Posts Tagged ‘Social media’

James Moore runs Independent Music Promotions, a DIY music PR company working exclusively with “music with depth” worldwide. He is the author of the Your Band Is A Virusbook series.

This article originally appeared on Independent Music Promotions.

 

Almost every artist who approaches me has had one or more negative experiences withmusic promotion in the past, and this is largely due to the “quick fix syndrome” on behalf of both individuals who engage in the partnership.

First of all, there are the automated music marketing services who I tend to call the “internet cowboys.” They offer progress and lavish promises at the push of a button. Facebook likes? You got it. YouTube views? Not a problem. Get your press release on the desks of thousands of journalists? They do that too.

The artists who tango with these folks also suffer from the quick fix syndrome. Rather than build a team of people and gain fans organically one by one, they instead aim for the mountaintop, neglecting to do the proper research or seek out the proof that Google can provide.

So what are some common warning signs to look out for when researching music promotion services? These aren’t hard and fast rules, but they’re all serious things to keep an eye on:

1. Do they have a “buy now” button, meaning they accept everyone?

Not good, unless it’s a service such as bio writing that really does apply to every musician. This almost always means that their audience ignores their outreach. If there is no filtering whatsoever, it’s a virtual guarantee that the output is unprofessional. No quality control tends to mean no results. The service essentially has a welcoming face with no brain function.

2. Do they offer “email blasts”?

For the same reason as above, this is usually a sign you should run for the hills – especially if these email blasts come with promises along the lines of sending you to X number of newspapers, magazines, journalists and music blogs. Find me a single story in a major publication that came about as the result of one of these kinds of email blasts. When was the last time you welcomed something that was “blasted” to your inbox? Marketing must be more organic than that.

3. Do they offer those coveted Facebook or Twitter likes for a fee?

This can get your profiles removed and it will certainly reduce your engagement to almost nothing. It also means that you’ll have to spend much more on advertising, because any genuine followers will be buried among all the fake profiles. Social media platforms are cracking down on this type of behavior.

4. Do they sell YouTube views and say they do it with real humans?

They’re lying. Even when they say they do not use bots, they do. Youtube is also cracking down on this type of behavior, and I’ve seen over a dozen cases recently of music videos being taken down after months of hard work had been put into them – all because of the desire for a shortcut.

5. Do they focus too much on peripheral services such as tweeting about you, distributing press releases, branding advice and consultations?

This is often emphasized to hide the fact that they are not driving real results where they matter, such as press, reviews, licensing deals, bookings, radio ads, and genuine, concrete opportunities. Anyone can post a status, blog a news release or tweet about you – you don’t need a company for that. Consulting and advice certainly have value, especially when it comes from knowledgeable people, but they are not worth thousands of dollars. And under no circumstance should you be taking advice from someone who doesn’t deliver results in the first place.

6. Do they not have a client list on their website? When you ask, do they only provide a few of their “top artists”?

Client lists, generally, should be public (depending on the industry). Go beyond all the site rhetoric and let Google be your truth teller. Google one company’s artists versus another to see the real results that are being driven. If you only compare one site’s rhetoric with another, you’ll end up going with whoever promises the most (almost always a poor decision).

7. Do they mention anything about getting a record deal?

Promises, promises. The loftier the promises, the less likely they are to come through. Stay away. There’s no need for that kind of “dangling a carrot” form of communication unless they’re referring to hard work and a team effort. Real marketing is not a one-stop shop. It’s a real, living thing and it can’t be achieved with the push of a button.

It’s nothing but a good thing that musicians are interested in self promotion, but speaking from both a musician and a vendor’s perspective, it’s not the most effective promotion strategy.

When I managed a record label I received more than anyone’s fair share of self promotion emails, letters, and even whilst running this website I get a lot of artist’s looking for promotion. It probably doesn’t surprise you to hear that more often than not these kinds of emails go in the trash (sorry).

Stop communicating with fans and potential contacts in ‘advert’ speakHere’s my honest advice. If you want me (or pretty much anyone in the music business) to help you promote your music, start being selfless. If you’re a musician in Melbourne, invite me for a coffee, or if not, selflessly share your thoughts on the website with me and offer some ideas to improve the site or share this website with your other musician friends, or even just chat to me on Twitter.

