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Artist Advice Editorials News

Want to be discovered? Be a conversation starter

Everyone is a critic, but not everyone cares enough to say something.

There is no way to understate how the music business has changed in the last ten to fifteen years. Previous generations of musicians would bend over backward to connect with key critics and genre gatekeepers to establish their presence in the industry, but that approach to marketing has largely vanished since the rise of streaming and social media. That isn’t to say critics don’t matter because they absolutely do, but these days critics are a dime a dozen, and only a select few have enough authority that labels, PR, and indie acts alike will go out of their way to get their attention.

The funny thing is, even though there are more critics than ever before, getting those with a voice to notice you remains difficult. Everyone has the power to comment on everything via their phone or laptop, but our current internet culture encourages us to discuss the same thing as everyone else through trending topics. Coverage of Ariana Grande has a higher likelihood of garnering attraction from the masses than a feature on the next unknown artist that might change lives despite the fact everyone and their mother is already talking about Ariana Grande. It’s a strange catch-22 that the people who need attention the least attract the most press coverage, but that’s the nature of the beast that is music journalism.

The only thing that disrupts the system anymore are artists that force people who otherwise wouldn’t post about their work to pay attention because they position themselves for viral popularity. That can be accomplished through branding, appearance, lyrics, or something else altogether that sets a performer or group apart from everyone else in their field. It doesn’t have to be controversial to spark controversy, it just has to be interesting enough to warrant discussion.

Take Lil Nas X, for example. The Atlanta artist was relatively unknown when he uploaded his now incredibly popular song “Old Town Road” to Soundcloud in late 2018. However, the track’s country-trap sound caught the attention of music fans hunting for something new, and even those who didn’t love the material would share it simply because they wanted to discuss the oddity they had discovered. Those conversations lead to viral videos on the platform TikTok, which then lead to additional conversation around the artist and song.

Another example is Triple Crown Records group Heart Attack Man. Before releasing as much as a song from their Sophomore effort, Fake Blood, the band began creating a discussion for their record by claiming publicists and managers deemed it too violent, too dark, and too controversial. The group then built upon those efforts by warning fans to avoid their singles and videos if they were sensitive to violence and violent themes, so even before people heard the material they thought it was something unique. Their push to appear controversial went so far that they started and ran their own anti-Heart Attack Man group called Mothers Against Heart Attack, which has a Twitter account. When users click the group’s link to their newsletter, they are sent to Heart Attack Man’s newsletter instead.

The shared trait between Lil Nas X and Heart Attack Man’s recent success is the absence of traditional album and single promotion. There are no promoted posts, no YouTube ad buys, or magazine placements. Both Heart Attack Man and Lil Nas X are becoming household names because they took it upon themselves to do something they knew would stir conversation. They accepted the old saying that any press is good press and let the internet do what it does best: run wild with vague understandings about the things that momentarily holds its collective attention. Did they make people mad? Yes. Did they make people happy? Yes. Are both things ultimately good for the artists? Yes.

Anyone can buy exposure. The price point is low, but so is the likelihood of becoming successful based on promoted posts and advertising alone. The true key to success in today’s culture is being someone or some group that is able to get people talking about their efforts. All the paid promotion in the world cannot compete with word of mouth, so save your money and focus all you have on creating something that gets people talking.

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Artist Advice Business Advice Editorials Haulix

VIDEO: The Maine, 8123, and the value of community

An American rock band called The Maine has found a way to succeed that other artists should use to get ahead.

Marketing is everything in music today. Everyone knows this, but very few know how to make their marketing efforts stand out from the noise being created by their peers and the competition they have yet to know. Blogs like the one you’re reading now can help. We post a lot of articles about getting ahead and becoming known. The one thing we cannot teach, however, is the one thing everyone needs: Organic connection.

is an American rock band from Tempe, AZ. The group started their career as much groups do by working with labels, but the better part of the last decade they’ve been fully DIY. That decision has made all the difference in the trajectory of their career, and it has afforded them a unique opportunity to develop a thriving community around their music with those who love them the most. In the latest installment of our Music Biz 101 video series, we examine how got here, and why other artists should follow their lead.

will release their new album, You Are OK, on March 29. You can learn about the album by listening to our recent podcast with frontman John O’Callaghan below:

https://soundcloud.com/inside-music-podcast/155-the-maine-john-ocallaghan

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Artist Advice Editorials Haulix

The best way to improve press coverage of your music

In an age of abundance, adding a personal touch to promotional efforts can go a long way toward securing coverage.

