In this category, I discuss all artist marketing related topics.

The Trap Of Self-Promotion

The last month I’ve been wrestling with the concept of marketing ourselves. Previous blog posts, such as To Sell Like An Artist focussed on the sales aspect of being a self-employed artist. This blog post explores more deeply how artists can do self-promotion with more integrity. An approach to promotion that combines your personality (values, worldview, strengths), your artistry and puts the needs of the audience you’re trying to serve first. 

A Misguiding Concept

At the root of promotion for individual artists lies a big trap: self-promotion. The extreme emphasis self-promotion puts on the self has misguided generations of artists. Do you hear anybody say Wayne Shorter is such a self-promoter? No, because he doesn’t. He promotes his art. He shines a light on his ideas and philosophy on life with the benefit of others in mind. He doesn’t shout about how amazing he is. His art either touches you or it doesn’t. His books on jazz & spirituality either inspire you or they don’t. He simply shares what’s he’s doing in a way that reflects his identity and matches the values and worldview of people like him. To illustrate this, today I visited his Facebook Page and at 14h00 he posted this:

This post is not about himself. It’s about other artists celebrating the birthday of pianist & harpist Alice Coltrane with whom Wayne played together on the album ‘Extensions’ (1970). This is Wayne’s way of keeping her memory alive and simultaneously sharing inspirational music. This act embodies his spirit: generous, humble, and creative.

Being ‘Needy’ versus Serving Others

As you know as a jazz artist, being self-centered and at the same time ‘being in flow’ is impossible on stage. Being needy in your marketing with your own interests at heart is a similar no-no. People feel it when it’s not for/about them. Stop self-promoting. Stop putting your own needs before those of whom you’re trying to serve. Let your work breathe in its own right. Simply share, inspire, and give people a way in to find work that might matter to them. Put the fan first. Ask yourself, what’s in it for them? What do they need?

Do they need a deeper connection? A feeling of belonging? A ray of Hope in dark times? A feeling of recognization about our shared humanity? To be inspired? Made to laugh? A feeling of melancholy? What do your fans need? How can you with your art, life lessons learned, strengths harnassed and creativity provide them this? What does that mean for your marketing?

A More Fulfilling Way

If you are like me, you will find this approach to be simultaneously more fulfilling and stress-relieving. Firstly, all that ego builds a wall between you and your fans which is counterproductive. And, an unintended and even harmful side-effect, ego-infused marketing puts your self-esteem on the line. Your post received a few likes? “I must be worthless.” Your Instagram post got massive traction? “I am amazing!”.

Do you see how self-promotion can take you on a rollercoaster ride of emotional highs and lows? All that wasted energy, wouldn’t you have preferred to invest that into creating more great art? Then, just like in your music, why don’t you get your Ego out of your marketing?

The Old-Model Of Self-Promotion Is Dead

The old model measures the success of promotion on with it does for you. More streams, more likes, more followers, more sales, … The new model does the opposite. It is intention-based. Focussed on having an impact on others. Let’s illustrate this new model with an example.

Question: if Radiohead would have thought the old way, would they have self-released ‘In Rainbows’ in 2007 as a pay-what-you-want digital download?

Of course not. Instead, they started with different intentions and goals. They started with their own values and with a focus on the relationship with their fans. ‘How can we strengthen this relationship?’ they must have asked themselves. They wanted their album to be about accessibility (free), honesty (pay what you can), and community (download directly from their website). The strategy and distribution model were personal. There was no corporate entity between the artist and the fan buying/downloading their album. The release strategy was value-driven, authentic, and rebellious. It was a relationship built on trust. It loudly proclaimed what Radiohead was about and went against everything business consultants or Major Labels would advise you to do.

