Image Credit: Jake Johnson

Except that it turns out we need the middle men.

At the very least – and more accurately – we need some standardized channel, because there exists a mass of music and a bewildering variety of ways to process the payment for it.

In these early years, efficient digital stores have risen up to fill the void. From iTunes and Amazon to Bandcamp and CD Baby, paying music fans have chosen convenience over a deeper commitment to their favored artists. This is understandable, given a voracious appetite for music and the ease-of-access that consumers have come to expect from online transactions.

Nonetheless, this need not eliminate the original promise of D2F, to connect artists directly to their most passionate fans and deepen the relationship between them. This includes selling music and merchandise and is an area where most artists are leaving money on the table.

Know Your Fans, Narrow Your Focus

At any size an artist needs to develop deeper relationships with listeners, but the extent to which a platform is required to do this will vary greatly according to size and stage of career. For those just starting out, the emphasis will be more on discovery and gaining attention, making the breadth of platforms more crucial than the depth.

As a fan base accumulates, however, too many artists stop short and continue to focus on that breadth, without customizing their art, content, and merch to the most passionate fans. This fails to take D2F to its most beneficial conclusion. Those building the closest ties to fans, offering the most of themselves, lay the groundwork for those same people to spend more time with – and more money on – their music.

By narrowing your focus to that small percentage of your fan base that is intrigued by everything you do, opportunities arise to better understand and cater to their needs…

Are they moved by visuals you present?

Do they react particularly well when you post lyrics to your songs?

Perhaps they praised a specific collaboration or project that you worked on?

When you know the answer to what really gets your core fan base bubbling up, you have a starting point for creatively-minded merchandise and physical records that suit the D2F approach.

Separating Merch From Marketing

Although the two are of course inextricably linked, it’s important to remember that D2F music and merchandise is largely to be considered in terms of income. It can be time-consuming to set up anything more than a rudimentary store and will require ongoing maintenance, so both the product and the demand must be there to justify investing in D2F merchandise to any great degree.

Knowing your costs and projecting what you expect to make are crucial factors in deciding just how viable any given D2F product will be.

This doesn’t preclude artists from producing simpler items for fans that can be given away at shows or included as a bonus with other orders, of course. Just remember that these are generally not items with any significant profit margin and, as such, they fall into the category of marketing materials. In the same vein as a show flyer or postcard, their job is to keep you in the minds of listeners for further connection, rather than make money in their own right.

Retaining a focus on cost and sale price helps you to judge what fits into the category of merch that you should sell directly to fans, as opposed to outsourcing the sale to an established digital store front. Limited edition releases and intricate art work related to your music are ideal starting points but this is an area where you can let your creative streak run wild, as the concept of this recent Music Think Tank article explains.

Over To You…

Was the promise of the direct-to-fan model vastly overstated or has it simply been swamped by the generic digital offerings that are presented to music fans today?

What examples have you seen of artists succeeding in offering their fans unique products?

Are you opening a window into your world for fans? | Image Credit: Ross Mayfield

That contempt notwithstanding, the intended meaning of the phrase does actually hold deeper value for artist marketing. Especially so for music, where the creator’s connection to the listener is at the core of holding their attention and developing deeper fan relationships.

Allowing fans in to see more of who you are and how you create is as much a “must do” now as touring was before we all became digitally connected; without some context to your creations, you’re just another song in the music collection. Add an experience or a memory, however, and you move one step closer to being an adored artist in their life.

One of the best practitioners of this that I’ve seen recently is Kishi Bashi, a veteran of the indie music circuit who is promoting his new solo work in a most fresh and spritely manner.

Opening Up Your Art

Formely a tour player with Canadian Athens, Georgia’s indie oddballs of Montreal and the iconic Sondre Lerche, amongst others, Kishi Bashi released his own album proper, ’151a’, this time last year. Since then he has undoubtedly benefited from copious blogger coverage and brand interest, yet the lingering impression is far more than just a clever marketing campaign.

The first thing that comes to mind for me, both as a fan and marketer, is a gregarious human being who truly loves and embraces his art. By extension, he communicates that passion to his listeners, who can’t help but become wrapped up in his world. Fans for life invariably follow.

Here we’ll look at some of the specific approaches that Kishi Bashi uses to open up and bring fans further into his fold. But first the vital statistics…

Artist: Kaoru Ishibashi (aka Kishi Bashi)

Facebook Fans: 22,952

Twitter Followers: 4,947

 YouTube Channel: 2, 057 subs /257,700 views

Google +: Negligible presence

Be Yourself

Age old dating advice… that no-one ever follows, of course. But Mr. Ishibashi pours himself into his social media channels almost every day. One swift scan of his Twitter feed or Facebook page reveals a commitment to offering daily insights into his world, from the mundane aspects of touring to marveling at a piece of music.

