Social media is the cornerstone of your music career. It’s what lets you stay in touch with your fans. However, it’s hard to find a balance between social and promotional – after all, you still need to sell your record or tickets to your show. Here’s 10 secrets to help you find that social media balance.
Socializing is, by nature, a two-way exchange. Try holding a conversation with someone with your ears plugged. Social media is talking with your audience! There are other tools out there for talking at an audience. Make it a habit to read comments and messages. You’d do the same on your personal accounts, wouldn’t you? By listening to your fans you could also get valuable information like what new song they are digging the most or what they liked about your show last night.
2. Leverage Online and Offline
There is no one-size-fits-all solution. While some artists have managed to build their career on one channel, most of us need to find a balance of online and offline. Maybe you leverage Facebook, YouTube, Instagram, and some local shows in your area. The key is to think about how you can send fans from online to offline and visa versa. You need to create a flow.
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.
In the good old days of digital music — say, five or six years ago — high-tech talent scouting by record labels meant trawling MySpace for hot new bands. Labels still hunt for acts online, but the pools of data they consult have become much more vast, and access to them highly competitive.
On Wednesday, the Warner Music Group, the company behind Bruno Mars, Wiz Khalifa and the Red Hot Chili Peppers, will announce a deal with the music app Shazam that will create a label imprint for new artists who are discovered through Shazam.
Shazam, used by more than 88 million people worldwide, identifies songs playing on the radio, on television or at a nightclub. According to the company, it is used about 500 million times each month to identify, or “tag,” an audio signal, which each year leads to more than $300 million in download sales.
The deal would let Warner executives use Shazam’s data to see what songs are catching on and where — potential signs of a breakout hit. Warner could use this data to sign new artists to a special Shazam imprint, and market them with Shazam’s help. Specific terms of the deal were not disclosed.
“There’s so much information that we’ve never had before as an industry, and Shazam is at the forefront of that,” said Rob Wiesenthal, chief operating officer of Warner Music. “When a consumer hears something he or she likes and holds up their phone, that enables us to learn more about the likes and dislikes of fans.”
Rich Riley, Shazam’s chief executive, said that big hits represent “a relatively small percentage” of the music tagged on the app, and that it is often used for songs by unsigned artists — the acts that Warner will be most interested in.
For Shazam, the Warner partnership is also an opportunity to move beyond its “name that tune” function and become more of a conduit for various forms of content. Last November, the company struck a deal with the media-services agency Mindshare to make it easier for advertisers to incorporate Shazam in campaigns.
“We want it to be the place you go for lyrics, the place you go to see video, the place you go to engage around a particular artist,” Mr. Riley said. “This is a big step in that direction.”
For the music industry, data is the new gold. A number of music companies have struck deals recently to help them comb through the noise of social media to see the early flickers of hits. Twitter is working with 300, a new company led by Lyor Cohen, Warner Music’s former head of recorded music, and last month Gracenote and Next Big Sound, two music data specialists, said they would work together to develop a customizable Internet radio app.
But whether all this data can lead to more hits is unclear. Jim Lucchese, the chief executive of the Echo Nest, a music data company that works with Spotify, Sirius XM and others but was not involved with the Warner-Shazam deal, said that the challenge is not so much getting access to information as having the expertise to interpret it.
“The massive amount of data that’s available is incredibly exciting,” Mr. Lucchese said. “The reality is that there is a scarcity of people out there who really know how to make sense of it.”
ARTISTS / LABELS: Get your music on Shazam now with ONErpm! Click HERE to get started.
Over the years, I’ve sat at a lot of breakfast tables with local musicians recapping last night’s gig. Usually the conversation starts about the nuts and bolts of the evening itself, but many times, the theme of the conversation moves towards the difficulty to get people to pay attention to the music or attend the concert.
As a musician and someone working in social media & technology, I’ve spent a lot of time thinking about traffic and engagement. In my research, I have found there to be a prevailing theme in the thought leadership.
It’s with this context that I humbly present to you 3 critical steps to building fan engagement:
#1. Make Good Stuff
So you’ve attended the latest conference, gathered a lot of business cards, downloaded the newest social media podcast, and bought the newest book on how to get fans.
Sweet! That’s great. But it’s just one piece of the pie.
Content is king, and putting out regular content is important. However, it’s not only about consistency. Amazing content (with a little social engineering) will spread like wildfire without as much need for all the “social media turd polishing” hype. If you’re spending more time on Facebook than playing your instrument, you’re doing it wrong. If you find yourself coloring your hair more often than meticulously working on your lyrics… you’re doing it wrong.