The 30-Day No Self-Promotion Challenge

Start now with this challenge – for the next 30 days do not ‘self-promote’ at all. Spend the month showing gratitude to your favourite music bloggers, meeting and starting conversations with people on Twitter, and building your network. I’ve done a lot of work researching how people meet and grow their network (I wrote a book about it last year) and if I could share one piece of advice with you, it’s that you have to be proactive building your contacts if you want to succeed, and to do that you have to get past people’s bullshit radars, in other words, you must drop your agenda and be genuine.

I have a near bullet proof level of confidence that you will make more long-term progress this month if you replace self-promotion with pro-active selflessness and gratitude towards the music industry.

Promoting Others

When you try to self-promote your music, it loses effectiveness due to your blatant bias. However, when you promote someone else’s music, blog, idea, or book, suddenly you gain a lot of credibility.

Here’s how I think of it, when you say ‘check out our new song, our best yet!’ it’s like saying to a girl (or a guy) ‘I’m great in bed’… somewhat ineffective. When someone else says ‘their new song is their best yet!’ it’s got a lot of credibility as it’s seen as impartial, it’s kind of like another girl saying to the girl ‘he is great in bed’ 🙂

Remember that analogy, it’ll help you build new relationships and when you start helping others, suddenly a lot of other people begin to help you.

That’s it! Feel free to connect with me on Twitter and say hi or join The League of Musicians where I share some of my brightest nuggets of music promotion wisdom for free. See you on the other side,

Marcus


 


The Musician’s Guide was launched in 2009 by Marcus Taylor, a former indie label manager and artist from Oxfordshire, with a passion to help musicians learn about building their fanbase. TheMusiciansGuide.co.uk attracts over 300,000 musicians from all over the World every year.
To learn more about Marcus, click here. Alternatively if you’d like to get in touch or arrange a coffee date, you can email (below) or send him a tweet.

I made every textbook mistake when I first started marketing and promoting my tracks, which is why I believe I am much more effective at it now. I have adopted the motto “good judgment comes from experience, but experience comes from bad judgment.“ We need to learn from doing, by trial-and-error.

If I can help you avoid some of my first-timer mistakes, it would be a great success. Here are some lessons on how to promote your music. Because it’s such a broad topic, I’m restricting these lessons to outbound marketing or promotion.

**Learn Deep House Production with Logic Pro. Online Course**

1. Don’t Promote a Bad Track

Perhaps the most important lesson for upcoming producers is that you can’t have a great buzz for a bad track. It is very hard to recover from a crappy track that is over-hyped. I think I first heard this from a record label executive from L.A., but it’s kind of obvious.

I suggest getting feedback from respected people in the industry and other music enthusiasts before releasing. I personally have a promo list of 30 producers respected in the house community (it took me awhile to build these relationships). I respect their opinion and taste. If 60% of them like a track, it’s a green light to market and release the track. Why 60%? Think about it, 18 out of 30 respected taste makers from the industry liked the track. The odds of having 60% of my overall total fans liking the track and sharing it with their friends are high. My goal for each campaign is not to chase pennies and cents at the retail stores, but to grow my fanbase and share great music.

If you don’t have a network of tastemakers, I recommend checking out Soundout, it’s a great music feedback service that sends your track to other listeners, and you get feedback a few days later.

2. Market to Your Target Audience

I’ve seen a lot of producers who like to produce tracks in different genres and then market them to a totally wrong fanbase. Some people can’t tell Deep House from Tech House from Electro. Some people see it all as Techno. That’s fine if you are blanketing that fan base as your target market. But be clear what your target market is and what is the messages you want to communicate to them. For example, promoting your electro house track in a dubstep forum or your top 10 deep house beatport chart on an EDM Facebook group, is a bad idea. Don’t do this.

It’s not always easy to decide who you should market to. It took me some time to identify my target audience. Initially they were younger producers from South Africa, Germany and Sweden. Now I have expanded to the electronic music enthusiasts in DC, Baltimore and NYC (the U.S. has always been a late adopter for electronic dance music). My message is catered to them, and I’m closely interacting with them.

