Advice For Independent Bands

If only it were so simple in the life of an unsigned band. If you're reading this it's probably because your band is awesome, talented, unique, and... not ready to sign with a label.

"What?? No way!" You say, "we're all super talented and our songs are really well crafted. Of course we're ready."

No, you're not. That's not because your songs aren't good, or you're look isn't right, or any of that other stuff artists tend to over think. It's simply because most musicians tend to forget what half of the "Music Business" is. Business. (And to be honest the balance between "music" and "business" is really more like 20-80, favoring business.)

As much as we wish it were so, talent and skill simply are not good enough to warrant label interest. How many super-talented musicians do you know who are still unsigned? If talent were all it took, wouldn't they already be packing arenas?

The fact is record labels as businesses are looking for something they can cash in on quickly and with as little investment as possible... record labels sign success.

So what does that mean? As an unsigned band, it's up to you to establish a fan base, book shows, record, publish and distribute material, and yes, even make a profit.

Now I know this all sounds backwards. Isn't that what the label is for? In short; not really. At least not in today's music industry. Changes in consumption habits and technology have left record labels less willing to gamble on startup, and even up and coming acts, which means it's now up to unsigned bands to prove their success, and ultimate worth.

But better you're aware of the realities of the music industry earlier, than to haphazardly throw yourself into the mix with no real idea of what you need to accomplish to succeed. As stuffy as it is to talk and think business, it's even more frustrating to see all your efforts end in nothing.

So what can you, the unsigned band, do to become a success? Here are some tips to get you started:

* Record Some Music: This seems like a no-brainer, but record something. Anything. Set up a couple mics during practice, or ask a friend with equipment if they'll help you cut a demo. Or even find a studio with affordable rates. There are a variety of ways to get it done. Online classifieds, message boards and schools with audio engineering programs are good places to look.

* Give those recordings away (almost) free: At this stage the whole purpose of recording is to give fans something to remember you by. But that doesn't mean you can't get anything out of the transaction. A simple one-page website, or 'landing page', where people can download your stuff in exchange for sharing their email address is a great way to build a fan base. But keep it simple. Include a brief summary of your band, and explain how the process works. The page should have no more than 2 options for visitors: share your email and claim your download, or leave.

* Promote the download: Print business cards and hand them out at shows, you can get hundreds for extremely cheap. Promote it on your band's other online sites as well (Facebook, Reverbnation, Twitter, etc.)

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Upload your music for free at ReverbNation.com

Build, and use, an email list: I know, 'who still uses email?' But there's a reason you're doing all this. Firstly it establishes a direct connection with fans who you know are willing to act when it comes to hearing, and staying in the know on what the band is doing. And it's a much more direct method of promoting shows and other happenings than hoping your post will stand out amongst hundreds of updates on Facebook. Second, it proves to labels that your band has an active fan base, willing and excited to be involved with you, and ultimately more likely to financially support your efforts through show attendance and album sales.

* Find some signage: On average, new acts only seem to tell an audience the name of the band 2 to 3 times per set, if that. That's not enough to stick with most people, especially in a loud bar or venue. So put your name in writing. The kick drum graphic is a classic, and works great as long as no one is standing in the way. Whatever signage you chose, just make sure it's easy to read for everyone in an audience of 200 or so.

* Concerning merchandise: It's awesome! Everyone loves seeing their band's name on tee shirts, stickers, bracelets, buttons, beer cozies and the like. But don't expect to get your money back on them. As an unsigned band these are simply more tools to keep you on the top of people's minds. And you'll likely be giving most of it away for free anyway. I'm not saying avoid merchandise, because it's definitely good to have. And eventually it will be necessary. But do know that there are more efficient ways to build, and showcase, your success.

Obviously this list is far from comprehensive, and there are thousands of other ways to promote your music. But keep in mind that whatever you do, record labels are looking for trackable information that proves you're successful. As an unsigned band, starting with simple, low-cost methods is a great way to establish a foundation and take your first steps.