The world of music journalism is a bit of a mess. After years of major publications downsizing or going out of business entirely, blogs rising and falling in popularity, podcasts emerging, and influencers becoming a reliable source of promotion, it’s hard to know where to turn for coverage. Even if you can figure it out, there is another challenge in getting the outlets or personalities you want to cover your music to pay attention. 

The number of ways to promote your music has grown over the last decade, but the number of artists competing for the attention of those outlets has grown even more. The average music writer/influencer receives more than one-hundred emails a day, with many receiving several hundred more than that. Those messages contain everything from advance access to a record to news about tours, premiere requests, and countless ‘heads up’ emails about emerging talent.

Most music influencers are unpaid. A select few work full-time, with many more working freelance on a story-by-story basis, but the vast majority promote the music they care about to the people who trust their opinion without compensation. To say these individuals are stretched thin as far as time and attention are concerned is an understatement. The music press has been running themselves ragged for years, and it’s likely they will continue to do so for the foreseeable future.

With all this in mind, it’s important that publicists and independent artists alike take an interest in the outlets and influencers whose attention they hope to gain. Sending a pitch to an outlet unfamiliar with your work in 2019 is like tossing a coin in a wishing well. Even if it works, will you ever know if it’s because of your email or sheer luck?

The path to raising interest in your latest release lies in making members of the media feel seen and cultivating a friendship with them before asking for coverage. A few ways to do this include:

  • Following outlets and writers online.
  • Interacting with current content offerings (Like, reply, share, etc.).
  • Initiating contact by referencing specific articles or content.
  • Asking how they are before asking if they can help you.
  • Follow-up pitches with personal emails. Tell them why you think the material will matter to them, and tell them why it matters to you as well. 
  • Avoid copying and pasting the same email to everyone. Make each communication unique.

Just like making friends, not every attempt at engagement will immediately produce results. Everyone is trying to gain the affection of people who can help them, so even the more earnest messaging may be lost in the whirlwind that is someone’s daily activity online. The key is to not lose hope and remain persistent. Don’t be over-eager and absolutely do not get offended when replies do not happen as fast as you desire. Everyone is caught in the struggle, and everyone is doing their best. Remain calm and always be looking for an opportunity to help or otherwise show support. If you can do that — and if you write music fitting of what your target covers — results will come in time.

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Artist Advice Editorials Industry News News

Why more musicians need their own podcast

With a growing global audience and low startup costs, podcasts are the next step in digital marketing and fan engagement.

Did you know that 50% of all US homes are podcast fans? How about the fact that over 44% of the entire US population, or roughly 124 million people, listened to podcasts over the last twelve months?

On a global scale, more than one in four residents of Japan, France, Canada, Italy, the United States, Australia, Sweden, and Spain listen to podcasts monthly. In South Korea, more than half of the entire population (58%) listens to podcasts on a monthly is.

These figures and other available online are growing with each passing month. Podcasts were practically unknown a decade ago, but today there are more than 500,000 shows offering millions of hours of entertainment for listeners. Studies show the average podcast fan commits to six or seven shows each week, and most (80%) listen to each episode in full. Podcast listeners are, on average, smart and loyal listeners who actively support the shows they enjoy through either digital promotion, crowdfunding, or engagement with sponsors who make their favorite programs possible.

All this data is impressive, but what is even crazier is how few musicians have decided to engage their fans through podcasts.

A podcast can be anything you want. Some choose to interview people they find interesting, while others stick to a theme or subject. Pop-punk band Waterparks host a series where they read fan fiction about their group. The possibilities are endless!

The perks of having a podcast are numerous, including:

  • Direct engagement with fans
  • Ability to deliver new content to fans regularly
  • A promotional vehicle for tours, albums, and anything else
  • Creates future promotional material (you can share clips on your social media)
  • Allows fans to know you better (they don’t have to stalk you, they just have to listen)
  • Provides a platform to discuss and dissect your art
  • Potential to create new fans for your music through conversation
  • Fill time while at home or on the road that is otherwise spent scrolling social media or staring out the window
  • Potential for extra income, either through fans buying merchandise or sponsors getting behind the show

Podcasts are also incredibly cheap to create. Many shows are recorded using a smartphone voice memo app, but others use the same microphones artists use to create demos in their home studios. Hosting is available through a number of providers, including several that have offers for free hosting to first-time users, as well as free distribution to major platforms such as Apple Podcasts and Stitcher.

