The Key To Being A Successful Musician: Focus On Fan Relationships... Not Industry Relationships

from the get-it-straight dept

Mark Rosedale points us to an interesting blog post from singer/songwriter Shaun Groves, where he discusses how the music business is changing, and how it's the artists that need to change, by focusing on different kinds of relationships:

The music business is about relationship. And now it's the artist's turn to have one.

Success in the music business once hinged on only a handful of relationships: a publicist and a magazine, a salesman and a bookstore, a radio promoter and a radio station, a booking guy and a promoter, an artist and a manager, a writer and a publisher. If all these relationships were working, if all parties' interests were respected and pursued, if no personalities collided to the point of impeding progress, then the project or artist they were tied to would succeed (from a business standpoint.)

But, today, that equation has changed, and artists need to learn how to have very different types of relationships -- and it's difficult for some:

Technologies can foster relationships. But not without a lot of personal investment and intentionality from an artist.

This is a big shift in thinking for artists, especially at the top levels of this industry. Artists aren't accustomed to being so accessible, accountable and out of control. Artists are accustomed to being in front of audiences that care about what they do, audiences they know are fans and they keep in the seats for a couple hours by charging a ticket price. But on-line, where spending time with an artist is free, anybody can wander into the crowd, boo, change the subject, or walk out. And they will.

Also, artists are used to hiring people to handle their relationships for them. That's at least 90% of what a manager does. Labels congratulate and critique through a manager, for instance, who adds his own diplomatic spin to every word so the artist's feelings aren't hurt and the relationship is preserved. Not so on-line. Someone can be hired to hit the "publish" button on a blog post that gets e-mailed over, invite people to a Facebook event and even write to people for an artist and signed their name (it happens), but no one can convincingly be the artist every day in post after post or interact with commenters regularly. Artists can't hire anyone to be them 24/7 and the internet demands those kind of hours.

I know that whenever we write stories about artists successfully connecting with fans, we get angry messages from music industry folks about "what if artists don't want to connect with fans." What Shaun is suggesting here is that if they don't, then they're not going to have the type of relationships necessary in the modern music world. In some ways, saying "what if musicians don't want to interact with fans" is the equivalent of saying "and what if Widget Co.'s employees don't want to interact with customers." That's fine... but then they can't complain when their widgets don't sell. Shaun concludes by stating:

If the music industry dies it won't be because everything changed. It will be because artists didn't. Artists today have to - no, we get to - do what the rest of the industry and human race has been doing for eons: We get to be real human beings spending time with other real human beings. There's no shortcut for that.

This is a fantastic point. In my MidemNet presentation about how Trent Reznor connected with fans and gave them a reason to buy, one point I raised briefly (which got a laugh from the audience) was the crazy idea that some of Reznor's actions made him "seem human," and how rare that was in the music industry. It's a point that bares repeating, so I'm glad Shaun called it out (and that Mark alerted me to it). Nearly every success story we've discussed has had that in common: it's about making the artists seem human -- and that helps people feel like they want to help the artists out and they want to pay for things, rather than feeling pressured or coerced into paying.

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I Love You, Honey, But Not As Much As The Internet (or Twitter)

from the how-sweet dept

An in-no-way-biased survey from a German broadband trade group says that 84 percent of German twentysomethings would rather give up their partner or a car than their internet connection. No word on the breakdown of that 84 percent between partner and car, but given the fantastic experiences I've had on German public transport, I've got to imagine cars are probably much easier to give up. Although if you ditch your partner, you can always find a new one online, though just eight percent of respondents said they'd done so. Don't buy it? Just check out the travails of recently split up celebrity couple Jennifer Aniston and John Mayer. Apparently she dumped him because Mayer would make time for Twitter, but not for her.

Carlo Longino is an expert at the Insight Community. To get insight and analysis from Carlo Longino and other experts on challenges your company faces, click here.

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The Power Of Ambient Awareness

from the getting-to-know-you dept

When I first heard of Twitter I didn't get it. I saw some friends using it, and tested it out for a bit, but again concluded that it just didn't make sense to me to be able to write short, 140-character, explanations of what I was doing -- or to read similar blurbs from other people. But about a year ago, I started using it again, and quickly discovered that it was much more useful and interesting than I had ever expected -- often in totally unexpected ways. Since then, I've run into a bunch of folks who seem to feel exactly the same way. They absolutely did not understand Twitter until they actually started using it, and then suddenly found it incredibly useful in totally unexpected ways. So, I can absolutely understand the many, many people who continue to mock Twitter as being useless -- I felt exactly the same way -- but haven't been able to explain why it is actually useful.

However, Clive Thompson has done an excellent job with his latest piece for the NY Times Magazine, explaining the concept of "ambient awareness" that describes Twitter and things like Facebook's news feed. It's not so much about telling everyone everything you're doing, or knowing everything that everyone is doing, but it does give you an amazing ambient view into what's going on in the lives of whoever you follow, and in an odd way makes you feel much more connected to them than you might otherwise. I know that I've become much closer friends with some folks entirely due to Twitter just because I'm more aware of what they're up to on a regular basis, rather than only talking to them infrequently.

I think the problem is that many people, myself included, originally think of Twitter in similar terms to email or instant messaging, where you're really expected to provide your undivided attention and to respond to what is sent to you. But Twitter doesn't work that way. It really is an "ambient" flow of information about what's happening with lots of different people, which makes you feel much more connected with them. It's great to see Thompson do such a good job explaining why, because despite experiencing it, I couldn't have put the concept into words like he did.

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Turns Out Those Six Thousand People Who Are Your 'Friends' On MySpace Aren't Really Your Friends

from the no,-really? dept

This seems unlikely to come as a surprise to most people, but despite the number of tools and applications such as social networks for getting people to network with each other, the number of close friends that most people have hasn't really changed -- and it almost always involves people who have gotten to know each other face-to-face rather than online. This isn't particularly surprising or new, nor does it suggest that there's anything less real about online friends. It just confirms what pretty much everyone knows: while it's certainly possible to meet and get to know people quite well through online venues, meeting in person still has plenty of benefits -- especially for reaching a closer level of friendship.

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