Each update builds a picture of his personality for listeners, adding context to the music for a stronger connection.

Window To Your World

Social networks are increasingly reliant on visuals, hence the increasing popularity of Pinterest and its ilk. Kishi Bashi’s platforms are awash with tour photos, shots from the previous night’s show, fan art, and anything that he comes across that offers a visual hook to stir a reaction. Even from a purely data-driven perspective this makes sense, as Facebook’s Edgerank is based on audience feedback such as likes and comments, which studies have shown  fans are more likely to provide for posts with visual content.

On a more human level, visuals help fans to understand more about your life, offering a window into your world. Daily shots from the tour – even the most mundane elements – can connect in a way that text simply cannot. Sharing creative inspiration visually is also a strong emotional link to fans, especially if they’re further inspired to share it with their own network.

Conversations

The time when artists could hide from the demand of fans is largely behind us. All but the most overblown or enigmatic of artistic egos need to embrace the age of access and developing stronger ties to fans through one-on-one conversations.

It helps that Kishi Bashi is a gregarious chap by nature, but the dedication to communicating with listeners on daily basis is what cements these relationships. Whether deep conversations about song lyrics or a simple thank you to a fan who attended a show, visibility and gratitude are two traits that have served him well. And with a Twitter following that grew by over 400% during 2 month period of most recent US tour, the results of connecting on an individual basis will extend beyond that single interaction and provide a stronger foundation for his next creative move.

Collaborations

Getting fans involved in your creative process is a wonderful way to make it about more than yourself. It’s a win-win scenario, as the artists receives the assistance they need and the fan(s) become even more invested in the art that results.

Kishi Bashi frequently calls on his community to submit show photos, create derivative works inspired by his art, and those random requests like the one to the left here, involving multi-language  lyric translation. It’s all part of being okay with asking, which has been a popular discussion of late.

Takeaway

The point here isn’t to copy the Kishi, but to bring your fans into the fold by bringing yourself out into the open. Utilize the plethora of open access channels available to you and start putting your interests, info and insights out there for fans to consume.

Not everything will catch, but the more you share, the more you’ll understand your listeners, what they love about you and want to see more of. Experiment, review, and refine your posts until it’s second nature to share stuff that will get your social sphere buzzing.

What about your own case… what do you put out there that inspires interest in your art?

NB. Edited 5/1 for my ghastly lack of background knowledge regarding of Montreal. Thanks to the readers who set me straight! Sticking to my guns on the odd factor, of course…

What’s a ‘Like’ worth?

Less than a share, if you agree with the latest marketer analysis, but plenty of artists are seeking the thumbs up across social media, with the king of social networks being the most vibrant hub of activity.

Facebook’s place in the realm of music marketing has topped my mind this past week for various reasons. It also seems to be a popular topic for you, with my 25 tips for a friendlier Facebook fan page being the most regularly visited piece here, so I thought I’d focus once more today on the platform everyone that loves to hate.

First Up, A Fail

In my opinion at least, this Facebook music advert that I came across recently fails in a few places. Take a look and consider the case for and against:

Pros:

• Relates to an existing listener passion point with the Dave Matthews link,
• Integrates an easier call to action with the ‘Like Page’ button (although this is all Facebook, not the artist).

Cons:

• No mention of genre, style, location, or some other bridge from Dave Matthews to this unfamiliar name,
• Poor copy writing, with mixed calls to action (conflicting with like button) and awkward flow,
• Immediate command (to an unfamiliar listener, remember) to buy the album… hold my hand before you grab my bottom, won’t you?!

So it’s easy enough to critique an unappealing ad, but what makes for a more effective Facebook advert?

First things first, consider your options…

The Difference Between Facebook Ads & Sponsored Stories

Although Facebook explains its advertising options to a limited extent, both the ad components and the layout of the site itself change on a (frustratingly) regular basis.

Adverts are more explicit statements about your page, often with copy that you write yourself with a specific goal in mind (such as the reader clicking a link or liking your page). They stand out from the usual flow of a user’s Facebook news feed and are labeled as “Sponsored” in the lower post details, both of which can make some people wary of their presence.

The onslaught of ever-evolving ad units since the site’s flotation on the stock market last year has created some resistance to clicking on (and therefore encouraging) obvious adverts, but you can still make some headway with them. For me, they provide the most direct, short and sharp shot into a potential listener’s social feed.

There are also various sub-types of adverts, from the simple “Suggested Page” option that is a basic accelerator for page likes, to promoting specific posts to reach existing fans (and their friends), in addition to the more customized ads discussed above.