3. Don’t Believe the Hype

Perhaps one of the biggest mistakes in marketing is to get caught up in all the marketing noise made by other producers. When you’re inside the bubble and paying attention to every announcement of your nearest 3-4 producers/competitors, it’s easy to get despondent when they get their killer magazine review or are featured on every Beatport Top 10 and Traxsource Top 10. It’s okay to be competitive though. I noticed not a lot of producers are competitive with their music. I’m very competitive and I expect the same from other producers. If you’re not competitive, expect to live in a world of mediocrity.

Those of us that have been around the block tend to not get too worked up by any big announcements. They come and go. They’re mostly fleeting. Life goes on and you have tons of differentiation.

4. Your Competitors Feel the Same

One thing that upcoming producers often overlook is the impact of competitors’ marketing on their morale. Every day you read about all of the great gigs your competitors are racking up and their high profile remixes released left and right. You’re reading their press releases or blog posts. Inside your mind, everything is going to hell in a handbasket and you don’t know how you are ever going to make it.

That’s how it ALWAYS feels being an UPCOMING PRODUCER. You are still learning your craft, you don’t have enough gear, you don’t have access to great vocalists, your network of other producers to learn from is nonexistent, you have no fan base. That is EXACTLY how your competitors feel. And they’re listening to your tracks and thinking, “Shit, they have a good thing going on” or “Uh Oh, how did he get that gig?” Make sure you stay confident.

Producers who started 8-10 yrs ahead of you aren’t the competition, these are your mentors. Respect them and ask them for feedback, which the majority will offer if approached correctly.

5. Build Relationships

Many newbie producers make the mistake of thinking that they can simply approach a high profile producer to remix some of their work and gain recognition. It doesn’t work that way. High profile producers are constantly harangued by over-eager producers. Go slowly. Get to know them when you don’t need remixes. Same thing goes for club promoters or owners.

Follow them on Twitter. Respect their profession. Buy their music. Go to their shows. Ask if you can be on their promo list. Say hello to them at clubs or events. Understand how their job works. Understand that for every track they make, they need some support promoting it, and if you can’t help, you’re not likely to get inches. The more helpful you are over time, the more likely you are to get inches when you need them.

Building your fan base and support network is a marathon, not a sprint. Spread the love out. Your small wins will result in larger wins over time.

Learn How to Create an Energetic House Track with Logic Pro.

About the Author:

Mohamed Kamal is an ex SiriusXM DJ/Producer-turned-entrepreneur from Washington DC. He is the founder and CEO of Gigturn, a platform that connects DJs with fans and gigs.

He teaches Deep House Production with Logic Pro andCreate an Energetic House Track with Logic Pro on Udemy.

Also read Mohamed’s 6 DJ Tips where he talks about increasing studio productivity.

It’s a simple fact that people gravitate towards momentum. It’s one of the things that connects us and makes us want to gather in groups. It’s wired into our brains. So why is it that many artists don’t pay attention to momentum, and instead expect fan support when they haven’t cultivated this quality? Artists set up a Facebook profile, gain 200 fans, and start submitting their music to Sonicbids opportunities, festivals, tours, etc. But the issue is one of perception. Artists think that individuals and companies who visit their web profiles will listen to their music and judge them solely on that.

Not the case. Perception plays a role. Think about it. If you go to a show and the opening act is being watched by two people, and one of those people seems more concerned about drinking their beer than watching the band. Admit it. It’s a little bit harder to “slip into” the groove, isn’t it? On the other hand, if you walked in and 100 people were surrounding the stage, and buzz was ripe in the air, you’d immediately ask in Jack Nicholson-style “Stop the press! Who is that?” Of course, depending on your particular upbringing and musical leanings, some resistance may come up, but generally, this is something most of us psychologically share.

Contrary to what you may think, this isn’t really a bad thing. It probably comes from a security/survival area of our brains. We often want to share our experience and feel our connection, or sense of oneness with each other. This is part of the draw of, say, a Paul McCartney or Tom Petty concert. Those events have momentum, and part of that momentum is the emotions of everyone in attendance.

Now, before you get discouraged, it’s pretty clear that momentum is something that is perceived, and therefore, it’s in the eye of the beholder. It can be created, and perceived momentum creates actual momentum. In the example given earlier of the band playing for 100 people at the club, you as the viewer have no idea if those are genuine fans who answered the call, or perhaps paid extras in the live video shooting, or merely family and friends of the band generous enough to time their attendance for maximum effect. Maybe the band hit the streets promoting the show in un-glamorous ways doing things you thought were reserved for promoters only. There are so many possibilities. The point is, the end result is that you perceived the band as having momentum, and that brought you into the fold.

