put it into context. What is the advice singles are better to drop then albums or EPS. Now I understand where it’s coming from. We all know that in this era of music right singles are a huge driver of streams, especially when we consider consumer behavior. The way platforms are working, yada, yada, yada, yada yada, I get it, I get it. I get it and people are telling a lot of artists that yo, so you need to drop singles and one of the huge reasons I hear people talk about doing that.
So you don’t waste music and all those things, but at the end of the day, a lot of the people who are saying that are working for labels or have some experience with labels. Where a lot of the artists that they’re working with our labels and there’s nothing wrong with that, this advice is not incorrect advice. However, there’s a lot of context that is required, because an independent artist needs to move differently dinner artist at a label that should be implied.
That should be assumed. However, we forget to consider what perspective a lot of people are coming from when they give their advice. So let me just break it down from my personal perspective. Yes, when we’re talking about hacking out of the rhythms getting the most out of one song, just for your resources and doing things when it comes to the charts, then pushing a single is extremely beneficial and there’s some more reasons I could cite.
But those are just a few of them, but when you talk about an independent artist right, I always talk about the value of time and the value of a tension. So the thing is once you get people’s attention, we always talk about that catalog. That’s that we’ll! Never like not applies once you get people’s attention, you need to be able to hold that attention for as long as possible right you have that window, it’s time to sell.
How are you going to convince them? How are you going to close the deal? How much music will they be able to consume before they say? You know what you know this person isn’t for me, and maybe you only have a couple of songs. We already know where that’s going to go and for those of you who have seen me talk about the fact that you should drop singles and I do promote dropping singles as a strategy.
Here’s the clarity on what I’m referring to. Usually when I’m talking to artists and talking about hey, you know you should drop some singles for a while. It’s always around the idea of them getting better at marketing themselves. When I say focus on one song and now you’re building your systems around that song, you’re building your experience and ability to market, because a lot of these artists right, independent artists are actually doing their own marketing.
So that gives you an opportunity to not just waste and gives you the opportunity to learn. So I’m talking more about marketing singles one at a time versus marketing a project at a time, that’s a slight difference, but we do want to make sure that you’re building a catalog relatively quickly and the more quality music that you have when one of these songs. Finally, does take off the better off you will be now, of course, you might want to actually save some songs that you feel like should be hit hits because at the end of the day, you want to make sure those get certain amount of attention.
But if you record a hundred songs, you should have a solid. You know, let’s just say twenty, I’m going to throw a number out there right. You should have a solid twenty to forty good songs that are worth putting out versus maybe the five songs or the two songs that you think might be huge songs and I’m going to wait and hold these off right. There should be other music. That should be good enough to leave start building some band and again bringing it back to the beginning.
In this whole idea of just dropping singles just dropping singles, because it works better for the streaming gear and all that kind of stuff. That has nothing to do with the general artist, the independent upcoming artists, because they don’t have the resources to actually leverage that thing right. They don’t have the resources or even the care to be thinking about charting or a gaming. The streaming system, that’s far less important to an artist.
What you need to be focusing on is building a real fan base, especially if you want to move as an independent artist, not just until you get a deal but move as an independent artist like forever right or for a very long period of time. Until you find something that makes sense, you need to be thinking a lot more about what is going to get me, the most fans for the least amount of action versus how do I game this system and get certain things popping virally? So no, it’s not a lie: it’s not horrible advice and it’s not even coming from a bad place when people say just drop singles, but a lot of these people are thinking more so from a general industry perspective when you think from an indie perspective, especially a Loan in the artist perspective, oftentimes, a lot of things are counterintuitive to what those people have to move like at the labels to become successful.
They have a lot of factors that do not apply to you and vice versa. So as always, this article is brought to you by brain man network.Com, because I saw myself if you like this article go ahead. It like button B like he might as well share it. If you’re not subscribed, you know what to do. He dares subscribe. You
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