OK, so the first thing you can do to promote your music better isn’t actually something many musicians associate with actually being a form of promotion. Collaborating with other musicians can actually be a great way to get out there. Making songs with a well known act can actually mean you can get in front of their fans. It may also mean that you gain a higher perceived value for working with that act, and it can be a good note on your CV when looking for other music related work and opportunities.
The thing is though, it’s very unlikely you’ll get collaborations with big names in your genre (unless you already know them). You see, their time is precious, and they’re not just going to collaborate with every up and coming act out there. The solution? Using the ‘ladder’ method.
What you want to do is categorize any talented musicians in your genre into different levels based on how big they are. Usually, while the biggest acts won’t be willing to work with you at this stage, some of the lower level acts will be - with enough incentive. So what you do is approach those acts which are slightly bigger then you, and do collaborations with a few of them. Not only does this get you in front of their audiences, but it also gets you associated with being at their level.
Once this is done, start looking to the next step of musicians who are that bit more popular then the last group you approached (and are now in yourself). Do the same; collaborate with them, get in front of their audience, and become thought of as being on their level.
Rinse and repeat, each time working with bigger acts and getting a bigger reputation yourself. The good thing is, once people start seeing you’re working with lots of people in your genre, they will want to start working with you too. You’ll be the hip new people on the block that everyone wants to be associated with.
With over 7 million copies sold, Macklemore & Ryan Lewis’ “Thrift Shop” is one of the highest selling singles of the past few years.
But WHY was the song such a huge success? And what can you learn from it if you want to score the NEXT big hit?
Here are 5 key insights:
1. It’s A Single
Did you know Thrift Shop was the 5th in a series of singles released from The Heist?
The first single was “My Oh My” (released December 2010). It completely failed to chart. About a month later came “Wing$” (released January 2011), but it didn’t really catch on either. Then, “Can’t Hold Us” (released August 2011) as the third, and a year later “Same Love” (released July 2012) as the 4th single…
…but it wasn’t until AFTER “Thrift Shop” (released August 2012) blew up in October of 2012, that the previous songs climbed the charts, too.
So what’s the lesson? Release and promote a series of individual songs. And: If it’s not a hit, switch. Don’t keep pushing a song that’s not getting any traction on its own. Keep releasing new songs until one catches on.
Music Distribution…It’s On Us! Sign up for a free ONErpm account and deliver your music for no charge to Facebook, YouTube, Grooveshark, Rdio, and Deezer! Get started now! http://bit.ly/Ihe64a
Who ever said being a college student these days is easy? Grilled cheese sandwiches and cheap beer are of the norm when your pockets are empty. However, there is some good news on the horizon. Top streaming music service, Rdio, has decided to alleviate some of your financial stress by offering a 50% discount on unlimited music! Simply verify your a current student and get started!
ARTISTS / LABELS: If you’d like to get your music on Rdio, do so for free with ONErpm HERE!
Music videos are no small potatoes for YouTube, and Google’s looking at making them bigger in Google Search results — literally.
As part of Google’s quest to more tightly integrate its different services, the company appears to be experimenting with how music videos appear in Google Search results, according to the blog Google Operating System. The top search result for a music video would be significantly larger preview of the video itself, in the style of a Google Now card, with additional information such as the artist name, song title, album name, and year released.
It’s not clear if the preview will let you play the video directly from the search results list, or if you’ll have to click through to YouTube. It’s also unclear whether Google will be opening this test out to more people.
ARTISTS / LABELS: Monetize your videos on YouTube through ONErpm’s Premium Network and earn more revenue! Get started by emailing email@example.com!
Source: CNET (by Seth Rosenblatt)
We all knew iOS 7 was arriving today, and with that news we always brace ourselves for a slew of app updates designed specifically for Apple’s latest mobile OS. Some also seize the moment and roll out a slew of new features at the same time. Shazam has done just that.
With its latest iOS app update, users can mention friends and places when they share a tagged song to Facebook.
Also, if you have difficulty remembering the song you searched for last, you’ll now get a reminder of your most recent tagged each time you open the app. Though, as things stand, tagged songs already appear in date order, so we’re not sure what problem this feature is fixing – other than serving as a reminder to buy the song.