This brings me to the main point of the article. In my view, at least from what I’ve been learning lately, it’s very important for artists to be very aware of how they would be perceived from outsiders, without of course being self-conscious. For example, I’d say that any industry professional, music blogger, editor, writer, etc will often give artists a roughly 30 second window of time IF they get to your link at all. Of course, they’ll listen longer if they love it in some cases. But think about it. You could have the same brilliant album, and in one reality you have 5,000 Facebook followers, while in another you have 132. That’s perception. That’s momentum or lack thereof, and you will be judged on that. There are many ways to organically build your following and I won’t go too deep into that here. Facebook has just changed their advertising, so you can target, say, fans of The Mars Volta in your home state only if you so desire. Your ads automatically turn into promoted posts, too, a feature I highly recommend. They’ve worked for my own page at http://www.facebook.com/independentmusicpromo. Stumbleupon offers promoted stumbles and Twitter has a new music app you can experiment with.

Anyhow, I hope you can see why perception is important and how it’s not unfair or a bad thing. You use it just as much as anyone else. I also hope you see that it can be manufactured and used to your advantage. I’m NOT suggesting you abuse this idea. I’m talking about great, honest art giving itself the proper respect. Get your appearances up and pay attention!

ASK A QUESTION & FIND OUT MORE ABOUT THE AUTHOR(S):
For a short bio, along with an intro to the columnist section, see here : http://www.musesmuse.com/col-virus.html. If you would like to askJames Moore a question, you can write to jamesmoore@musesmuse.com . Please indicate the column you’re inquiring about in the subject matter of your e-mail.

If you have a suggestion for a column or would like to be considered as a columnist yourself, feel free to write to me at jodi@musesmuse.com .

Ever wondered why some super talented musicians don’t get the fan base and recognition they ‘deserve’, while other not as talented musicians get a lot more exposure and seen in all the right places? Well while there could be a number of different reasons for this, one of the most common is that successful person’s ability to handle the business side of the music industry. More specifically, they probably know how to market themselves well.

Music marketing is that key piece to the puzzle many musicians simply never put into effect – Tweet This.

It’s because of this that many don’t get where they could have otherwise been, and why they struggle to make sales, get gigs, and generally move their music career forward in any meaningful way.

The good news however, is if you’re willing to put in the work, it’s possible to learn how to market your music. There are plenty of guides which show you how to do that on both Music Think Tank and on my site Music Industry How To.

Before you learn specific tactics for marketing your music though, it’s important you get a good idea of what music marketing is and isn’t. There are a lot of common misconceptions about this among musicians, so have a read of the below to see some truths about what it all entails. I truly hope it gets you on the right path when it comes to how you approach the promotion of your music.

Music marketing strategies for beginners

1. Marketing Your Music Is Necessary, But Doesn’t Have To Be Difficult

As someone who speaks to musicians almost on a daily basis, I know that many have the feeling that marketing their music is going to be difficult. This is an understandable fear; most people get in the music industry for the love of the music, and don’t think they’ll ever have to learn how to market in order for them to get their music heard.

That said, if you do want to get your music heard, marketing is a necessary part of things. The good news though, is promoting your music doesn’t have to be hard. Pretty much all of it can be learned, and it doesn’t require a degree in science or maths to put into place a solid promotion plan for your music career. As long as you’re willing to learn and put the work in where needed, after a while marketing your music should become second nature to you. Who knows, you may even start finding it fun. 🙂

2. Music Marketing Is All About Raising Awareness

A lot of musicians when starting out feel like if they make their music good enough, they will get noticed. That all they have to do is record a good album, make it available to people in stores (or somewhere online) and their music will start making sales and getting downloads.

While I can see why people would think this, it’s far from the truth! Anyone who’s tried this tactic before will know that this isn’t the case. All that happens is you make 0 or very few sales.

Being talented and letting people know about your talent are two very different things. As well as making music that people actually want to listen to, you need to get them to give you a listen in the first place. After all, how will people know you’re talented if they don’t give you that initial chance?

