New Music Friday: March 24, 2017

TuneCore Artists are releasing tons of new music every day. Each week we check out the new TuneCore releases and choose a few at random to feature on the blog.

Is your hit next?

Follow Music Made Me – a Spotify playlist that’s updated every Friday with new releases from TuneCore Artists – stream it below! 

st that’s updated every Friday with new releases from TuneCore Artists – stream it below! 


The Heart Part 4
Kendrick Lamar

Hip Hop/Rap


Hypernova 2017
Kadenz & Baco

Hip Hip/Rap, Electronic


Souvenir
Drew Holcomb and the Neighbors

Singer/Songwriter, Folk


Freak Like Me
NoMBe

Alternative, Rock


25
K’s Choice

Pop, Rock


Baby, I Love You
Ron Pope

Blues, R&B/Soul


How’d You Know
Josh Martin

Country


Cruel
Eddy Faulkner

Pop


Together + United
Meresha

Pop, Electronic


Naked
Amanda Fondell

Alternative, Pop


Push (feat. Conde Olaniran)
Flint Eastwood

Alternative


Goin’ Live
OG Boobie Black

Hip Hop/Rap, R&B/Soul


Ladies and Gentlemen: Barenaked Ladies and the Persuasions

Barenaked Ladies and the Persuasions
Pop, Vocal


Sugar Lemz
Kudu Blue

Pop, Electronic

Facebook’s New Reach Objective: A Game Changer for Touring Musicians

[Editors Note: This is a guest blog post written by Don Bartlett, owner of No Door Agency, an Austin, TX-based boutique management and marketing agency. Don also hosts a seminar titled “Facebook Marketing For Musicians. Be sure to read his TuneCore Blog article on maximizing your Facebook ads on an indie budget.]

From it’s earliest days Facebook has used its powerful data algorithms to deliver incredibly well-targeted ads. It was a dream for most advertisers. They wouldn’t just put your ad in front of your target audience, they’d put it in front of the specific members of that audience who were most likely to engage with the ad. The success of this approach changed the entire landscape of advertising, and advertisers reaped the benefits. For musicians trying to promote tour dates, though, this presented a problem.

Bands are in a relatively unique position, from an advertising perspective. In each tour city we have small but very valuable target group of people we want to reach. It’s critical that we reach ALL of that group, not just the ones who might be prone to engaging with Facebook posts. If we’ve got 500 fans in New York City, we want all 500 to see the ad for our show.

Until now, the best objectives were “Page Post Engagement” or “Website Clicks” which deliver to those people who historically took those actions when viewing ads. In many cases that left a decent chunk of your fans out.

In late 2016 Facebook rolled out a new objective that solves this problem. When you choose the “Reach” objective you are now functionally telling Facebook that you want to reach as many people in your target audience as possible. After a few months of testing we’ve found that ads with the Reach objective perform significantly better for these small but valuable targets.

Note that that when you’re advertising to larger, non-fan target audiences….fans of similar bands, for example…you’re still better off using the “Page Post Engagement” or “Website Clicks” objective.

Another significant advantage to the Reach objective is that for the first time Facebook is allowing you to put a limit on how often people see your ads. Even an ad for your favorite band’s show can get annoying if it’s popping up in your newsfeed 4 times a day. This new feature lets you define an amount of time that a user will not see your ad again after viewing it.

It’s a very helpful tool that provides an extra degree of control to what your fans are seeing from your page. A good rule of thumb is to build in a frequency cap of at least two days for most campaigns.

Taken together these two new features provide a huge improvement to the tour marketing arsenal. Facebook ads have always been a one of the most effective ways to reach fans in a given city, but the effectiveness was often limited by their optimization algorithms. With the “Reach” objective we now have a concrete way to reach all of them.

