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MenuI manage several musicians. There are so many different approaches for pushing their music. Where do I focus?
Right now it feels like I am throwing everything against the wall to see what sticks, but I would like to narrow the focus a bit. Do I push more for promoting to festivals, licensing, viral social media campaigns, etc?
Answers
A fresh game plan is key. I've been there. Every artist is different. I'd suggest creating categories for the level each artist is at. I look at them as race horses. Each horse daily changes its location around the track- until someone wins at something. Managers have a super hard job of constantly keeping things moving and networking with the right people. But you have the challenge of keeping your artists happy whilst being realistic. If we had a call I'd like to suggest we do an audit of a day in the life of you. What are all the moving parts you have going? What can you do to create a structure and a simple action plan that will help you and your artists get some real wins. This biz is tough BUT I can help you get clarity.
Trying to make money in the music industry is difficult these days, so if it's been hard, it's not just you. :) But you can start by thinking that 1) every musician is a business, and 2) you grow a business by figuring out how to improve profit margins and add new revenue streams. So what's making each artist the most money right now? Festivals? Conventional touring? Unconventional touring (i.e., Closeup.fm)? Licensing? e-Commerce/merch sales? Identify where you're already making a good margin, and then brainstorm ways to scale. For example, if licensing has been good, make sure that each musician's ENTIRE catalog is on EVERY licensing company's website/platform. Then, set up a call with a rep at that company and ask for their advice on maximizing revenues with their platforms. I'd also ask each musician what their income needs/goals are for 2015 so that you and the musician have clear targets for each quarter. It's hard to shoot straight without a clear target.
I am an attorney that has represented artists for many years now. I would like to build off Austin’s point that musicians are businesses. A good manager should first make sure that the business aspect of the band/musician is finalized and protected. Specifically, this means that you first need to make sure that your musician/band has proper band agreements in place, proper insurance, registered their copyrights, discussed trademark issues, understand basic bookkeeping, setup as an LLC etc., and other general business concepts. Once you are comfortable that your acts can effectively and efficiently run as a business then you need to find the best places to earn revenue. In my experience, musicians tend to make money in many different ways. For instance, I represented a band that made a living touring colleges. They have been very successful at it. However, they have not had a lot of luck at festivals and things like that. On the other hand, I have represented acts that tour clubs constantly and make a living selling merchandize. I think it depends greatly on the type of act and what they do best.
I can give some general advice though. I would make sure that the musicians have signed up with ASCAP/BMI and soundexchange. I have represented many clients that are not aware of soundexchange. For smaller acts, this can be a good source of income. Another piece of advice I generally provide to managers is that they should try to find a booking agent to book tours/shows/festivals. These agents will likely have a better grasp of what kinds of venues will be best for the musician and they have better connections to the clubs/venues. Then, I try to get my musicians/mangers to look into licensing their works. Many companies offer non-exclusive licensing services. You can start with these companies until the musician gets more exposure. This will reduce the time you spend trying to find licensing opportunities.
Lastly, you want to make sure you are providing enough support to each of your musicians. I would look to hire an intern to help with some of the more basic tasks. For instance, oftentimes I see managers utilize interns or assistants to do social media campaigns and things like that.
I hope this provides some direction. Good luck!
My background is in digital marketing. Are you measuring your efforts consistently? If not, you should then look at the data to see what's performing and what's not. Then learn, make changes and repeat. You might have more luck looking at how startups market themselves, "lean startup", validated learning, etc. Also, repurposing content for different online mediums so that they are native to the platform works well. However, the artist needs to actively engage with their audience and have conversations.
Hi, I'm Tommy and I'm a music business educator. Each artist's music can be promoted differently.
If I were you, I would regard three things:
- Their genre of music.
- Their story behind their music.
- Their message as artists.
The whole process of taking these three parameters into regard is called Mediatization (look it up): it's not only the music that matters, but the story people connect with. You can promote an artist's music to a fanbase which 1) loves the music itself, 2) connects with their story, and 3) digs the message the artist promotes.
This is the mindset. The actual strategies and tactics can be countless, when you apply this way of thinking.
Let me know if this made things more clear and whether I could help.
Positive energy and love,
// Tommy
www.TommyDarker.com
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Legally selling transcribed sheet music?