New acts are coming out all the time fighting for people attention, to the stage where if you tell people online you make music and give them a free copy of your new album, most people won’t even download it. It’s because of this that you need to convince people your music is worth trying out. This is what music marketing is!

By marketing your music you’re doing two things:

  1. You’re showing people that your music exists, and
  2. You’re convincing people to give it a try.

If these two things don’t happen, don’t expect your next release to do very well.

3. Marketing Is Often Most Effective When It’s A Two Way Process

While some of things you do to market your music will only involve one way interaction (you relaying a message to fans and potential fans), things will really start taking off for you when you make this interaction with fans two way. By this I mean you don’t always want to be relaying messages to them and then shutting your ears. When you update your social sites for example, as you get more followers, chances are people will often reply to something you’ve said. They want to continue the conversation you started.

What I often see however, are fans replying on musician’s walls, but the musicians not replying in return. Even if they’re asked a reasonable question. While the affect of this won’t be as big if you’re always gaining new fans and have a very big fanbase, when you’re still in the growing stage, replying to the majority of your fans will help you grow a lot quicker.

By getting them involved in your music career, you’re creating more loyal fans who will stick around for a lot longer. When you speak to them, you make them feel like they’re part of your journey. Because of this they’re more likely to support and share what you do.

If you didn’t reply to them however, it’d be more likely they’d become frustrated trying to talk to you, and you continually ignoring them. If then another musicians was giving them more attention, it’s very likely they’d continue following and supporting them instead.

While marketing doesn’t always have to be two way, if you don’t implement a two way dialog somewhere in your music career, you’re going to find it a lot more difficult to build up a fanbase than those musicians who do.

4. The Marketing Of Your Music Is An On Going Requirement

This is a big one. As well as being aware that it’s important to market your music, it’s also important to realize the amount of time and effort that goes into this process. Most people initially think that the marketing process should start when you’re about to release your next album or single, and should end before you start working on your next project. This isn’t strictly true.

The marketing of your music should begin as soon as you’ve a good level of talent to promote. While the degree of marketing you undertake at the time will depend on what exactly you have to promote and what else you have on your plate, marketing should be an ongoing process for as long as you’re trying to become a more successful musician.

In my free ‘Introduction To Music Marketing’ ebook, I look at how much you should market your music depending on what your aims are in your music career (among many other things). So if you want a better idea on how much you should focus on this side of things, give that a read.

5. Getting Others Involved Will Make Your Marketing Efforts A Lot Easier

While music marketing isn’t that difficult once you know how to do it, it still requires a lot of time and energy to do it to the extent needed to make consistent money from your music. Often, doing all the marketing needed alone can lead to much slower progress, frustration, and possibly burnout.

The solution? Getting others involved with the promotion process!

This can be in the form of getting your fans to help you out, hiring a marketing team or knowledgeable individual, or eventually letting a record label largely handling that side of things for you (although it’s still important you learn how to promote your music too so you know if the label is taking things in the right direction for you).

More hands make lighter work; it’s not a good idea to do everything by yourself once you know you have something that people will really take too, So get others involved once your talent level is at a good level and you know what direction you should be heading in.

That said…

6. Initially, No One Will Help You!

That’s right. When you’re a new independent musician, you won’t get much outside help. Ok, so you might get some help from a friend who likes your music, but other than that, don’t rely on record labels or fans to help you promote your music. Why’s that? Simple, because record labels don’t generally work with unproven musicians, and you won’t yet have a fan base at this stage.

In order to move things forward for yourself, you’ll need to learn to market your music, and increase your status all by yourself. Once you’ve done this and have something to show for your efforts (gigs under your belt, being covered in respected place etc), then it’ll become a lot easier to get people to help you push your music further.

7. If You Only Promote Your Music Online You’re Losing Out

Lastly, don’t only promote your music online! I know the internet has made it easy to sit and promote your music from the comfort of your own home. That said, if you only market your music offline, you’re missing out on a load of other worthwhile opportunities!

Gigging is one of the biggest reasons you shouldn’t stick to online music marketing methods. By gigging, you get to connect face to face with your audience, make instant money by selling merch and physical CDs (a lot of gig goers still buy them), and make money from royalties.

Another thing you’ll want to do offline is chase up opportunities. Email can be a slow process, but when dealing with companies, often a phone call or going to see them in person can speed things up considerably. Not only that, but you have the chance to potentially connect with them in ways others who go through email simply won’t.