Wednesday Video Diversion: March 22, 2017

We’re back after a long, fun, and music-filled week at the legendary SXSW! But even after being back for a couple of days, the memories of awesome live music, tacos, and warmer weather couldn’t feel more out of reach. We’re feeling that sluggish Wednesday attitude first-hand, so as always, we’re back to hooking you up with a great line up of TuneCore Artist music videos to enjoy this afternoon:

 

Jonathan Terrell, “It’s Not Me (But It Could Be)”

Pierce Fulton, “Borrowed Lives (feat. NVDES)”

NoMBe, “Freak Like Me”

Meresha, “My Love Has Come”

Half Waif, “Nude”

Sad Girl, “Feel Like Shit”

Leah McFall, “Happy Human”

Flint Eastwood, “Queen”

Melo Makes Music, “Murphy’s Law”

OJayy Wright, “Kritical 265”

Scenes From SXSW 2017

We’re only a couple days in and so far, SXSW 2017 has been a blast! Tons of amazing live music moments, a sweet set-up in the Artist Lounge where we’re connecting with our artists, and super educational and informative panels. We thought we’d check in and show off some of the fun we’re having in the Lone Star State.

Like we said – if you’re a showcasing artist and you haven’t come by the SXSW Artist Lounge yet, come say hello! We’ve got free swag for days and we’re here all week.

On Wednesday, Amy Lombardi ran the “Creating For a Cause: Music For Action & Awareness” panel, featuring Chaka Mpeanaji (of Riders Against the Storm), Heather Alden of the SIMS Foundation, and Chip Adams of Modern Outsider Records. Each panelist was able to dig deep into their individual experiences of organizing and performing in the name of a cause they feel passionate about.

It was inspiring to see how much good can come of this kind of action, and it was a healthy reminder to artists in the crowd that as long as your picking something that you’re passionate about, it doesn’t matter where you are in your career when it comes to getting involved with it via your music.

On Thursday, TuneCore’s Chris Mooney ran the “Transforming Online Popularity to Offline Success” panel alongside artist managers Adina Friedman and Genevieve Thompson, and TuneCore Artist Ron Pope.

This informative session covered the varying strategies that artists like Ron, Lennon & Maisy, and Lindsey Stirling applied when building a fan base around the world. What started as things like viral videos and trying out new performance venues helped skyrocket some of these artists’ careers – and artists and mangers in the room had the opportunity to hear how. The panelists were supported by a great group of folks sitting down who eagerly lined up and asked questions as it wrapped up.

Above is TuneCore’s station in the Artist Gifting Lounge within the Austin Convention Center! All week we’ve been hanging out here from 11am-6pm interacting with SXSW Showcasing Artists – whether it’s been in-person music industry and marketing consultations or just shooting the breeze and getting to know folks who use TuneCore (and some who don’t!), our time in this station has been extremely rewarding.

Plus, it never hurts to show off some of our artists walking away with cool stuff:

Canyon City
Canyon City

 

Slow Kiss & TuneCore’s Andreea Gleeson
Evolfo
TuneCore’s Marie-Anne Roberts catching up with Kool Kidd Dre & Steely One

 

Sad Girl
No Big Dyl with TuneCore’s Chris Mooney

Each night, members from TuneCore’s team have been heading out to tons of showcases all over Austin to support and catch sets from various TuneCore Artists. Everything from singer/songwriters and country rockers to hip hop and punk bands.

Kado Barlatier at the YouTube Building
Dead Leaf Echo at Iron Bar
Half Waif at Valhalla
Birthday at CU29
TuneCore’s Amy Lombardi with members of Food Court at Dirty Dog Bar
Slow Dancer at Austin Central Presbyterian
Drive Like Maria all the way from the Netherlands
Caravanchella at the Sounds of Colombia Showcase
Deep Sea Diver at Main Bar

Follow us on Twitter and Instagram to catch some more of the #SXSW 2017 action!

5 Tips to Prepare for SXSW

[Editors Note: This blog was written by W. Tyler Allen, a music and marketing consultant and contributor to the TuneCore Blog.]

SXSW is one of those events that has become synonymous with the music industry. The festival and conference is one of the best known events in the US that centers around technology and music.

But did you catch that? Festival and conference? It’s even in their name.

While SXSW is known internationally- many creatives still approach SXSW as just a festival, and pass up the networking opportunities and more that exist on the conference end.

