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:
As you (hopefully) know by now, Twitter is one of the best online marketing tools you can have in your band’s toolbox. It’s a free and simple way to communicate directly with your fans, but you’ve got to be strategic about when and how you use it to really make it an effective platform for fostering your fanbase. Here are nine strategies to make your Tweets count:
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*
When you only listen to the top 40, you’re letting the crowd decide what you hear.
And if you consume nothing but the most liked, the most upvoted, the most viral, the most popular, you’ve abdicated responsibility for your incoming. Most people only read bestselling books. That’s what makes them bestsellers, after all.
The web keeps pushing the top 40 on us. It defaults to ‘sort by popular,’ surfacing the hits, over and over.
Mass markets and math being what they are, it’s likely that many of the ideas and products you consume in your life are in fact, consumed because they’re the most popular. It takes a conscious effort to seek out the thing that’s a little less obvious, the choice that’s a little more risky.
Popular is not the same as important, or often, not the same as good.
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.
Music streaming service Spotify is taking another step forward in Asia after it officially launched in the Philippines yesterday on mobile devices, the desktop and the Web. The service first entered Asia in April last year when it arrived in Hong Kong, Malaysia and Singapore.
Spotify’s latest market launch comes after it started offering a free, shuffle-based version of its music streaming service on iOS and Android. We previously noted that the stronger push towards mobile is something that will benefit the company particularly in Asia, and it is taking aggressive moves to make sure that it appeals to users in the region — via attractive pricing and deals with carriers.
In the Philippines, Spotify Premium costs only PHP129 (~$3) a month, which greatly magnifies its potential reach. Premium version is ad-free on mobile and desktop, and includes offline playback. For comparison, a Premium subscription in the US costs $9.99 — though a recent deal for college students has seen the price lowered to $4.99. In Malaysia, it costs RM14.90 ($4.60).
To further attract users in the Philippines, Spotify has inked a deal with carrier Globe Telecom to offer all 38 million Globe Postpaid, Globe Prepaid and Tattoo-on-the-Go Prepaid subscribers free access to Spotify through the telco’s new data plan, GoSURF — which would cost as low as PHP10 ($0.20) per day. The deal is rolling out on April 13.
Spotify has over 24 million active users and more than 6 million paying subscribers globally, and its aggressive moves in Asia could be a gamechanger indeed. In the Philippines, Spotify competes with Deezer, which announced a tie-up with carrier Smart just last month.
ARTISTS / LABELS: Distribute your music to Spotify and beyond with ONErpm! Get started here!
All the rage, at least with regards to income from digital music distribution, has been centered around YouTube monetization. However, the problem is that many artists are misinformed on even the basic strategy about obtaining more views and subscribers, which ultimately leads to more income.
We stumbled upon a very informative case study from Flight Drummers on how they were able to build their YouTube subscriber base and capture 500,000+ views in a 10 month time frame.
Check out the entire article below and see if you can adapt some of their strategy to help improve your results!
As an avid marketing blog reader, my inbox and Feedly are constantly filled with fantastic marketing techniques on Google+, Twitter, and Facebook.
Although I use these social media sites heavily, I’d like to bring in another extremely powerful (often overlooked) marketing platform to the table—YouTube.
At the beginning of 2013, my business partner and I decided to attempt a different marketing tactic for our (slow) growing drumming education company, Flight Drummers.
We constantly used Facebook and Twitter as our prime marketing resources, but it was soon apparent that the dream wouldn’t last long if we didn’t pick up more traffic or make more sales.
That month, we studied our competition hard and realized that Youtube was a rare marketing commodity in the drumming industry. Sure, a majority of drumming education companies had Youtube channels, but the view count, subscriber count, and interaction was minimal.
Seeing as this was a difficult marketing strategy for competition in our niche, we decided to capitalize on their weakness by filming some Youtube videos.
The following month, we geared up, filmed, edited nearly 70 videos, and began harnessing the true power of Youtube.
Within three months, we had accumulated more than 100,000 Youtube views with 1,800 subscribers, and by month 10, had generated 500,000+ views, accumulated a Youtube subscriber base of more than 8,400 people, and established paid members in 14 countries—primarily through Youtube.
Despite our current success with Youtube marketing, it wasn’t until we began following these eight steps, that we began to experience 2,000-3,000 views per day (5,000-7,000 views on release days) and a highly interactive subscriber base.
It’s almost spring and you know what that means…TAX PREPARATION TIME! This can be a very daunting time of year for most indie musicians; however, our good friends at SonicBids has written a great article to give you a helping hand
If April 15th isn’t already circled on your calendar, then the constant barrage of TurboTax and H&R Block advertisements will soon have you sweating about filing your taxes. Until software programmers come out with a package especially for us musicians, there are some basic things you’ll want to know – even if you hire a professional to help – to save yourself time and stress with tax prep.
As a self-employed musician, you need to know more about taxes than the average worker bee. You may be earning money from several different sources (solo gigs, session work, teaching, recording, songwriting, merchandise, etc.), so it’s important to know how to keep track of everything and which tax forms you’re required to file.
So gather your receipts and check stubs, and let’s talk about need-to-know tax info for you and your band.
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.