Sponsored Stories are more integrated into the fabric of Facebook , showing off activity on existing content from your page rather than the direct copy that you can customize for an advert.

The bonus here is that they “fit” more naturally into the news feed and actions that people are already undertaking, such as commenting on a friend’s activity or liking articles they read, which lessens the resistance that comes from out-and-out adverts. This focus on engagement can be useful for those of you wishing to drive interaction even further on your page, although the content itself is selected by Facebook and you have less customization than you may require.

The other important aspect of sponsored stories is the connection that they make to friends of those you reach, for example “Joe Schmoe likes Band X”. Simply placing a familiar face or name next to an unfamiliar page can bridge the trust gap that paid advertising creates, hence the rising popularity of social media ad campaigns. If you’re trying to reach new listeners, connecting through your existing fans  and on to targeted friends of theirs can be a key advantage of a social ad.

Important Note: Facebook is changing rapidly at the current time and, at any point, distinctions between different types of ad unit may become blurred. Always check the ad preview to understand exactly how your paid promotion is going to appear!

The video below is tailored to deeper business marketing types but still has some valuable snippets for more advanced music advertising, if you’d care to delve even deeper.

Click here if you can’t see the video above.

Key Questions to Ask Before You Advertise Your Music on Facebook

Answer the following questions to understand what you direction you want your Facebook advertising to take:

• What is my main goal from this advert? Examples may be increased page like, engagement, website traffic, music player spins etc.
• Do I want to reach existing fans or new listeners?
• Is the ad a standalone test, or part of a wider campaign?
• What is my daily (or weekly) budget?
• What is the “call to action” of my ad? (i.e. the step you want people to take and
• What metric will prove that the action has been taken and can I measure it? (e.g. a Like, which Facebook will report to you, or a spin of a track, which you will need to monitor more closely yourself)

It can be tempting to just dive in with Facebook’s newer ad offerings, as they have plenty of “press play” options popping up alluringly in your page admin section. This simplicity is helpful but you will still benefit from taking some time to consider what you want from your ad spend, where it fits with your other promotional efforts, and how you will measure success.

Dig Deeper

This is really only the tip of the iceberg with advertising on Facebook. We can take in-depth looks at ad copy writing, split testing, ad optimization, cross-platform campaigns and results analysis, to name just a few of the areas that may be of use to enthusiastic music advertisers.

What I’d love to know is what level of Facebook ads you’ve undertaken as an artist and whether (and which of) these deeper topics are of interest to you?

Do you want to read detailed how to pieces or just “press play” on those easier ad options that Facebook is now inserting into your fan page?

Let me know in the comments below or e-mail me at Steve@RiseAboveTheStatic.com with your specific questions. I’m here to help!

Time to review notes & catch up! | Image Credit: Internews Europe

As we close out the month and move into the next phase of Manning Your Virtual Merch Table, let’s take a second to recap and gather together what we’ve learned so far.

For any artists just joining us, this is a great time to catch up on the more conceptual posts, before we dive into practical examples and case studies during April.

This is where we’ve been:

Defining the 4 Ps Music Marketing Mix

Place & People: Finding your fans online

Product & Price: What to sell and how much to charge for it 

Promotion: Adding personality to your music marketing

Be a VIP

This month also saw the first Inner Circle newsletter go out, including a private link to bonus material reserved as a special thank you to subscribers.

Get access to that and future updates by subscribing here or entering your details below. You’ll have close access to both the material and, well, me, as I’ll individually check in with every new subscriber to see how best I can customize the series to your needs.

Next Steps

It’s all very well understanding the methods behind music marketing via a virtual merch table approach, but what about real world examples of how artists are implementing these ideas?

That’s exactly what I’ll be dedicating April to, unearthing case studies of independent artists using this approach (some unwittingly, perhaps) to build an online presence that nurtures listeners through to becoming lifelong fans.  The research for this is underway now, so let me know if you have any exceptional examples of musicians successfully marketing themselves online.

Thanks for reading and don’t forget to sign up to the newsletter and pass this on to any artist friends who may find it useful!

Image Credit: djking

Just a little over ten years ago, the business of promoting your music to an audience was a very different animal indeed.

Certainly, Napster had hit and its impact was being felt to some degree. But the relative position, given the seismic shifts to come, was much closer to the heyday of major record labels, rather than the almost fully digital music world we see before us today.

The Lefsetz Letter is currently on a “Now & Then” kick, comparing various music and media approaches in a pre- and post-digital environment. This holds value  in music marketing terms as well, so here are my thoughts as to how it relates to the Man Your Virtual Merch Table series that we’ve been running.

Music Marketing in the Digital Era

Then

You had limited access to the mass marketing resources and distribution needed to reach fans. Signing a deal with an established label rapidly accelerated your visibility, via a few mass broadcast channels to fans.