Don’t be like Narcissus, drunk off your own reflection, when there are thousands of people you could be learning from. It takes an awful lot longer to make good stuff without knowing, mimicking, and studying all of the good stuff that’s out there. Know the rules first before you go about breaking them. It’s like trying to learn a martial art without going to class. If you won’t dedicate yourself to being an expert, don’t be sad when people lose interest. Cultivate the dedication of the white belt while you strive for the black belt’s execution.
Make good stuff and they will come…
Search is going social in a variety of ways as search engines look to social proof to make search results more relevant and users turn to social networks such as Twitter and Facebook for more of their information needs. Google’s dominant role in search and web video, through YouTube, allows them to shape this process by pushing Google+ to the center of the Googlesphere to the degree that Google+ is now an inescapable tool for music marketing.
Google+ has been a growing factor in Google search results since 2011 with mostly confirming studies since though conflicting studies are starting to emerge.
However even conflicting studies can’t cancel out the fact that if Google is now using social proof as part of its results rankings, then Google+ participation would affect those rankings. Even if that were not the case, Google is introducing multiple reasons to convince or even force your participation.
YouTube Comments Will Soon Require Google+ Accounts
Last week YouTube began to introduce comments “powered by Google+” with full rollout by the end of the year. The new system means that comments about videos on Google+ can show up on YouTube, comments can have privacy settings and new moderation tools are available.
Based on additional details, this new system should be an improvement for videomakers and marketers:
"comments from the video creator will be ranked very highly and surfaced more regularly…The system will also push comments from popular personalities on YouTube and people in your Google+ circles higher up the comment chain, as well as highly engaged discussion about the video. Just like before, you will be able to vote comments up or down, too, and those votes will also influence the ranking…"
"YouTube will now also aggregate public comments about a video from Google+ and display them on YouTube….users on YouTube itself will now also be able to have private conversations on the site by leaving comments that can only be seen by people in their Google+ circles or individual users."
Google Authorship Now Requires Google+ Accounts
I’ve been remiss is not discussing the benefits of the Google Authorship program for solo musicians and individuals building their music industry brands but both Roo Raymond and Bob Baker recently addressed the topic.
In the latest version of Google Authorship you connect Google+ to your web content, in particular blog posts and website articles, and then your Google+ avatar appears with a byline next to your first content-related search result.
Google is partnering with multiple platforms including Wordpress (.com I assume) and Typepad which will further simplify the process for many bloggers.
For Wordpress.org users, various plugins are addressing the issue including Jetpack 2.5.
But the biggest recent change in Authorship is that you no longer have to be signed into Google+ to see those avatars in search results.
See Search Engine Land for more on Google Authorship.
What About the Death of Keywords?
So keywords aren’t really dying, they’re just becoming a bit less key to the Googleverse and that means, in the tech world, that they’re dying.
Hyperbole aside, the role of keywords in SEO is changing as search changes. As Google moves to encrypt all searches, analytics results for keywords used on Google will no longer be available. Though other tools can help take up the slack, this is a major step in undermining the gaming of keywords by SEO practitioners.
But if you take a look at these suggestions for post-Penguin SEO, you’ll start to see that the way forward is a move away from tricks and towards engagement, quality content and honest navigation.
Both earlier seo changes at Google and newsfeed changes at Facebook suggest the same thing, doing what’s best for your readers and site visitors will ultimately improve your presence on Google and Facebook.
Key Points for Musicians and Music Marketers
Emphasis is shifting towards engagement and high quality content in search results and on social media and away from tricks and techniques for higher rankings.
Current changes involving Google+, especially Authorship, privilege individuals over groups. Keep an eye on those changes and make sure you have a Google+ page for your band in the interim.
Keywords have never been the biggest issue for musicians beyond making sure you’re found when they search for your name though they have been of use for particular marketing tactics.
Focus on getting your name out there. Make sure you have a broad but manageable social media presence. And be sure your official website’s homepage has your name in the title and in relevant text on the page and you’ll be found.
When in doubt, serve your fans.
Source: Hypebot (by Clyde Smith)
A couple months back when Ad Age’s staff began working on our Music Issue, I started to obsess about the inextricable link between music and viral media. Think of a pop-cultural moment that’s “gone viral,” and chances are pretty good it’s music-related. (Unless, of course, it’s a cat video. Then again, Keyboard Cat was nothing without his Yamaha.)
Was it possible, I wondered, to pin down the most viral moment in music history?