Furthermore, with Spotify’s recent acquisition of Gimlet Media and Anchor the streaming giant — who already has a large stake in podcasting — is planning to promote podcasts heavily in the months and years to come. Artists with shows will not only be able to promote their music and vice versa through a single platform, but they will also be able to earn streaming royalties from their podcast. That’s money which, unless otherwise agreed to in a contract, goes directly to the artist behind the show. It’s a side hustle that helps the main focus of an artist’s career in many ways.

Competition is music is growing fiercer by the day, and most acts use the same tricks as every other artist or business or consumer to build their audience. But right now, for what will likely be a very short window of time, there is a market for musicians willing to open up in podcasting that is largely overlooked. Any artist would be foolish to not take advantage of this opportunity. Podcasting offers a chance to grow closer to fans, build an audience, and earn a few extra bucks. What more could you want?

Need more reasons to start a podcast? Watch this:

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News

Why You Need A Mailing List For Your Band

There is something deceptive about social media. For all the good it does by allowing us to share our every thought at any give moment it also creates a false sense of closeness between friends and acquaintances or, in the case of musicians, the artist and their fans. Anyone with a Facebook page knows the reach their messaging receives is far smaller than the size of their fanbase, and even though Twitter buries their analytics a little deeper than FB the same gap between reach and audience size persists. There is simply no way to guarantee everyone on every network you keep will receive your messages unless, of course, you are willing to pay for such exposure. I know you would rather avoid that, and honestly I feel the same, which is why I must urge you to consider focusing more marketing efforts on building your personal mailing list.

Whether you’re trying to get the word out about your music at shows or online, directing fans to join your mailing list is the best way to ensure continued engagement with your brand and music moving forward. Followers on social networks are good, and they certainly help make your band look more established as the count continues to rise, but when it comes time to engage those so-called fans you never know exactly who will receive your message. The latest video or song stream may reach those diehards who live for your creativity, or you may reach those people who completely forgot they even gave your page a ‘Like.’ The scattershot delivery of social media simply does not offer the kind of specified reach you need to ensure your marketing reaches everyone you hope it will without first requiring a fee, and while you can certainly pay for exposure mailing lists provide a much more cost effect solution.

By gathering email addresses from fans both online and in the real world you are gaining access to every follower’s personal inbox. People may not read every post in their Facebook or Twitter feeds, but most people make it a point to at least browse the subject of every email receive, and that fact alone should tell you why email is the best way to engage with your fans. It’s through email that you can actually get a moment of their time away from the constant barrage of messaging and third party advertising that comes with posting to social networks, and it’s in those quiet moments of personal engagement when a real relationship with followers can be developed. The sheer fact they offered their email should tell you they have an invested interest in your continued success, and with direct access to the people who believe in you most you should be able to leverage their support to better promote your current and upcoming musical endeavors.

Having direct conversations with fans through mailing lists is about more than increased sales, though that should be more than enough reason to have one. These mailings also offer you, the artist, a chance to better understand your fans. The people on your mailing list are essentially a test audience for everything you do moving forward. You can track the way they engage with messaging and marketing by watching the analytics of each email, and you can ask them to give you feedback on new songs or ideas you want to share. If they’re invested enough in your music to allow you to further fill what is probably already a very busy email inbox then they would probably be overjoyed at the opportunity to feel they play a pivotal role in how you function as an artist moving forward. Share your dreams with them, and ask them to share theirs with you. This will further forge your connection with fans, and in time it will be those connections that ultimately help you build your music empire.


James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.

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PRO TIP: Think Twice Before Attacking Your Peers

If there is one thing we can probably all agree on about life on the internet it’s that those who fuel the content generation machines that keep the web buzzing with viral sensations love nothing more than drama. It can come in any form, from political to celebrity, as long as its captured on camera or in sound bites. Those bits of media are then uploaded, streamed, remixed, and shared on a plethora of clickbait hungry blogs hoping to grab a few more easy clicks from someone else’s pain. It’s a long-running and admittedly sick trend, but a trend nonetheless, and earlier today one of metal’s best underground acts were found cashing on our collective love for all things dramatic.