Now

You have direct access to fans, limited only by the amount of time they spend online and the attention they pay to music. The cost is the time you invest, meaning that you need to choose the places carefully. Signing a deal with a more traditional company is no guarantee of success and needs to be done on your own terms (if it comes up at all, as investment in developing artists has plunged from these sources).

Then

Communication was to your audience and the channels limited. A certain distance from fans was to be expected, perhaps even aspired to, in order to maintain that “rock star” mythology.

Now

Communication is to your community and the channels are almost limitless. Distance from fans is impossible for all but the most enigmatic and talented of artists.  Direct relationships, collaborative efforts, and the art of asking are the order of the day.

Then

Recorded music was scarce and expensive, relatively speaking. Selling your record was the main focus of both marketing and touring, and listeners invested in the album purchase and built relationships with artists from there.

Now

Recorded music is abundant and inexpensive, often free. Selling a record, even a digital album, is the product of having built a relationship with listeners already, often on the basis of streaming music singles from your site or social networks. You need to think more widely about what routes and products you offer for fans to invest in you, the artist. From crowd funding an album before it iss fully conceived to purchasing a diverse range of merchandise, you develop relationships first, get the sale second.

Then

Album cycles were the basis for promotional campaigns, usually on a record > press/hype > release > tour model. Release dates were widely anticipated, reviews and radio coverage important, first week sales and the resulting chart positions vital.

Now

Albums themselves may be passing into obscurity, with the format prevailing more for reasons of familiarity than necessity.

Lead time from recording to release is almost non-existent for independent artists, who can create music at home and release in the time it takes to upload a file. Single songs catch the attention (if you’re lucky) and build interest in subsequent releases, be they albums, EPs, or whatever the artist feels most comfortable with. Traditional release models are thrown out of the window, coverage is fractured and often to a niche audience via many small websites, charts are arbitrary as no one measure covers digital interest to any degree of accuracy.

Make Your Own Marketing Schedule

The final point there is a suitable one to leave you chewing on, as there are almost no rules right now.

New marketing standards and filters may well be developed in the years to come but, as it stands, the only limitations are those of your time and creativity. Traditional elements of communication to fans, press coverage, touring, and hype all remain key elements in raising awareness of your music, but the balance and structure of them is entirely up to you.

My recommendation is to experiment. Push the boundaries of what you’ve done before, be it pricing, promotional stunts, release format, or the type of press you approach to cover you. Move from a “why?” to a “why not?” mentality as you generate ideas to market your music, viewing traditional standards with suspicion and probing the potential of more outlandish promotional ideas.

What can you do to market your next release in a completely new way?

This is a guest article by Simon Walklate, co-founder of Bristol, UK based game developers The Motion Monkey. He is also a drummer,  former independent record label owner and music fan.

Having played in bands for years (and even run my own independent record label at one point) I know just how difficult – and potentially costly – it can be to get your music heard.

Successful musicians and bands have been licensing their music for use in video games for decades. It’s a great opportunity to expose music to potential new fans. In fact, I’m sure pretty much everyone that plays video games can remember at least one occasion when they’ve discovered and become a fan of a band via a video game soundtrack.

But what if you don’t already have a publishing deal and label support to help make these sorts of opportunities happen? Is there a way for independent artists to get involved?

This is where the casual games market comes in.

An Introduction to Advergaming

Free-To-Play, web-based Flash games are a massive source of entertainment for millions worldwide. It’s possible to commission custom games for marketing purposes (often called ‘Advergames’) and they’re perfectly suited to help get your music heard.

You could almost think of it in terms of an interactive music video for a track, with all the same creativity involved in production. A good game designer can either create suitable game concepts and visuals that complement the music, or help you develop your own ideas before producing the finished game.

You can include these custom games on your band website, as well as have the developer distribute the game to online gaming websites for possible inclusion. This way you’re also harnessing existing online casual gaming communities to get your music heard.

The Benefits of Advergaming for Independent Musicians

Advergames provide a number of advantages to artists over other forms of paid advertising they might use:

• Direct exposure for the thing that matters most, your music - Having your music as the soundtrack to the game (or the game as the visual and interactive accompaniment to your music, depending on how you want to look at it) means you’re quite literally showing, not telling people about your music.

• Takes your music to the people – Having a website, social media presence and your music on streaming sites is great. But you need to get people to those places to hear your music, which can be tough. With an Advergame you’re taking your music to the people, rather than waiting (and hoping) for them to come find your music.

• Potentially huge worldwide exposure - Although there are no guarantees of specific numbers, the potential is virtually limitless. A great Flash game can get millions of plays (and sometimes even tens of millions). Is there another medium that has the potential for that kind of exposure for your music?