If you wish to gain more insight into the ongoing changes in the world of independent music, feel free to contact me using the email form below my Bandcamp player.

foxyform

Music Managers

For many independent artists, the D.I.Y option is chosen either by design (because they are perfectly happy and capable of doing things without a manager or label) or by default (because they are unable to attract the attention of a manager or label). Either way, artists have lots of help getting things under way.

In this D.I.Y era, dozens of fan relationship management resources like Reverbnation and FanBridge, among others, are marketed to artists as tools that enable them to engage with fans in a more direct and meaningful way. Sites like GigMaven and Sonicbids enable artists to pitch directly to venues and book their own tours. Resources like Sellaband, Pledge Music, Kickstarter and others enable artists to raise money for recordings, videos, tours, and more. Music libraries and licensing agents (like those found at Music Library Report) offer assistance with music placements in Film & TV productions. Digital distributors like Orchard, CD Baby, Tunecore, IODA and others offer musicians a means to distribute their music directly to fans via iTunes, etc. Social media networks (Twitter, YouTube, Facebook, etc) make it possible for artists to handle publicity duties themselves.

So, with all these resources available to artists, what exactly is the artist manager's role in today's D.I.Y era? With fewer artists interested in record deals today, a managers' role has evolved away from choosing which labels/agents/publishers/attorneys to work with, towards finding ways to best help artists increase their fan base and generate more income.

The manager's role in the D.I.Y age is less that of an advocate and cheerleader, and more that of an analyst and advisor. The division of labor in the artist/manager relationship is for artists to concentrate on writing and recording songs, rehearsing and performing live shows, and growing and engaging their fan base; while managers analyze data and make strategic recommendations based on the information gathered.

Using resources (often in combination) such as Band Metrics, RockDex, Big Champagne, Next Big Sound, Band Camp and others, artist managers analyze data to help figure out things like:

• which of the artists' products sell the most (downloads, physical products, custom items, tickets, subscriptions, etc), and which sell the least and perhaps should be discontinued

• what new products can be added and which new revenue streams can be exploited

• which pay models work the best (fixed price, pay-what-you-want, donations, bundles, etc)

• which campaigns are the most effective (virtual street teams, newsletters, videos, chats, vlogs, blogs, etc) and which ones generate the most feedback and results

• which calls-to-action are the most effective (e.g., sign up to the mailing list for a free download, pre-order a limited edition, autographed CD, etc)

• what trends or patterns are developing, and how to best take advantage of them

• which platforms/widgets are most useful and relevant for a particular artist (review demos and sign up for trials to find the best fit)

• which songs, videos, images, t-shirt designs, etc, resonate with fans the most

• who the artists' "super fans" are, and how to leverage that relationship to generate more sales

• which questions to include in polls to figure out what the artists' fans want

• which ways do fans most wish to engage and interact with the artist

• what actionable information can be extracted from comments and feedback from fans and listeners

• where are fans clustered and what are the best ways to route a tour

• what does the data reveal that will result in an increase in sales and income

• what are the true costs of the artist's operations (i.e., what is being earned vs. what is being spent)

• And much more.

While artists can perform many of these tasks themselves (and indeed many do), doing all this alone along with writing, rehearsing, recording, performing music, touring, and interacting with fans will leave them very little time to do much else, and will often cause them to burn out and/or get discouraged when things (as they very often do) don't go as planned. The managers' role is to do much of the "dry" analytical work that helps to chart a course for the artist to take, while leaving the artist to create and perform music and engage with the fans.

As an artist manager, however, it is important to keep in mind that there is more to the "business" side of music than what these resources alone offer, and while all these resources, widgets and apps help to reveal a strategy; they are not in and of themselves THE strategy. It is up to the manager to have a deep understanding of how things work in the music business, and along with access to the best available resources, to formulate the appropriate strategy for the artist to follow.

A manager's role today must be to contribute more to the artist's career and financial bottom line than the artist can do alone or with the help of fans, friends, and family members. Without such a contribution, the managers' role will fade into insignificance while artists do it all themselves (even if they don't necessarily do it all alone).