Disclaimer: I'm not an intellectual property attorney - and I am not attempting to, nor qualified to give legal advice. That said - here is what I know on the subject. Copyright was once explained to me as a bundle of sticks, where each stick was a different right. Two sticks that might be important in this situation would be: 1. Distribution Rights: Creating the sheet music in itself may be harmless, but copyright does cover right to distribute - and so your idea to distribute for profit may infringe upon this right. 2. Derivative Works: Copyright also gives the owner the right to create derivative works based on the original - so even if your version is different - it becomes an issue of "how different" - so you may also be infringing on this right. One path forward is to determine who owns these rights (the original artists or label often sell the rights) and license the right to produce and sell the sheet music. My guess is this could be cost and time prohibitive. Another would be to see who is already selling sheet music for these songs - and simply act as an affiliate, taking a portion of the revenues per sale. Consider trying the affiliate route first, to determine how many of these sales you generate from your audience, before going to the trouble of licensing the content etc. I'd be happy to discuss ways that you can validate demand within your population before you do either, and recommend doing so with or without my input. Cheers, RyanRR
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Where would you look to find communities of musicians?
I would suggest spending some money and cash hanging out at bars where some of these bands perform, Also, try to find a way backstage to talk to the musicians after they perform to do your research. If you're going after well-off musicians, contact their agents or band managers. They are always looking to make or save more money.SL
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Do startups like Bop.fm, SoundWave, and Listn have their own proprietary matching algorithms or use a third party?
I don't know any specifics about how these companies do things, but this part of what they do doesn't seem like it'd be especially hard. The various music service APIs provide ways to search their libraries for a string so you could do a reasonable first stab that way. Youtube's API provides the metadata so as long as the video has accurate metadata you can search on that.DK
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What is a good way to find investors or raise money for a concert?Also how should I go about learning the business of organizing/promoting concerts?
I have a lot of background in live event promotion and also dealing with investors. Really it depends on the type and size of the event you are wanting to promote. Sometimes sponsors are enough to get you going depending on what the target market it is and if the ideal audience for the concert matches the sponsors marketing goals. In the event you want to go that route, you'd need to set up some sponsorship packages etc. (also something I've done). Finding investors can be really tricky if you've never put on a concert before. Usually, It is best to get some sort of track record first- again, I'm not sure the actual context here, but generally you have to create an investible story (i.e.- The first time we did this we only had x amount of money to start with but we accomplished y- so if you will invest Z in the next event- we'll be able to make 10x as much money. Lastly, Im not sure who the big concert promoters around Ohio State, but I'd look into maybe doing a summer internship with AEG live or AC entertainment in Nashville, or find out who the local promoters are and try and learn from them. Happy to talk more anytime- Hope that helps. JSJS
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Does anyone have advice for a foreign band looking for gigs in the US or Europe?
While I don't specialize in band management or promotion, I have some second-hand advice as my boyfriend is a signed musician to a major label. From my understanding of your question, it sounds like they have some sort of following already - from here, I'd identify within the US or Europe where you strongest following is - then target that area first for a more local-focused tour. For example, an LA-focused tour, New England or Midwest tour. This will help keep costs low while creating more fans that can act as band promoters. If there is no following at the moment, you should consider shopping the band and their cover for press coverage to some major music blogs such as pitchfork, ear milk, indiecurrent, etc. Here is a great list of music blogs: http://www.digitalmusicnews.com/permalink/2014/03/26/20blogs. I also know that Perez Hilton often writes about covers that he knows will resonate with his readers. You could also identify music tastemakers for their style on Spotify and build a relationship with them to see if they're interested in including the band in some of their upcoming/new playlists. Many of these folks like being the "first to" knowledge and up-and-coming bands, so this can be a great and sort of easy go-to. Find some of the influencers who are a little lower down on the influence-scale (think a 6 or 7 instead of 10's like Pitchfork) and see if they're interested in interviewing the band via Skype, in person, or would provide coverage for "first access" to new releases. Great examples of these blogs are are "We Found New Music" or "Obscure Sound." Lastly, you could always try to have them signed to a booking agency that best represents their style. Some examples are Windish (https://twitter.com/windishagency) which is large and known for more indie bands. A some new ones like Boston Music Scene (https://twitter.com/bostonmusicscne). I hope this helps! Promoting music now-a-days is a totally different beast from what it was several years ago, but there are more channels/mediums now, which create more opportunities for them to get heard. Good luck!SB
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