• Drive traffic to your website – Advergames are a great source of traffic for websites. Links within the game direct players to your website to find out more about you and your music and ultimately help you build your fanbase.

• Long term exposure – Advergames can continue to get huge numbers of plays over the longer term. It’s not unusual for them to keep attracting players years after launch.

• It’s innovative – Because Advergames are still a pretty new way to advertise, that’s not yet in widespread use, it may help you stand out from the crowd. Been looking for that hook to get your press release noticed both online and with traditional media? This may very well be it.

Next Steps

Custom Advergames don’t come cheap, but they don’t have to cost the earth either. Keeping it fairly simple is the key, and having a band of four or more members to split the cost, may just make it financially viable.

You should also be aware that The Motion Monkey are offering reduced rate Advergames for self-financed artists, so get in touch if this introduction has piqued your interest in this unique and creative marketing channel.

Beyond merely posting to Facebook and putting up a poster or fifty for your next gig, at the heart of promotion lies evoking an emotional response in fans and listeners. The way that you promote says a lot about how much you value those taking the time to invest themselves in your music, which in turn makes a huge difference as to how long listeners will stick around. The longer they stick around, the greater the chance that a listener turns into a fan, perhaps one for life.

Image Credit: Avantard

Traditional broadcast (“tell and sell”) approaches to promoting music now fall on deaf ears. At best, it reminds a few convinced fans of your existence and is ignored by casual and potential listeners. At worst, it puts the casuals off for good and alienates fans seeking more from you, the musician.
What truly sets artists apart in the digital era is those using these new channels to forge deeper, direct relationships with listeners. A record label can’t do that for you. Nor can a manager or an agency, even though they can advise you on smart ways to go about achieving it.

No, it now falls to those making the music to be available, in touch, and engaging with what fans feel about your music. As such, there has never been a better time to focus heavily on your own promotion.

The Personal Touch

Giving your mobile phone number (even a temporary one) out to listeners online would be a disaster, right? Endless calls, open to abuse, no control over how and when you reach people… you’d have to be crazy.

When indie-pop favorite Kishi Bashi did this last month, fans couldn’t believe it either. An opportunity to simply pick up the phone and give an internationally acclaimed artist a buzz to shoot the breeze?

It was indeed true, as you can see to the right here, and it made a world of difference to the small section of his 20,000 Facebook fans who caught the request. Moreover, it made those of us who missed it eager to like the post and check back, to see what other connections the affable songwriter might make in the weeks to come.

This is a prime example of manning your virtual merch table. Being present, available, and taking the initiative to connect with fans on a one-to-one basis. 

At a live show, fans get an extra kick when they can buy merchandise from the artist herself and have a personal conversation. Finding those personal touch points online is just as, if not more important.

First Impressions Last

Everything you put out there on social networks and your own site(s) is a potential first impression to a new listener.

Harking back to product and price, you need to have the right hooks to pique people’s interest that first time around. What helps immeasurably is having both systems and people that man your virtual merch table in the most welcoming, unique way possible. Promotion is really about striving to connect a great product (you!) with the value it will offer to the buyer. In this case that’s the listener, and the value is the intangible emotional connection that they’ll make with your music.

To make that connection more understandable and rapid for the listener, communicate your personality, interests, outlook and opinions via online platforms. Have a deep web presence with all manner of media, from music to personal interview videos, a broad range of your musical style to the songs on offer, and regularly updated content on both your artist blog and your chosen social networks.

Think of every touch point with your fans – a follow on Twitter, a like on Facebook, a comment on your blog or e-mail subscription – as an opportunity to make a first impression. Even if a listener already knows you as a musician, find a way to make the interaction personal and make an impression as an individual for that first time.

When every encounter is seen as a make-or-break opportunity to win over a fan, you’ll begin to nurture those relationships that will develop into life long fans.

Over to you…

I’ll have specific examples (in the newsletter, so sign up below) of approaches that you can take to seek out deeper fan relationships  but I’d value your input here.

When have you gone that extra mile to win over a fan? What did you do?

From the Bronx-based birth of hip hop, through the leather-clad punk swagger led by the Ramones and the infinite influence of new wave, the five boroughs have proven fertile for many forms of artist.

That said, there is perhaps a problem brewing in these city streets… a saturation point that peaked many years ago and is struggling to maintain the sheer wealth of creative talent resting on its artistic support system.

On what grounds do I base this supposition?

Lumineers Leave Town

Image Credit: Imelda

Billboard’s piece on the subsequent success of The Lumineers after leaving Brooklyn was the clincher, but the general malaise has been with me since moving to NYC in 2009.