Here’s a truth – it’s not bashing anyone – but it’s just an observation:

Many artists hand out CDs on the corner, or post on social media – hoping that by chance – the “right people” will just stroll into their showcase. Maybe it’s a writer, a label head, a music supervisor. But this is all by chance.

However… there’s networking events all week, where these “important people” actually go to meet artists like you. So why are you standing on the street corner, or tweeting about your event – when you can be getting actual facetime with these individuals – inviting them in person? Or better yet – you can pitch them a few weeks before SXSW (which we’ll discuss in this article).

I discussed SXSW last year in an article on the lessons I learned taking an indie label to SXSW. I spoke about the music supervisor I met loading in gear who landed us an MTV spot, I spoke about the issues in pay-for-play gigs at SXSW, and more.

The event can be a huge boost for your career – but you need to know where to focus. There’s a lot going on – events, crowds, speakers and showcases – here’s how to drown out the fluff, and properly prepare for SXSW.

TIP 1: BUILD A MEDIA LIST + CONTACT IN ADVANCE.

As I said earlier – why wait for the right person to walk down the street, when you can genuinely target them and reach out to them before hand? If you work for any large company – what do they do before a conference?

They (or their publicists) compile a media list to see what writers and reporters will be attending the conference. Next they email the writers before the event – inviting them to their booth.

Now replace the word “reporters” with music writers/A&Rs/management teams – and the word “booth” with your showcase – and now you’ve cracked the code.

What if you don’t have a showcase? That’s fine – still introduce yourself for maybe coffee or drinks at a mutual show.

Unfortunately, SXSW doesn’t have a publically available media list like some conferences. However with some resources – or some good ole’ fashioned Googling – you can make it work.

First – check out tools like PitchZen – they research media connections on a customized basis, all humans, not robots or directories. They can surely assist you with customized lists for SXSW. They help write the pitches, too.

Secondly – if that’s not a route you wish to take – simply search which writers have covered SXSW in years past, and start compiling a list. The list should have their name, outlet, and a link to the article they wrote. This list is just for your reference.

Go deeper and go to ZoomInfo (for emails) or even Twitter to find info for other industry folks that may have attended in past years. Add those to the list, too.

Lastly – hit ’em up! Send them a short email telling them about yourself, your showcase (or work) and a link to your EPK. Keep it casual and quick – but also give them resources to make them want to come meet you.

TIP 2: YOU HAVE $250 TO SPEND … BUY ONTO A SHOWCASE, OR BUY CONFERENCE PASSES?

Conference passes.

Look, I mentioned this in my past article – there’s a difference between playing at SXSW at an official showcase and playing during SXSW at an unofficial one.

An official showcase is one that SXSW approves of, they help market – and they give passes to media, and promotes official shows to media (and other influencers). SXSW official showcases will never ask you for money to perform. SXSW official showcases are not pay-for-play.

An unofficial showcase, is usually a nearby venue, who is renting out their space to a promoter or someone else. Usually they charge you money (to perform your own work.. yep), and are just looking to make a quick buck off of hungry artists.

Side Note: Do good unofficial showcases exist? Yes. Especially ones that don’t charge. Some big brands have unofficial showcases (and they don’t charge artists) – they just likely missed a deadline with SXSW, or some other technicality.

So – let’s say you are going to Austin with $250. You can upgrade your passes for a conference, or pay to have a 15 minute set at an unofficial showcase.

Go to the conference.

These unofficial shows usually have 30+ artists performing in a single hour, you can’t sell merch and they aren’t well put together. They also aren’t marketed by SXSW.

If you’re short for cash, spend that on the conference. There’s networking events, there’s talks from music industry execs and panels from marketing experts. That knowledge is worth much more than performing for 30 people and never seeing that return on investment.

TIP 3: SPEND MONEY ON MARKETING/EDUCATION NOT CDS.

If you go to SXSW – you’ll notice that the streets are littered with tossed aside CDs. Now – as an indie artist – you should know that every CD laying on the ground is money.

Literally dollars upon dollars – wasted. Laying on the streets – for the sanitation department to sweep up the next day.

