Let’s talk about YouTube.
We could talk about VidCon, which sold out 12,000 tickets a month in advance. We could also talk about the over-dramatized and sensationalized YouTube vs. indies misinformation war. However, it’s so much more constructive to focus on growing your audience, serving your audience and monetizing your audience. Not only is YouTube is the largest streaming music service in the world, it allows you to use video to connect directly with your fans in almost any way you can imagine.
I hear you: “But I’m on YouTube and I’m not getting any views!” Here are five of the most common reasons why your YouTube videos may be getting ignored:
One of the first things I learned when I began my career as a publicist was what the typical timeline for an album campaign is – in other words, the specific order of events from the moment an album is ready to be announced until its release.
Not all publicists adhere to a campaign of identical length. Some prefer to work more compressed, fast-paced timelines, whereas others like to space things out to gradually build anticipation and momentum. Whether you’re self-releasing a record, working with a freelance publicist, or working with an in-house label publicist, it’s important to have a grasp on the approximate timeline of events and know when new assets (songs, videos, album streams) should be shared with the world. Here’s a breakdown of the essential steps in this process, based on my own experience (though these may vary if you’re releasing a digital album instead of an LP, CD or cassette, or if you’re merely releasing an EP or 7” single).
German TV, radio, and media group ProSiebenSat.1 has taken a major stake in international music streamer Deezer, according to Die Welt. Details of the deal were not revealed, but sources put the new holding at less than 50%. To date, Deezer has raised $150 million; $130 million of which came last year from WMG and Beats investor Access Industries.
As part of the deal, ProSiebenSat.1 music service AMPYA will be merged into Deezer. Together the music services will be a dominate player in Germany, the world’s 4th biggest music market.
“Deezer and ProSiebenSat.1 are moving forward together. With Deezer we are offering the most intuitive personalised music service on the market,” Gerrit Schumann, ViP of Deezer Europe said in a statement. “With the reach of the ProSiebenSat.1 Group we will be allowing an even larger audience unlimited access to our music catalogue.”
The cash infusion also comes months before Deezer enters the competitive U.S. market later this year.
ARTISTS/LABELS: Distribute your music to Deezer for free with ONErpm! Get started HERE
According to the US entertainment and media outlook: 2014–2018, the music industry can anticipate plenty of movement over the next 5 years.
The Outlook results most notably show differences between growth potential for the streaming and downloading of digitally recorded music as well as live music. While downloading of music will remain the largest area of revenue and continue to grow (albeit slowly) streaming of live music will see the greatest growth. Live music will have a slow but healthy rebuilding of revenue due to an increase in both ticket sales and sponsorship, and it will become the second largest revenue stream for the US music industry. View the infographic below for more details on the changes expected for the music industry.
*Click the image below to enlarge*
Just in time for the FIFA World Cup, Spotify today launched its on-demand music streaming service in Brazil. It’s a huge market in Latin America and will almost certainly help the company to accelerate its fast-growing user base.
Spotify is now available in 57 markets worldwide and recently announced some fresh milestones; 10 million users are now paying for a Spotify subscription, while 40 million people are actively using the service.
The music streaming space is fiercely competitive, with Rdio, Deezer, Xbox Music and Google Play Music All Access – to name just a few – vying to become the preferred service around the globe.
ARTISTS / LABELS: Get your music on Spotify today with ONErpm!
Where we live plays a major role in how we listen to, buy and engage with music, according to a Nielson study. For example, music fans in the Pacific region of the U.S. make up the largest group of subscription streamers in the country. However, the Mountain region has the highest overall listening rates across the country when factoring in all platforms.
Click the image below to enlarge:
Choosing a manager will be one of the most important decisions you make as an artist. Who you let represent you to the outside world is a direct reflection of how you handle your business, and a great manager can do magical things for your career. More often than not, you come across the not-so-great managers that are slowly putting your band’s career in a dank, dark corner one email at a time. The wrong fit can quite literally sink you. Here’s some common manager archetypes we recommend steering clear from if you’re looking to grow a long and steady career in the music biz.