Working as a concert promoter at small rock clubs for much of that year was an eye-opening insight into the mountain that most independent musicians must climb to achieve even the mildest attention. From 1am set times on a Tuesday morning, to paying to play on band battles that are a fast track to nowhere, it seemed like the pack is stacked against even the most savvy artist from the outset. And, yet, musicians still flock to the city to compete in this zero sum game.

Further confirmation came from a fellow musically-minded volunteer Alex, at my Musicians On Call program this week, who preferred even the schmoozy Hollywood leanings of Los Angeles to the gritty challenge of New York. His reasoning? At least musicians can afford to live and work in other creative arenas out on the West coast, where as the city I’ve come to call home has sky high rents, overpriced eating, and will force a needy musician into less creative pursuits simply to make ends meet. For all the love I have for the place, it was hard to argue with Alex on these points.

The benefits, of course, are myriad.

Everyone with whom any musician could wish to connect walks these streets, merely a connection or two away and easy to meet once you find that “in”. Venues are everywhere, be it a super star arena or a street corner, an alluring artist will almost always find some kind of crowd. Creativity flows across disciplines and you’ll never be stuck for a space to  seek out other artists for mutual inspiration. Not to mention the ever present history of artists that have come before you, be it the enduring abandon of Bowery punk legends or the classic songwriters who called the Village home. All feed in to a highly concentrated artistic environment that is hard to replicate anywhere else.

And yet, the practical must really trump the poetic.

At least it must, to my mind, for any artist seriously trying to build a fan base and a career from their music.  

Image from Wikipedia

Not a Niche

One final point to consider is that of the niche, an important concept explained thoroughly by fellow music marketer Jon Ostrow  in his article on Conquering Your Music Niche.

Essentially, this is connecting with a small group of like-minded individuals who will form a solid foundation for building out your craft. A significant part of this, in my opinion, is joining forces in the spirit of common artistic community.  New York City (and other cities like it) can be a tough place to establish that groundswell of support. Not to overlook shining lights of hope such as Silent Barn or ABC No Rio, but the prevailing atmosphere is more of competition than camaraderie.

All that said, there is undeniable value in the lessons an artist can learn from the struggle of “the city”. As overused a phrase as it is, if you make it here, you really can make it anywhere. But when many less populous cities and states are crying out for artistic inspiration… for a music scene to call their own… surely there’s a lot to be said for building from your own area?

Your Turn…

What do you think; harsh truth or off-the-mark trash?

I know many of you have lived in NYC as musicians or worked around the industry here, so I’d love for you to share your experiences with everyone. 

And those of you making music in other locations, is it helping or hindering your growth?

The comments section is yours to use with reckless abandon!

Image Credit: Neil Bird

What we’ll focus on here is fullytranslating that aim to your online world.

How can you create a range of products that is attractive to those who visit your site?

How should you price them and where will they be most effective in moving listeners along to an a larger purchase?

These are the questions to be answered today, so we’ll dig in…

What To Produce (And Where To Put It)

Products inevitably stem from price, as you need to decide what you can afford to make and how to spread that merchandise across several price points.

The key is to understand your listeners and what appeals to them, both in terms of visuals and audio.

For musicians, of course, audio is going to be a huge portion of what you offer to fans. But content components such as video, images, rolling galleries, headlines and typography can all be incorporated to attract website visitors in the direction of your audio section and your online store. If you have a significant visual element to your music, consistently connect art work to  individual songs and use it to focus attention on the home page of your site. If people gravitate towards your personality, record a short video greeting with yourself as the thumbnail summary image, prompting them to click and giving you an opportunity to thank them for visiting and direct them to a suggested next step.

In summary, identify the most compelling non-music aspect of your identity as an artist. Use a piece of content that reflects this to guide people towards a next step involving your virtual merch table, be it streaming a song or subscribing to your mailing list.

Some coming to your virtual merch table will be there to sample and be won over, meaning that a freebie should always be on offer. At the other end of the spectrum, you’ll be glad to hear, your lifelong fans need to be catered for with deluxe versions of products, offering them a reason to spend more money with you.

Hitting the right mix price points for the various products you offer thus becomes an important consideration.

How Much Should I Charge For Music & Merchandise?

As you’re catering to a spectrum of listeners with varying levels of interest, you need to provide a suitable price entry point for each  of them. Let’s look at some price ranges and what products might be right for them:

Note: The inner circle e-mail will provide a full range of product ideas at each price point. Sign up via this link now to catch the first one in early March >> bit.ly/ManYourMerch

Price Point: Free!

Why? It’s a point of entry to ease new listeners in. It’s hard enough to get people to listen in this digital music environment, without putting a pay-to-play barrier in their way.

Products: Prominent free download (with no sign up hurdle) on every page. Embedded streaming music player. Access to alternative versions of songs and/or exclusive videos (sign up required, password protected part of site).