So – as you prepare for SXSW, think wisely about what will make the best investment. Is it buying onto shows? Pressing 100 CDs? Or something a bit more direct.

For instance – instead of pressing 100 CDs – how about spending that money on Facebook or Twitter ads – targeting people who follow, or have tweeted about SXSW in the past?

Or – instead of pressing CDs – how about investing in a publicist that can link you with reporters directly that week, instead of hoping one falls in your lap?

Or – and to repeat myself now for the third time – instead of pressing CDs, how about attending the conference and meet with decision makers face-to-face?

TIP 4: FIND OTHER ARTISTS WHO ARE PERFORMING + LINK UP!

Hey! Under the veneer of labels and A&Rs and all this smoke and fanciness – the power largely still resides in the artists. That why services like TuneCore, Landr and other tools are so powerful.

You may not be able to track down the super-busy Billboard magazine editor at SXSW, or the management company CEO – who’s running around checking on all her acts.

However, you’ll likely be able to easily connect with other artists. They’re usually pretty open to it, too. In fact, I’ve been part of and seen many financially successful tours or just co-promo situations when artists come together.

Even if it’s grabbing a beer before someone elses show – go and meet other artists. You may find a new touring partner, or even a new manager – or at the very least, swap stories and learn.

Check the SXSW artists page – or even your Twitter feed to see which artists are headed to Austin, and see if you can meet up – or even just go support their show.

TIP 5: OF COURSE – GET YOUR MARKETING RIGHT.

If all goes well – you’re going to be sending people to the Googles or to your social media. So – ensure that all outlets are active. Ensure there’s a good mixture of music/fun/and promo posts on all your pages.

Also make sure your EPK is up to date – upload any and all photos, videos and more. Also – research what makes a “quality” EPK, too. No more PDFs, folks. Web-based, mobile friendly EPKs are the wave.

As I mentioned before – spend money on social media ads, and build up your numbers and presence while in the city. I can guarantee there’s very “big name” artists at SXSW that aren’t geotargeting ads to Austin for their shows.

So, do that.

Ensure your digital presence is right – and that people are aware of your physical presence at SXSW.

Quick checklist:

– All social channels are current and active.
– An updated EPK.
– Social media ads – geotargeted to Austin during the event.
– Social media posts scheduled when you’re on the road – so you don’t have to manually post them.
– Custom graphics for your performances.

BONUS TIP: ENJOY AUSTIN.

Yep – let’s get a little cheesy.

I had a former client of mine hit me up recently. We designed a merch campaign together – and he’s making some good income on merch. But he also knows I’m very anti pay-for-play.

He let me know that he’ll be in Austin for the first time for SXSW. He bought tickets to attend a few networking events – but he asked about all the pay-for-play offers he was getting.

It was cheap – especially for his budget, and two of his friends were performing at the unofficial event. He also had meetings set up with editors, and a booking agent. All meetings he set up beforehand.

So I told him – I don’t advocate pay-for-play – but if you have meetings with writers, potential booking agents, if you’re spending time with artist friends – if you are going to the conference – spend your change on playing that 30 minute set, and then go enjoy Austin and the SXSW scene.

Artists are lucky to get to see and experience parts of the country that folks in an office can’t. So – get out there. Austin is one of the most unique cities in the country, and the live music capital of the world. So – why not? Pencil in time to go to the SXSW conference events, to meet with fellow artists – but also get out there, , the culture, (the bats) and everything else that makes Austin and SXSW great.

Your Stress-Free SXSW Kit

With SXSW 2017 kicking off this week, we thought it would be cool to offer our friend Debbie Stanley’s “Stress-Free SXSW Kit” infographic, covering everything an indie artist or band will need during their time in Austin for health and comfort, communication, and overall preparedness.

Debbie is the author of The Organized Musician and owner of Thoughts In Order. She’ll will be presenting at SXSW’s “Time Management For Musicians” panel this week (details below):

“Time Management for Musicians”
Thurs. 3/16, 3-4:30pm – RSVP required

Stress-Free SXSW Kit - Stanley