Promotion Infused With Personal Values

How did they translate their values of honesty, accessibility, and community to their album promotion? They started with publishing mysterious symbols on their website and blogs. By building anticipation and rumor. It was an insider approach aimed at their truest fans. They published a code with a hidden message their fans were desperate to decipher. These mysterious actions lit a fire under fans and press alike. What was coming? What were they trying to tell their fans? Then, a month later, guitarist Jonny Greenwood simply published a 25-word blog post announcing the release:

Hello everyone,

Well, the new album is finished, and it’s coming out in ten days;

We’ve called it In Rainbows.

Love from us all.

Jonny.

That is a personal way of doing it. Again, integrating their values and personality into their PR strategy and being true to who they are. No anonymous record label press release with drums beating how amazing the new record is. No, simply a written message from the band to their fans. 25 words. There is, even today in 2020, a lot to be inspired about by this release strategy by Radiohead. But foremost, they did it their own way and my main point is, so can you!

Pieter Schoonderwoerd

Your Jazz Career

A great resource on personal and purposeful marketing is the book “This Is Marketing” by Seth Godin. I full-heartedly recommend reading it.

Find an empowering ebook on developing your artistic vision and writing a compelling artist biography here.

I’ve been coaching and educating jazz artists for years to achieve their creative and professional ambitions. If you are a high-performing artist and interested in transformative career coaching, you can read more about it here.

Be More Of You. Be Creative!

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3 Game-Changing Marketing Concepts

  • Post category:Marketing

This blog post is a draft chapter of my upcoming eBook “Release Your Album“. Here, I highlight three game-changing marketing concepts for jazz artists: “The Long Tail” by Chris Anderson, the “Minimum Viable Audience” by Seth Godin, and the “1.000 True Fans” concept by Kevin Kelly. Three powerful concepts that will give your release strategy more depth and serves as a beacon on how to find and serve your audience of true fans better.

As a jazz artist, how do you create an album release strategy that utilizes the possibilities and developments which this 3rd decade of the 21st Century offers? For starters, a deeper understanding of marketing will be of great help. Understanding and implementing these three concepts can have a profound impact on your art and music career. Let’s get started!

The Long Tail

In 2004 a ground-breaking article appeared in Wired by Chris Anderson, called The Long Tail followed by his book The Long Tail: Why the Future of Business Is Selling Less of More. It changed everything.

His article stated that the future of music is niche markets. These niche markets are made possible by the infinite digital shelf space of books & media products (Amazon, Spotify) and unlimited selection for consumers it offers. In short, a physical record store had to present a selection of albums, always including the major label’s hits. Now, any music lover can find any type of music from past to present online and buy it. Even better, if you like cosmic jazz, there are online shops and streaming services that offer you a rabbit hole for endless exploration, inspiration and consumption. The impact on people according to Chris Anderson was:

“As they wander further from the beaten path, they discover their taste is not as mainstream as they thought (or as they had been led to believe by marketing, a lack of alternatives, and a hit-driven culture). Hit-driven economics is the creation of an age without enough room to carry everything for everybody. … This is the world of scarcity. Now, with online distribution and retail, we are entering a world of abundance. And the differences are profound.”

I truly recommend reading his full article at least twice.

The Minimum Viable Audience

Forget having a massive audience. In the 21st Century, by trying to please everyone you, in fact, please hardly anyone. Which album stands at number eight of most sold jazz albums of all time? Bitches Brew. See my point? (Source). And even nr. 1, Kind of Blue, was never intended as a mainstream people pleaser by Miles Davis. What would have happened to these two albums if he did…

The solution for building a music career nowadays is for many artists counterintuitive. Seth Godin introduced the concept of the ‘minimum viable audience’. It urges creators to not focus on maximizing your audience but on serving a few people extremely well. Ask yourself, what is the smallest audience necessary for you to have a sustainable music career? How many fans do you need as a minimum to be able to live as a professional musician? How can you truly please this small audience? To quote Seth Godin on this concept:

“Two things happen when you delight your minimum viable audience:

1.   you discover it’s a lot larger group than you expected

2.   they tell the others

On the other hand, if you aim for mass (another word for average), you’ll probably create something average. Which gets you not very far.”