- – - – -

Price Point: 99 cents & under

Why? It’s the standard price point for a digital download and provides the right range for an individual piece of digital content. This range also affords you the option of setting a suggested price, but making it pay what you want for anyone feeling generous. Don’t go wild in this area, just offer enough to give first time buyers a chance to dip their feet in.

Products: Single track. Pay what you want piece of digital content. Nick nacks for visitors to add to their larger order, such as buttons, stickers, or other items you’re not giving away.

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Price Point: $1 – $4.99

Why? This is where the rubber meets the road and the order amounts, when taken in multiples, can become a solid income. This range covers all forms of digital content collections and perhaps even combinations of the items in the range below, to offer your visitor a more substantial yet perfectly affordable purchase.

Products: EPs. Video content. Small posters. Access to early content or bonus areas of site, perhaps on a monthly subscription basis.

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Price Point: $5 – $9.99

Why? Here we move into album territory, as well as more substantial pieces of content and discounted older merchandise. This gives convinced listeners a chance to really dig in and contribute without breaking the bank. It’s also a handy discount range for additional “checkout extras”, like a $5 special on an earlier album.

Products: Extended EPs and albums. Singles club subscriptions (delivered over a set period of time). Sale merchandise from past campaigns, such as t-shirts, posters etc.

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Price Point: $10 – $29.99

Why? Here we start to attract the more passionate listeners, lifelong fans, and completists who want to grab your discography (and more!) in one fell swoop. More physical merch will be in this range, especially clothing like new t-shirt designs, hoodies, and specialist accessories. It will also be very dependent on what you’ve produced and combinations of product that you choose to offer together at one price point.

Products: Albums with significant extras, perhaps an EP or pre-order limited version. Physical records on vinyl or deluxe editions. Clothing, hats, accessories.

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Price Point: $30 – $49.99

Why? An extension of the previous range, largely to cover any “complete fan” packages you might want to offer, such as album/clothing/digital download bundles. Most of your items for relatively standard purchase should fit in this bracket, with anything above being somewhat specialist (and requiring another  article entirely!) Buyers at this point will be your most passionate fans, or affluent newbies who have been thoroughly convinced by your freebies/lower price items.

Products: Deluxe or limited edition vinyl albums. Complete package bundles of your discography and/or physical merchandise (possibly limited edition).

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Above $50, we move into “super-deluxe” territory. If you have fans that will regularly pay for this level of product, well done!

Items here are highly artist-specific and will need to be tailored to what you know that niche group of your fan base will want. If you’ve read this full series so far, you’ll understand the importance of having regular individual check ins with your biggest fans. This becomes all the more important when deciding on high-end items to offer, as you’ll be much better placed to craft something especially for them.

Does your music and merchandise cover the right price points? 

What approaches have been most successful for you? Which need to be improved?

Share your best and worst in the comments so that we can all learn something more…

Earlier this week we looked at the intersection of placement and people who love music, finding where your people go and meeting them there.

Today we extend that to delve into the different types of listener that you’ll happen upon and how their varied levels of familiarity with your music affect the way you should approach communicating with them.

Different Strokes For Different Folks

Even before we get into how familiar someone is with your music, it’s important to accept that some people will inevitably dislike what you create. Trying to go after every listener is a losing battle, as you’ll waste time on those who will never be convinced and miss opportunities to nudge those who will towards a closer relationship with your music.

Effective marketing in any field defines the ideal customer and different segments in which they can be grouped. Taking the time to understand the types of listener to whom your music is most appealing will set you up to build much more lasting relationships with your fans.

But which types of person should you generally be watching for and how best to communicate with them?

The Spectrum of Music Fans

Below are the broad categories of listener/fan with whom you’ll come into contact. When thinking about them, utilize again the analogy to a live show and the types of people that will pass by your merch table.

Although there will be more to each and every individual, these delineations will help to understand where your efforts are best focused and how your approach should differ in each case.

• The Hostiles – They flat out don’t like you. Be it your genre, lyrics, fashion, or haircut, haters are everywhere. Pleasantly dismiss them and move on.

• The Unconvinced – These folks have heard of you but something  hasn’t clicked for them, meaning there’s a barrier to overcome.

• The Neutral – No opinion on your music as yet, either because they haven’t heard of you or are too new to have made a decision.

• The Motivated Listener – Consumes more music than the average listener and is open to new sounds. May not have heard of you but has more passion than the neutral in finding a favorite new artist.

• The Convinced – Those who are already on board with your sound and actively seek you out to listen.

• The Lifelong Fan – More than just a fan, this person is a passionate advocate for everything you create.

Delving deeper into each of these categories, let’s look at the subtle differences in communication that you can employ to build better relationships with them online.