#1 - The Too-Busy-To-Call-You-Back-Ager
We know… they’re busy and ‘important’. Being a busy manager is usually a good thing, but not taking time to hear their artists’ needs, cater to them, and collaborate with them will often cause fractures in the relationship. Beware the chronically-busy manager. As the artist, you need to be able to reach your manager at any time for advice and late night strategizing. A constant dialogue is essential; after all, your manager is out on the industry front lines hustling for your career. When the manager is too busy to prioritize communication with the artist, it can lead to career decisions that the artist doesn’t support being made on their behalf. More importantly: what other calls is the manager not keeping up with? Opportunities are likely being missed if the manager is too disorganized to see them. Sometimes this type of manager is closely related to the my-career-is-more-important-than-yours-ager… which I’m sure I don’t have to elaborate on.
One of the best ways to grow is to look at what’s worked for other indie musicians and adapt it to your own career. Here are 5 great strategies with real examples to get you going. A lot of musicians think they can’t start making strategies to move their career forward until they’re making money, until they take some business classes, or until they get a manager. The coolest thing about these strategies is that you can start using them TODAY.
1. Make a Plan from the Start
Making a great plan is one of the best ways to get to that music success you deserve. Not only do concrete goals give you something to aim for, they also help you decide what your first step should be.
Try to make your goals as specific as possible. Instead of saying “I want to be rich and famous,” try something specific like “I want to be able to be a full time musician with a yearly salary of at least $75,000 and be able to tour outside my home state.” Break down your lofty goal into smaller tasks like “gather contact information for local venues,” “contact 5 venues this week,” and “connect with another band to share a gig.” Suddenly finding a way to reach that goal becomes more manageable.
In the past 14 years, music industry revenues plummeted from $14.3 billion to $7 billion. People listen to more music than ever, but they do it on platforms like Spotify and Pandora, which pay artists fractions of pennies per play. Things aren’t much better on YouTube, where ad revenues for creators continues to fluctuate. With little monetary incentive, some worry that musicians will simply stop creating altogether. Talking Heads lead singer David Byrne went so far to say, “The Internet will suck all creative content out of the world.”
Is the state of affairs for musicians really so dire?
Not according to Pomplamoose singer Jack Conte. Last year with $2.1 million in funding, he launched Patreon, a platform where musicians, writers, cartoonists and other creators can solicit donations for their work. What makes Patreon a little different than Kickstarter and Indiegogo is that users subscribe to creators, paying them monthly for as long as they wish. Creators can offer small rewards for donations, but the focus is less on rewards and more on supporting artists for its own sake.
For the third time this year — and only the fourth time ever — the year-to-date total sales of digital albums have exceeded those of CDs.
According to Nielsen SoundScan, so far in 2014 through the week ending Feb. 2, a total of 22.99 million albums have been sold. Of that total, 11.18 million were downloads while another 11.10 million were CDs. (An additional 710,000 were vinyl LPs and other physical configurations, like cassettes.)
Year-to-date sales of albums on CD have only trailed downloads in three earlier times — and two of those were this year. Before 2014, it happened in just the first week of 2013 (week ending Jan. 6).
While it may seem counterintuitive to some, digital albums have yet to consistently surpass physical album sales. Up until now, only when track equivalent album (TEA) sales, whereby 10 songs equal one album, are factored in do digital album sales surpass CDs. Digital albums plus TEA first surpassed physical albums in 2011 when physical albums accounted for 49.7% of albums while digital albums plus TEA accounted for 50.3%. The market has yet to have a year where digital album sales without TEA surpassed those of CDs, but 2014 might be the year where it finally happens.
The divide between the two configurations has grown closer in recent years. Last year, CDs represented 57.2% of the album market, while downloads were 40.6%. In 2012, CDs were 61.2% of the pie, while in 2011, they were 67.6%. So far in 2014, CDs are 48.3% of all album sales, as compared to its 50.3% share of the market at the same a year ago.
Worth noting: when vinyl, cassettes and DVD albums are added in, physical albums account for 51.38% thus far in 2014 versus digital’s 48.62%. Vinyl itself is nearly 3% of all album sales so far this year.
Source: Billboard (by Kevin Caulfield)