To move on, with the help of Kevin Kelly, let’s turn this concept into a more concrete career goal. 

1.000 True Fans

Ask yourself this question: if you can’t succeed in the small, why do you believe you will succeed in the large?

Kevin Kelly, the founding editor of Wired, developed a concept called 1.000 True Fans. It explains how for you as a professional musician, having 1.000 true fans can be enough to have a successful music career. For starters, what does he mean by a ‘True Fan’?

To quote Kevin, “A true fan is defined as a fan that will buy anything you produce. These diehard fans will drive two hundred miles to see you sing; they will buy the hardback and paperback and Audible versions of your book; they will purchase your next figurine sight unseen; they will pay for the ‘best‑of’ DVD version of your free YouTube channel; they will come to your chef’s table once a month. If you have roughly a thousand true fans like this (also known as super fans), you can make a living—if you are content to make a living but not a fortune.

Translating this to being a musician means that your True Fans buy your album, see your performances, support you on Patreon, crowdfund your next album on Kickstarter, buy your band T-Shirts and other merchandise and spread the word about how great your music is to others.

Let’s do the math

If you produce a vinyl record which sells for €25 to 1.000 True Fans, that earns you €25.000. In a more overall perspective, if those thousand people spend yearly €100 on your products and/or services you will earn €100.000 a year. A decent income by any standard and enough to buy yourself some glow in the dark stickers on a daily basis. According to Kelly, there are two requirements for this:

“First, you have to create enough each year that you can earn, on average, €100 profit from each true fan. This is a good creative challenge in every area because it is always easier and better to give your existing customers more than it is to find new fans.

Second, you must have a direct relationship with your fans. That is, they must pay you directly. You get to keep all of their support, unlike the small per cent of their fees you might get from a music label, publisher, studio, retailer, or another intermediate. If you keep the full €100 of each true fan, then you need only 1,000 of them to earn €100,000 per year.”

Vulfpeck as an empowering example

The above two powerful points are exactly what is possible nowadays. An inspiring example that embraced the current technological and online possiblities to have success and ownership of their art is the funk band Vulfpeck. In September 2019, they managed to sellout their concert at Madison Square Garden. Perhaps easy when you’re Beyoncé, but they didn’t spend a cent on advertising and they never had a hit single. Furthermore, they don’t have a manager nor are they signed by a record label. They did it all by themselves. Read all about it here. Their combination of a creative retro-approach to content creation on Instagram and, using online distributors, and, of course, by making great music that touches hearts and bring their audience together, was how they did it. Sounds feasible don’t you think?

In short, cheaper recording equipment makes high-quality home recording easier. Streaming services and Social Media supply artists with an amount of data about their fans even major labels didn’t have in the 90s. Online distributors such as CDBaby or DistroKid will get your music to every online music platform. These are empowering changes for artists that put you in control of your fan-relationships, artistic work and income streams. You as a artist can now collect money directly from your fans leaving record labels and publishers out of the equation.

To summarize these three game-changing marketing concepts, make specific art for specific people. Create (enough) products that enrich their lives on a yearly basis. Spread your music by using insights from and community building features of streaming services and social media. Communicate with your fans by creating original content (artwork, photos, videos) that show your (artistic) personality. Set an aim on a sustainable yearly income. And, finally, sell your products to your (True) Fans.

With a world population of 7.8 billion people, if one in a million like your new jazz album that is 7.800 fans. Does that sound impossible?

Pieter Schoonderwoerd

Your Jazz Career

Find an empowering ebook on developing your artistic vision and writing a compelling artist biography here.

I’ve been coaching and educating jazz artists for years to achieve their creative and professional ambitions. If you are interested in a personal coaching session, you can read more about it here.

Continue Reading3 Game-Changing Marketing Concepts