While Shazam previously let you buy tagged songs in bulk, you can now do so directly from the Explore charts, meaning you can purchase multiple songs specifically based on where they’re proving popular, such as London or Paris.
In addition to also now being made available in Czech, Polish and Russian, Shazam also sports a spiffing new look – here’s the before and after mugshots for your information.
ARTISTS / LABELS: Distribute your music directly to Shazam through ONErpm! Click HERE to get started!
Source: TNW (by Paul Sawers)
Late yesterday, Deezer sent out a press release announcing the expansion of their services into Turkey. Read more about the launch below:
Today we are thrilled to announce that we have officially launched in Turkey! Now Turkish music fans will be able to enjoy unlimited music on Deezer, along with expert recommendations of the best local and international music from the Deezer Editors.
CEO of Deezer, Axel Dauchez, said: “Turkey has an exceptionally interesting music market, and the evolving digital infrastructures and mobile uptake in the region offer hugely exciting growth potential for our service. Music should transcend political and geographical boundaries in its ability to bring people together. Deezer is about bringing music to the whole world; music for everyone, everywhere regardless of the old distribution networks. This is why I am delighted to finally announce that as of today, Turkish music lovers from around the world will be able to enjoy and share a huge catalogue of international and local songs and artists they love – at home and abroad.
Deezer is a legal service that has secured rights from more than 2,000 labels and rights management companies from all over the world. This is something we take incredibly seriously, which is why we have spent time and resources in Turkey to do things the right way. Today we have finalized the necessary agreements with the right-holders associations. Now we are happy to be operational in a total of 182 countries. I welcome Turkey to the heart of music.”
Selen Zorlu, Deezer General Manager for Turkey, underlined the importance of providing Turkish music fans with a brand new musical experience: “We have been working towards launching in the Turkish market for the past 9 months. Today, following the agreements we signed with MSG and MESAM, we are immensely happy to officially present Deezer Turkey to all music fans in Turkey. We will be serving our ever-growing local catalogue and the music content curated and constantly updated by our large team of editors through our reasonably priced subscription offers. In addition, we are delivering the works of all new artists that are added to our local catalogue into our worldwide catalogue of over 25 million songs, therefore helping them to reach a much wider global audience, without any barriers.”
MSG Board Chairman Garo Mafyan published a statement wishing success for Deezer and added: “As MSG – the biggest representative of popular Turkish catalogue – we are very happy to see Deezer in the Turkish digital music market. We are confident that Deezer will dearly value the catalogue that MSG represents and will pay all royalties. Being sure that the local music market will benefit greatly by this venture, I would like to say welcome once again.”
In his statement, the MESAM Board Chairman Arif Sağ said: “We congratulate the legal digital music service provider Deezer with regards to its launch of service in compliance with Turkish royalties, and hope that this initiative proves beneficial to the music industry.”
ARTISTS / LABELS: Distribute your music directly to Deezer through ONErpm for FREE! Click HERE to get started!
As radio broadcasters go digital and online music services try to stand out in a crowded market, both are finding ways to scratch each other’s backs.
On Monday, Cumulus Media, which operates 525 radio stations, will announce a deal with Rdio, a subscription music service from the founders of Skype, that will give Cumulus an online outlet and help Rdio compete against more established players like Spotify.
In exchange for what it calls a significant equity stake in Rdio’s parent company, Pulser Media, Cumulus will give Rdio broad access to its programming and promote Rdio on its stations.
“This is our digital play,” Lewis W. Dickey Jr., the chief executive of Cumulus, said in a joint interview on Friday with Rdio’s chief, Drew Larner.
Crucially for Rdio, which was introduced in 2010 and has struggled to gain a foothold in the market, Cumulus will also sell advertising for a free version of the service in the United States. Rdio, which costs $5 to $10 a month and is available in 31 markets around the world, lets its subscribers listen to millions of songs, build playlists and interact with other users.
“The biggest challenge we face is really awareness,” Mr. Larner said. “We live in this bubble in which everybody is talking about this stuff constantly, but to the wider world, streaming is still relatively nascent.”
The deal between Rdio and Cumulus is a trade, with no cash changing hands. Further terms were not disclosed, but the value of Cumulus’s content and services is estimated at more than $100 million.