Partnering with the fine editorial team at Faster Louder, the member of Thy Art Is Murder released a collaborative feature on the popular music blog detailing the best and worst bands they have toured with up to this point. The list named several artists, praising some and trashing others, all with seemingly no concern for public or professional backlash that may occur. The band highlights 3 genre peers as being ’the worst,’ each of whom have fans around the globe and international touring experience, as well as 3 they consider ‘the best.’ While those regarded in high standing are certainly given some well-deserved praise, the acts the band chooses to look down upon are essentially bullied for an entire paragraph. Volumes, for instance, are referred to as follows:

The “homies.” The billionaire rich kids. Their dad is like some Grammy-award winning producer. Fully don’t like these dudes that much. The last time I saw the singer I told him I was going to beat him up, real bad, to his face.

There is also an allegation of wrongdoing on the part of someone associated with the band, as well as a story of a near physical altercation from a previous tour.

The band given the worst treatment is Within The Ruins, a metalcore act found on Victory Records, who Thy Art Is Murder claim “fully suck.”

While there is certainly nothing wrong with having an opinion or sharing it, the members of Thy Art Is Murder are not doing themselves any favors by conveying their thoughts and feelings in this way. The band comes across as bullies at best, and at worst they appear to be cocky assholes who believe the best way to raise awareness for what they are doing is by stepping on bands who have shared time with them on the road. Nothing could be farther from the truth however, as it is the bonds built through working in music that ultimately propel artists and professionals forward. The music community is surprisingly small, and everyone knows someone who knows everyone else. When you talk poorly or act out of line towards someone or some group, there are repercussions down the line the offender may have never thought possible. Maybe the person who books Within The Ruins also heads up a major festival that now will never work with Thy Art Is Murder, or perhaps they rep a band that would have otherwise served as a perfect tour pairing. Now the possibility of that happening is gone, and for what? A few clicks?

If I had a say in the happenings of Thy Art Is Murder I would urge them to consider finding a new publicist, as the person who encouraged them to create this feature obviously did not have their best interest in mind. The popularity of their rant against other bands will fade within a day, but the damage done from trashing their peers may linger for the rest of their career. The situation could be made better with an apology, but given the brash way the band described those they consider ‘the worst’ I doubt we will be hearing anything akin to “sorry” from them in the near future.

Let this be a lesson to all artists: Tearing one another down is never going to help you get ahead. You might grab a few fleeting bits of attention, but the longterm impact of publicized negativity is rarely good for business. As your mother always said, “If you don’t have anything nice to say then don’t say a word.”


James Shotwell is the Marketing Coordinator for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.

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Advice: Ready Yourself For Big Hits

Ryan Adams Tweeted to his 695,000 followers about Christopher the Conquered, an independent artist in Iowa. A CD was passed along to him, and he liked it so much he shared with his followers.

After one week these were the results:

Website Page Views – 2489 Views
Youtube Videos: 1653 New Views
Soundcloud: Single from Album – 572 Plays
Facebook: 82 New Likes
Instagram: 40 New Followers
Twitter: 31 New Followers
Spotify: 28 New Followers
Email Newsletter: 12 Signups
Internet Sales (Not including iTunes, Spotify, etc. – that takes a while to get those numbers): $86

He went on to write that he got some press on Noisey and PureVolume but, “those other press bits wouldn’t amount to much.” Ahhh, 2015!

Some of the comments on this Reddit post wondered, “well, how can I buy it?” Here was this enormous buzz and no way to actually sell this new album. The best time to answer that question is before you get a big hit.

What can you learn from this?

1. Always make it clear how you can buy something.

Getting someone to your site in 2015 is a miracle, so make it super easy for anyone – ANYONE – to be able to buy your music. That means links to iTunes, Amazon, BandCamp, whatever.

2. Make snagging emails a priority.

I know, I know. Email isn’t as sexy as SnapChat and Twitter, but you will always have these emails, even when those social media wonders fade. Sure, those 82 new Facebook likes are always nice, so long as Zuckerburg let’s your posts be seen by 10% of them.

3. Make your social media links visible.

Some people do Twitter but don’t do Facebook. Some people don’t do either, but they love Instagram. Make sure you have these linked in one space on your site.

4. Read Austin Kleon’s ‘Show Your Work.’

http://austinkleon.com/show-your-work/

You won’t get a rush of traffic everyday, but when you do, it’ll be nice if your site / social media / email list is already stocked with great content. Getting in a habit of showing your work (and not just latte art, or guitar pedals) will pay dividends down the road.