Of course, these aren’t the only ways to promote your music offline. Don’t focus strictly on online music marketing, as working within your comfort zone will most likely slow things down for you in terms of progress. So give offline music marketing a go too.

7 Music Marketing Truths, Conclusion

So there you have it, 7 truths you really should know about marketing your music.

These things are important to know before you start implementing specific music marketing strategies, as even the most powerful promotion methods will become less effective if you don’t know when and how to use them.

If you want to learn more about music marketing and how to effectively start pushing your music out there, I suggest you download my free ‘Introduction To Music Marketing’ ebook. Here you’ll get all the information you need to have a good ground knowledge on what it takes to successfully market your music, so if you haven’t read it already, give it a go.

If you found this guide useful, please give it a share. And if you have any other music marketing tips you’ve learned from experience, feel free to share them in the comments section below.

Shaun Letang,
Music Industry How To.

By Marcus Taylor, Director at Venture Harbour, fromEconsultancy.

One of the interesting things about being a digital marketer that specialises in a certain niche is that you get to understand your niche from many different angles.

Over the past 12 months I’ve talked to hundreds of music companies; understanding what works, what doesn’t, and where they think their corner of the industry is going.

Here’s my summary of what I think will matter when it comes to digital marketing in the music industry in 2014.

1. Content marketing: less is more, and relationships are everything

It’s no surprise to say that 2014 will be the year of content marketing. However, I think there will be a few interesting consequences arising from this shift.

The first is that the deluge of content will cause so much noise that the bar for successful content will be raised extremely high. As a result, we’ll see savvy music companies trying to do more with less i.e. working on a small number of very creative campaigns.

In a study that Venture Harbour conducted with MIDEM, we found that our sample of 64 music industry executives collectively spent in the region of £1.9m on content marketing.

As the ability to measure content effectiveness improves, I think budgets will increase around content marketing, and companies will allocate their budgets more wisely to what works for them.

Marcus2

2. More music / brand partnerships

In 2013, brands injected £104.8m into the UK music industry, a 6% increase from 2011.

Given the increasing number of success stories and research around how music affects consumer behaviour, I think we’ll see more brands jumping on the opportunity of using associations with artists to develop their brands in 2014.

3. A serious adoption of mobile & user experience

Across all of the music website we have access to, approximately 20% of website visits come from a mobile device.

This number varies quite a lot between streaming platforms, artist websites, B2B services, and other types of website, but one thing is true of all of them: the proportion of visits from mobile or tablet devices is increasing.

In twelve months time, I imagine this number increasing to 30-35%. On top of this, I think there’ll be an increase in mobile commerce conversion rates, as more people get accustomed to making purchases from a mobile device.

The combination of these factors will make it practically essential for music companies to take their mobile strategy seriously.

Marcus3

The increasing proportion of mobile (green) and tablet (orange) traffic to a typical music industry website in 2013 vs. 2012.

4. The year that Google gets a grip on music

Google has been under a lot of pressure from the UK government regarding the prominence of illegal download sites in their search results.

Earlier this year I speculated that Google Play Music All Access was not about competing with other music streaming platforms (as much of the press suggested), but more or less a move to improve their search results.

Here’s the situation: more than 25m searches for music are made in Google every single month. None of the streaming platforms capitalised on this opportunity (from my conversations, many weren’t aware of it, or were limited by their technology / licensing deals).

As such, Google had a problem: with a mission statement of “delivering the best result to the user as quickly as possible”, and the best result being illegal, behind a pay wall, or covered in ads, it had to respond with a solution.

A few days ago, Google rolled out a few changes to the music-term search results, proving my theory (that Google would prominently serve up Google-owned music listings) to be true.

Marcus4

From a digital marketing perspective, this will likely have some consequences for labels, artists and streaming platforms.

On a macro-level, Google’s influence on the music industry will creep rapidly, making other Google-owned properties (Google+, YouTube, Google Play) more important to the overall marketing strategy of artists and labels.

5. More tools, more skepticism, better results

Over the past two years, the music industry has been flooded with tech startups trying to helps artists and labels get a better understanding of data, save time, and increase the loyalty / size of their fan base.