Cumulus operates stations like Nash FM (WNSH, 94.7 FM), the only country outlet in New York, and the rock station KFOG-FM in San Francisco. Last month, it announced a $260 million deal to buy Dial Global, which syndicates programming like NBC News and sports from the National Football League and the N.C.A.A. to thousands of stations; that deal is still subject to regulatory approval.
Cumulus will draw on its stations and syndicated shows to create playlists and other programs for Rdio users, stripping out localized details like traffic and weather.
That kind of content could give Rdio an edge against other services. But even more important is its ability to offer a free, ad-supported version to compete directly against Spotify. Cumulus will use its 1,500 sales agents around the country to sell commercials for Rdio’s free version, which is expected by the end of the year, and the companies will share ad revenue.
Rdio has never revealed its subscriber numbers, but they are believed to be far lower than those of Spotify, which has more than 24 million users, 6 million of whom pay. Yet recent studies of Rdio’s popularity in Google searches suggest it is faring well against other competitors like Rhapsody, Slacker and Mog.
Cumulus already supplies streams of its stations to Clear Channel Communications’iHeartRadio app, a deal that should continue through at least next year. But Mr. Dickey called that arrangement “a marriage of convenience” and said that the Rdio deal allowed it to do much more.
“We’re trying to be much more active in the audio ecosystem than just passively handing our streams over,” Mr. Dickey said. “That has severe limitations in terms of our ability to monetize.”
By moving to the so-called freemium model, Rdio is hoping to attract new customers who can be enticed into paying for premium service. That model has allowed Spotify to grow more quickly than its competitors, but it is still a subject of debate in the industry over how many people will ultimately pay for service when so much digital music is available free.
“It’s not that people don’t like streaming music,” said Mark Mulligan, a music technology analyst. “It’s that people are unwilling or unable to pay $9.99 for the privilege.”
Source: NY Times (by Ben Sisario)
Twitter’s #Music app made some noise when it first arrived in April, but it has largely gone quiet. The company is taking another stab at the effort, this time with a Spotify app that surfaces music popular on Twitter.
Much like the Web interface on Twitter’s #Music site, the Spotify app features sections for Superstars, Popular, Emerging, Unearthed and Hunted. Those first three categories are self-explanatory, but Unearthed finds “hidden talent found in the tweets” and Hunted shows music that’s popular on blogs. Each of the categories can be added to Spotify as a playlist.
The #NowPlaying feature is missing from the app, presumably because it would require authorizing your own Twitter account from within Spotify.
The app also includes featured genres: Alternative, Country, Dance, Electronic, Folk, Hip Hop, Metal, Pop, RnB and Rock, but it’s not clear whether all of these lists have been generated from Twitter data.
As you’d expect, Twitter prominently displays artists’ @usernames throughout the app and includes links to view on Twitter.com.
This doesn’t mean that Twitter has given up on its dedicated #Music app for iOS. Last week, the app got an update that added the ability to interact with tweets located within the #NowPlaying section, following a significant updatethat appeared in August.
Twitter’s new Spotify app plays to its strengths. I’m much more likely to make use of #Music from within Spotify than as a standalone app or website. Twitter has plenty of data that can be helpful, but that information will work best in cooperation with dedicated music services. In this sense, #Music could thrive as a powerful music data platform, similar to The Echo Nest, that provides recommendations and discovery for consumer streaming services.
Source: The Next Web (by Josh Ong)
What is the secret to being successful in the college entertainment market? Here we provide tips and tricks of how to assure that you are playing to a full house, and that your name is spread positively to potential repeat business, or better, recommendations!
KNOW YOUR ROLE
There is clearly one large mistake that many musicians make once they have landed that coveted college gig: once they secure the gig, they think their work is done. Sadly this is not true. You cannot assume, or worse, rely on the school to promote your act. Remember that you are dealing with students who work in the campus activities department part time. They are not professional event planners, and for the most part, are learning the proverbial ropes themselves. Although they may be well intentioned, their ability to successfully promote your event is like a crapshoot. Therefore your job is to promote yourself, both on and off campus. (Read that again.) You are also well-advised to make the job of the campus activities staff easy, and when possible, educate the students on how to complete certain tasks, especially surrounding promotion of your event.
On-campus promotion is characteristically an area where artists fall short. You’d be wise to turn yourself into an on-campus promotional machine. Granted, this task may seem a bit daunting, so here is a great list of effective on-campus promotional techniques.