Getting your online stuff in order now helps with both a flood of traffic, and also for when that music writer or editor happens upon your site. Remember, to out run a bear you only have to run faster than your friends. Same with this music thing – good presentation goes a long way when everyone’s attention span is measured in seconds.


Seth Werkheiser is the quiz master of metal trivia at Skulltoaster. He’s also the founder of some music sites you may have heard of, including Noise Creep (2009) + Buzzgrinder (2001). He’s anti-Facebook, anti-clickbait, and anti-growth hacking. You should most definitely follow him on Twitter. Yes, right now.

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Advice: Send Awesome (Snail) Mail

Yes, pitching editors and sending CDs to Pitchfork is important. But what about the CDs and shirts you’re mailing out to your customers? How do you treat the people who are actually putting money in your pocket? (HINT: I hope it’s more fun than what you’re sending to Pitchfork)

When you’re small you can go the extra mile. When you care, it doesn’t seem like extra effort. I’m talking hand written notes, or extra goodies tossed in with a paid order.

Some bands and labels treat this very “business class;” here’s your CD in a padded envelope. End of transaction. Meh.

In late 2013, one of my Skull Toaster readers ordered a CD from this doom band in Seattle, WA called Giza. They sent him an extra copy with a hand written note saying something like, “give it to a friend.“

So this reader got in touch with me and we did a give-away on Skull Toaster with that extra copy, exposing that band to a whole new audience that loves and appreciates that sort of music. And now they’re linked here, too. Funny how that can work, huh?

Johnny Cupcakes throws candy and other goodies into random orders. Why? Eh, why not?

I said something nice about MailChimp on Twitter awhile back and they sent me a t-shirt and a hat. Why? Again, why not? People love getting stuff in the mail, right?

If you can make someone feel special, do that. If you can add some delight to someone’s day, what the heck are you waiting for? Permission? There’s enough doom and gloom in everyone’s social media feeds. Why not put something unexpected and awesome in someone’s mailbox?

I recently took part in an online service with a company I used for the past few years. At the end of the survey they said they’d send me a shirt. Oh, fun!

Well, I got the shirt, but I noticed it was sent from a fulfillment company (the return address actually said fulfillment company). Instead of a hand-written note or stickers, there was a tiny "filler invoice,” with a literal $0.00 charge. No one at the company I did the survey with touched this. It was automated. 

A team of unpaid interns can do something like that. There was no magic.
Compare that to my friend Travis, who tells me all the time about ordering from a tiny label (kidding) called Dischord and the hand-written thank-you notes they include. 

If anyone is too busy to write handwritten notes, it’s them. Delighting your mail order customers is like out-running bear; you only have to be faster than your friends (your competitors). In a world of me-too, copy-cat operations doing the bare-minumum to skate by, going just above and beyond isn’t really that much work.

Seth Werkheiser is the quiz master of metal trivia at Skulltoaster. He’s also the founder of some music sites you may have heard of, including Noise Creep (2009) + Buzzgrinder (2001). He’s anti-Facebook, anti-clickbait, and anti-growth hacking. You should most definitely follow him on Twitter. Yes, right now.
 
 

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One Great Way Artists Can Avoid Annoying Friends And Facebook Followers!

Hello. Thank you for finding time in your schedule to browse our site. You can go just about anywhere on the web without fear of government issued vehicles raiding your house, so we’re thankful you have chosen to spend your precious time here. The post you’re about to read is aimed at improving the social networking efforts of musicians on the rise, but in reality the tips provided can be applied to almost any individual or small business hoping to further their digital impact.

This site exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.

If you work in the live music industry, you spend a lot of time inviting people to concerts. Hopefully you are inviting them with a variety of methods, Facebook events being one. Which is great as long as you do it properly.

I get invited to a TON of shows, that the glorious nature of being friends with so many bands and promoters, there is always something going on, there is always too much going on really. The byproduct is that you receive a lot of Facebook event invites, which is great, great FB events get you all the details and can be a perfect way to get show info HOWEVER there is one kind of invite that becomes REALLY tiresome:

Invites to shows that are nowhere near me.

Now, every once and a while someone may be genuinely confused, maybe they met me in Calgary and keep inviting me to Calgary shows, no biggie, I may reach out to let you know but we all get confused sometimes. The thing that will get under your fans skin is the generic shotgun blast invite everyone to everything. I am obviously not got to come to your shows in Toronto, Winnipeg, Regina, Boston, Portland, Vancouver and Calgary, so don’t invite me, this isn’t confusion it’s laziness.