I also wondered about what, exactly, constitutes historical virality. It’s obviously easier in a post-YouTube/Facebook/Twitter world to quantify buzz. But then again, you might argue that in a pre-social world with way fewer entertainment options — and more of a tendency toward monoculture — what we collectively were all buzzing about routinely had a lot more scale (like when the series finale of “M*A*S*H” drew more than 100 million viewers).
TV and radio powered the popular-music-related conversation for most of the modern age. But was media-prescribed, marketing-driven virality automatically less “organic”? Sure, arguably. Or, you know, maybe people just really liked Michael Jackson.
At any rate, as a sort of thought exercise about the nature of pre- and post-internet music culture, I’ve put together a short list of the most viral moments in modern pop-music history — with “modern” starting, for the sake of argument, 50 years ago. Which means the British Invasion of American prime-time TV makes the cut, but not Elvis’ televised (and semi-censored) hip-swiveling in 1956.
I excluded moments that were purely musical — which means no record releases, epochal or otherwise (like, say, the Aug. 8, 1988 release of N.W.A.’s “Straight Outta Compton,” which ushered in the gangsta rap era). And I left out notable births (e.g., the launch of MTV on Aug. 1, 1981) and artist deaths.
What I was looking for, generally, was viral musical moments that had multimedia dimensionality and which rocked the culture.
For the longest time my older brothers would ask what music they should be listening to. They’re all ten years older than me and seem to think I’m clued up on what’s hip and happening do people still say hip and happening?) but as I’ve gotten older, I’ve done my best to avoid asking nephews and cousins about what I should be listening to and have aimed to find my own way.
Until recently, after various attempts, I settled on a great Spotify App called Tunigo to find great new music. It’s very good. So good in fact that Spotify ended up acquiring the app for itself. Its primary benefit wasn’t truly discovering new music however, but rather manually compiling music for different tastes, moods and experiences – old music and new.
I still needed a way to find out which new tracks were being listened to by the mainstream AND those in the know, released by popular artists, up & coming artists AND new artists. Tracks that weren’t being played on the radio and backed my millions of dollars, but were being listened to by a passionate group of music aficionados and perhaps slowly but surely gaining popularity in the mainstream. Essentially, I wanted a way to discover great new music, irrespective of whether the artists were signed to a big label, small label or were completely independent.
Hello Twitter #Music.
It’s easy to get stuck in a music rut. That go-to iTunes playlist or Pandora station will probably do the trick, but with so much great music out there, why settle for the same old favorites?
The infinite catalog of music, new and old, is a both a blessing and a curse. While music fans unfortunately have to accept that they will never be able to listen to every band, album or song, retreating to the comfort of your personal music library is no way to find your next favorite artist.
Spotify’s latest curation features, Browse and Discover, are a push in the right direction, and Rdio integrates music discovery into its top-notch app with subtle recommendations from listeners in your network placed all over the player.
These streaming services’ social features aren’t the only ways to discover new music, but they tap into what’s key about successful music suggestions today: social curation.
If you are on the lookout for new tunes, try these seven websites and apps that are perfect for social music discovery.
How do you find new music? Share your method in the comments.
Twitter #Music may not be the hottest music service on the planet but they’ve made some moves that should encourage more listeners to check them out. Recent activity includes creating a new Spotify app and adding playlists to Rdio to allow for listening from within those services. Less noticeable tweaks to their iOS app are a reminder of the social potential for this somewhat maligned service.
When Twitter #Music launched back in April it included integrations with Rdio and Spotify. Then, as now, short previews of songs are provided by iTunes with the option to connect to Rdio or Spotify to hear the complete songs.
Now instead of listening via Twitter #Music, you can listen to Twitter #Music picks from within both Spotify and Rdio.
Last week Twitter #Music debuted a Spotify app that looks much like its web app except for the inclusion of a visible logo from acquiree We Are Hunted that links to the “HUNTED” feature. The #NowPlaying option is not available on Spotify.
They then followed with the debut of genre playlists on Rdio based on Twitter #Music trending charts.
Both offerings are a great way to further develop the relationship with Rdio and Spotify while spreading awareness and accessibility for Twitter #Music.
The social aspects of Twitter #Music were also given a boost on the iOS app with, you guessed it, a stronger tie to Twitter. Each track in the #NowPlaying feed shows the connected tweet:
"When you select a song to listen to, the thumbnail will now expand and identify the user in your following list that originally tweeted about the song…it also gives you the option to reply, retweet and favorite their message."
"Furthermore, hitting the ellipsis icon brings up a basic share menu, either for tweeting about the track yourself or sending it to some[one] else via email or text message."To some degree these all seem like obvious moves but, partly because of that, they have a nice completing the circle quality to them.
Source: Hypebot (by Bruce Houghton)
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)