Because of all of the noise in this space (and the presence of a few less ethical companies), the amount of skepticism around new tools seems to have heightened.

I think the industry as a whole is becoming smarter at separating the shiny toys from the valuable tools. The tools that offer a genuinely valuable service to artists, such as Pledge MusicNext Big SoundBandPage, and EmuBands will flourish throughout the industry.

Those who can’t prove their value, or pivot quickly enough, will phase out.

I am hoping that something will also emerge this year helping artists and labels differentiate the wheat from the chaff e.g. a ‘Trip Advisor for musicians’.

6. Visual media will become more important

We already know that infographics are, on average, the most shareable form of content in the music industry. In general, shorter attention spans are making ‘quick content’, such as infographics, Vine videos, and tweets more appealing.

I think this consumer trend will shift more music companies to consider the visual aspects of their digital marketing strategy.

At the artist level, I think their will be more adoption of platforms like Instagram and Vine to share updates from the band.

From the tech and B2B space, I think infographics and image-based social posts will continue to increase in prominence. At a brand level, I think the solution will focus around video and crowd-sourced visual content.

Chatter about music is everywhere on Twitter. Soon there will be a Billboard chart to rank all of it.

On Thursday, the two companies announced a plan to create the Billboard Twitter Real-Time Charts: continuously updated lists of the songs being discussed and shared the most on Twitter in the United States. The charts, to be published on Billboard.com and through the publication’s Twitter feed, are expected to be introduced in May.

“We have been looking for a way to do a real-time chart for some time,” said John Amato, co-president of the entertainment group of Guggenheim Media, a division of the private equity firm Guggenheim Partners, which owns Billboard. “We couldn’t think of a better way to do that than with Twitter.”

Music is the most widely discussed topic on Twitter, and seven of the top 10 accounts are those of pop stars like Katy Perry, who has the No. 1 Twitter account with nearly 52 million followers. But the company has struggled to find ways to exploit its music-related traffic, and the Billboard deal suggests an effort by Twitter to correct one of its rare public missteps: its #Music app.

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Introduced with much fanfare a year ago, the app was publicized as a way to rank popular music on the service and recommend songs to users. But it was viewed as unwieldy and quickly fizzled. The app was removed from Apple’s app store last week, and Twitter said it would not work after April 18.

Once it was clear to the company that #Music was a failure, “Twitter realized it should instead turn the conversation about music on its service into a different kind of value,” said James L. McQuivey, a technology analyst at Forrester Research. The Billboard deal “gives Twitter an authoritative, or more formal voice in the industry rather than the informal role it has played until now,” he added.

Rather than build another music service, Twitter has increasingly been looking to outside partnerships to help mine its data and integrate various forms of digital content. Last month, it announced a partnership with the music company 300, one of several music-tech deals recently that have focused on data as a way to seek out emerging talent. But in many ways, music is still an awkward fit on Twitter, where it is endlessly discussed but not easy to listen to.

Billboard’s Twitter charts will monitor not only the top tracks by popular artists but also “the most talked-about and shared songs by new and upcoming acts,” the companies said in a statement.

Mr. Amato said the new chart would monitor “positive” mentions about music and filter out negative ones, although the methodology for doing this was not announced. Billboard has frequently modified its charts to reflect changes in technology and music consumption. Last year, for example, it began incorporating data from YouTube, which allowed Baauer’s “Harlem Shake” — a song with modest sales but a huge response online — to become a No. 1 single.

For Billboard, the Twitter deal adds some Silicon Valley cachet as it tries to reinvent itself as a more consumer-oriented publication. Since Janice Min of The Hollywood Reporter took over the magazine in January, a changed Billboard has begun to take shape, with fewer gritty news columns and more space for celebrity and fashion coverage.

Bob Moczydlowsky, Twitter’s head of music, called the Billboard partnership “part of an ongoing effort to make Twitter the universal signal of real-time music measurement.”

“We want music business decisions to be based on Twitter data,” Mr. Moczydlowsky added, “and we want artists to know that when they share songs and engage with their audience on Twitter, the buzz they create will be visible to fans and industry decision-makers.”

In another music-data deal announced on Thursday, Songza, which makes thousands of ready-made playlists available for free listening, said it would work with the Weather Channel to customize playlists based on the weather, location and time of day.