new social music strategies
Okay right now what we have here is some more solid analysis from Andrew Dubber of new music strategies at the Futuresonic conference critiquing Scott Cohen of digital distributors The Orchard who was speaking at a session on social music.
http://newmusicstrategies.com/2008/05/03/social-music/
Dubber said that he was surprised to find that he agreed with so much he was saying despite his reservations with The Orchard’s business model.
See what The Orchard does made a lot more sense when getting digital distribution – itunes - negotiated for your release wasn’t as simple as just signing up for cd baby or tunecore.
I guess mainly it remains a digital distributor for high end independent artists - I think Joe Cocker is one of their clients.
In other words it’s not really DIY solution it’s a “ I can afford the luxury of paying someone else to do it” solution. You may as well sign up for a kurb coaching package at $200 p/month, helping you get your music on itunes and 30 other digital retailers
According to Dubbers post there was also a Last.fm guy speaking at this session who presented data to suggest that giving songs away free actually led to more sales.
Because if you’re not established or you haven’t validated your music to your audience in some way then of course theyre not going to be interested.
I personally can get free music whenever I like, I only pay for music when I have to or when I am indulging my passion following the artists I love.
I can steal that music if I want but I choose not to. I listen to the song, if I like it I buy it.
ANDREW DUBBER @ NEW MUSIC STRATEGIES RESPONDS TO POINTS MADE BY SCOTT COHEN @ THE ORCHARD.
1. Not a website - last century
You don’t want a website. That’s a very old school idea. It shouldn’t be a brochure. You should have a place where people can engage with you and each other. There’s more on this idea in my 20 Things e-book in the section on Web 2.0.
2. MTV - “I am not an actor”
When MTV came along, a lot of musicians didn’t want to be in videos because it ‘wasn’t their thing’. The ones who became super successful were the ones who made (and appeared in) great clips. Same deal with communities online. Those who engage survive. This seems quite close to my Theatre Director’s Dilemma story.
3. Real voice - blog
There’s no point acting all superior and aloof. People want real. Again, can’t argue here. I’ve talked about this stuff in terms of ‘selling relationship’.
4. Statement - stand for something
If you plant your flag and stand for something, then people have something to align themselves with. It strengthens and builds community around a shared set of values. There’s good further reading in the book The Culting of Brands.
5. Update continuously - dynamic
Nobody’s coming back to a community that only updates once a month or once a week. There should be constant, dynamic action. You and I have had this conversation.
6. Engage with audience - responsive
You can’t just open a community and have others do the work. Does Beyonce respond to comments in her MySpace page? No - and nobody believes she does. You have to actually be part of the discussion. This is good advice. You can’t fake engagement.
7. Remove non-members - spam
Your community is like a garden. Weed it. If people don’t play by the rules, kick them out. Nobody wants to be part of a community that is not policed. I’m not as sold on this beyond the elimination of spam. Communities can be self-healing and responsive rather than being gated areas with burly security guards. I’d say use the community to keep the community in order.
8. Shopping - not buying
Dont’ put a ‘Buy It’ button everywhere. If people want to make a purchase, they’ll go to the right page or alternatively, they know where iTunes and Amazon are. They’re not stupid. So let them just shop around. Leave them alone. This is good advice. A ‘find out more’ button might be more appropriate.
9. Feed the audience - free
Give them free stuff constantly. Keep the gift channels open at all times. I’ve talked about this in terms of rewarding and incentivising your audience.
10. Build to an event - ongoing promotion
The reason X-Factor and Pop Idol work is that Simon Cowell doesn’t just come out on the stage and say “We spent the last few months scouring the country for the best in the land, and here they are. Now buy the record.” It’s the build-up, the narrative and getting to know the characters that makes it work. It’s absurd that Coldplay disappear for two years, and then come back with a new album - “tah-dah! Miss us?”