It only makes your invites less effective.

When you keep seeing the same basic information over and over that doesn’t apply to you, pretty soon you brain stops really taking in that information. Our brains know that they can’t handle every little detail they see in a day, so it categorizes things in order of importance, when your event is continually irrelevant to your listeners, pretty soon…it goes into the wrong bin, it’s irrelevant.

But it’s hard work to invite everyone! It’s slow! I can’t possibly know where all 2700 of these people are from!

Yes, it is harder, but if it’s more effective. It is a bit slow, BUT Facebook has given you the tools to make it not so very painful AND to make sure you can find the right people AND it’s free! If you don’t know about Graph search yet, you are missing out. Here is how it works:

In the search bar you type: My friends who live in __________

Facebook will then display a list of all your friends who live in that city. Killer.

Now, open up a separate window.

You could use a tab, but having two windows side-by-side will make this go much faster. As you go down the list simply type the name of the person and invite. I takes time but it’s really not bad at all.  And that’s just the beginning of how musicians can take advantage of graph search…but that’s for another post!

This post was written by Andrew Jones, editor of Checkered Owl. It originally ran on his blog, but we loved it so much we felt it deserved to shared once more on ours. If you like his work and want to read more of his writing, or if you want to be super cool and offer him full time industry employment, reach out and connect with him on Twitter.

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The One Thing I Disagree With Most E-mail Marketers About

Hello, everyone. Thank you for finding time in your busy life to spend a few minutes discussing music marketing with us. The post you’re about to read was written by Andrew Jones, founder of Checkered Owl. The contents highlight common mistakes found in many email marketing campaigns, as well as what you can do to improve your messaging. If you have any questions, please leave us a comment at the end of this post.

This blog exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you would like more information on the content in this article, or if you know of an industry pro you would like to see featured on this blog, please contact james@haulix.com. We can also be found on Twitter and Facebook.

Everyone should know at this point that e-mail better be a part of your online marketing strategy. While social media sites  can suddenly change their terms of service, re-evaluate their algorithms or lose they user base, e-mail is always there. Not to mention the fact that WAY more people actually BUY things from e-mail than any social media site.

There is a ton of great advice out there for e-mail lists so I don’t feel the need to write “TOP 8 E-MAIL TIPS MARKETERS DON’T WANT YOU TO KNOW”. My main two pieces of advice are simple:

#1. Use Mailchimp to blast out your e-mails. They make your life so easy AND IT’S FREE until you have over 2000 subscribers!

#2. Speak genuinely. People want to connect with you not just get a flyer.

Which brings me to my third piece of advice. Something a little different than most of the articles I have read recommend.

#3. Don’t “personalize” the “to” field

On any decent e-mail service there is a section to “personalize” the e-mail with a tag, so you type in “Hey [FNAME]!” (or something similar) and the person opening it sees: “Hey Andrew!”.

Sounds great right? Here is the problem, EVERYONE KNOWS IT’S FAKE! It’s like those sweepstake letters you get in the mail, you know the ones; they have your name on them, they look like they were written in blue pen from the desk of the CEO, occasionally they will even use non-glossy paper or even pretend to cross out a word. But…they don’t make you want to enter.

Instead, at least for me, they turn me off, they are laughable.

If you want to be personal, be personal.

Write me a personal e-mail, I appreciate that. OR Fire me a nice looking HTML update that goes to 500 people and say “Hey Everyone!”.

I’m not offended that your band (or brand) doesn’t write me a personal letter every month, who has time for that? What does bother me is seeing something that says “Hey Andrew” and I think I have gotten a personal note only to discover it’s a mass blast. Just be honest.

Make the personal personal, make the e-mail blasts communal.

A communal blast has it’s advantages too! It (if executed well) can help begin to form a community, talk to everyone, together, as a unit. The KISS army approach works! Let people join your tribe!

And then when a key moment hits that’s worth a personal message, send that, personally. There are no shortcuts to relationships.

This post was written by Andrew Jones, editor of Checkered Owl. It originally ran on his blog, but we loved it so much we felt it deserved to shared once more on ours. If you like his work and want to read more of his writing, or if you want to be super cool and offer him full time industry employment, reach out and connect with him on Twitter.

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