Hostiles

Again, you have next to no chance of overcoming hostile attitudes towards your work. Online, trolls and hostiles are a common occurrence for anyone with any degree of recognition. Go by the old adage that it’s better to be loved and hated than to be ignored and don’t waste energy on haters that could be better spent on more open-minded listeners.

Unconvinced

If someone has heard of you but has reservations, the key is to understand what they are and how deep they run. Ask open questions about their feelings towards your music to find this out, then zero in on the underlying concern.

Perhaps it’s something as simple as having heard the wrong song, in which case you can point them to something that more suits their style. Find out, from their social profiles or general comments, which artists are their favorites and recommend something from your repertoire that more closely matches their taste. If it becomes obvious that the point of uncertainty is something deeper, such as disliking a particular element that is central to your sound, recognize that they’re unlikely to be converted into a real fan, thank them for listening, and disengage.

Neutral

Every merch table sees a few visitors who haven’t heard of the support band. In that setting, you can only really guide them to check out your set and hope they like it. Online, however, the “blank slate” is more frequent and you have more ways to connect with them via social media touch points.

This “blank slate” listener is, of course, neutral to you until they have something to judge… so serve them up some music! First, though, take some time to build a personal familiarity, preferably based upon similar music or artistic tastes.

We’re more likely to listen to something recommended by someone we like, so build a little trust before serving up your finest slice of songwriting. Even then, make sure that you have the listener’s tastes in mind, first and foremost. Getting to know them and what they like, whether via a Twitter or Facebook conversation or checking their listening habits, will give you more understanding of the best song to recommend. Relate via lyrical subjects, preferred instrumentation, favorite genre, or whatever emotional music connection you can make that increases the likelihood that the individual will move from neutral to convinced (and beyond).

To get good listeners, you need to listen good… err, well – - – - Image Credit: Quinn Anya on Flickr

Motivated Listeners

This is a breed of listener who is more of a fan of music in general than a specific genre or artist. Inevitably they have their favorites, but they also tend to be open minded when it comes to trying out new sounds and are able to talk widely about different styles of music. This person tends to show up early to gigs to catch the support acts and is a step above the neutral for you, as you can connect more deeply around musical tastes and the likelihood that they will share what they enjoy is far greater.

Probing the motivated listener’s depth of knowledge is an excellent way to connect with them, opening a window for your music to enter. Allow them to do most of the talking – or typing, for our ends – and genuinely seek to learn from them as a music fan yourself. Find out which blogs and music sites they read, as these may be useful outlets to meet similarly motivated folks. Often these individuals will be music writers themselves, to some extent, and have the potential to be a great advocate for your art, even at these early stages of familiarity.

Convinced

This group turns up to the show to see you. Even if not specifically there as your dedicated fan, they won’t miss your set and have a firm interest in getting to know you better. Online, this means fans of your Facebook page, people on your mailing list, and anyone that has shown a clear signal of interest beyond just spinning a song or two.

For those you’ve convinced already, the skill lies in building that relationship still further via many individual touch points. There will be less need to ask open questions about who and what they enjoy, with more direct communications about specific songs, shows they’ve been to, what they’d like to see from you in future, and other subjects directly related to what you create. Even so, you should remain interested in their wider music tastes and current listening, so that you have a better understanding of both the individual and the broader groups in which they travel. The latter is, of course, a potential route to new listeners, whether by recommendation from your convinced contingent or jumping into those groups of your own accord.

In every instance you should be looking to forge deeper connections with those folks that you’ve already convinced. As they feel closer to you, they tend to be more invested in your career and move towards becoming…

Lifelong Fans

Every musician needs at least a handful of lifelong fans to have anything approaching a career. Whether following the idea of 1,000 true fans to reach a steady income, or simply because you need a third party to effectively represent your music without obvious bias, these fans are the cornerstone of making money from your art. At a show, they will be the person buying a t-shirt, poster, and your entire back catalog on vinyl.

Lifelong fans are rarely developed overnight. They are the product of nurtured relationships, born of your music but brought to fruition by regular, one-to-one connections. As they will go above and beyond for you and your music, you need to be constantly on the look out for opportunities to do the same for them. Share things close to their heart, check in with them frequently, give them insider access to your next work, think up creative ways to reward them when you’re out on tour, anything that strengthens that bond. As you do this, the effect will ripple out to their network of friends, as they listen and talk about you more often. This then feeds the earlier categories, with listeners just waiting to be converted from neutral to  convinced and motivated fans.

Social media has made it even easier to identify your deepest fans and to feed their appetite for connection to you.

Use the channels that they frequent to engage, excite, and reward them in creative ways and you’ll build the basis to make a living doing what you love.