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Haulix Advice: The Importance Of Video Updates

Hello, everyone! Welcome to the final Advice column of the week. We’ve had a lot of fun exploring various aspect of life as an artist in recent days, and in today’s post we’re going to focus on sharing your life with fans. If you have any suggestions for a future installment of this series, or if you have a question you would like to see tackled in the weeks ahead, please email james@haulix.com and share your thoughts. You can also find us on Twitter, Facebook, and LinkedIn.

People like to talk about how technology has changed the way we do things in life, but it has also dramatically impacted the way we relate and connect to one another as people. When The Beatles appeared on The Ed Sullivan Show people watching at home had to put in A LOT of effort to learn about the band who had just blown them away on television. They had to find news articles on the group in big papers, or hope someone on another television program would mention or feature them in the future. There was no internet, no text messaging program, nothing.

Back then, even bands far less popular than The Beatles had a gap in their relationship with fans that no longer exists in the modern age. Now when people see someone on Jimmy Kimmel (or Kimmel’s YouTube channel) they can immediately learn everything about them, or at least how they are perceived, with a few simple clicks. They can download their discography while visiting the band’s website, then look up reviews of recent releases, return to YouTube for music videos, follow/like social media pages to ensure they never miss another update, and buy tickets to the group’s next performance without leaving the chair they were in when they first discovered said group 5-10 minutes prior. The capabilities of the internet are no doubt amazing, but unless you take an active approach to engaging those interested in your music the perception of your work will be left to the anonymous and numerous bloggers/commenters/journalists/etc lurking online. The best way to do that for the time being is with video, and in today’s post we’re going to look at what makes the role of video so important in your future promotional efforts.

First and foremost, video is far more entertaining than pretty much any other piece of content you can put online aside from new music (and if you’re releasing music in 2013 it better have a YouTube stream included). It’s the next best thing to interacting with you in person, and it offers your fans a chance to learn about the individual personalities that combine to create the art they love. You’re a band and a business, yes, but you’re people first and your fans want to feel like they know the human beings who feel the emotions being conveyed in the music.

As you begin to plan your video content, keep in mind that quality far outweighs quantity, and the better your promotional materials look the better your chances will be of getting said material featured on news sites. Journalists, like fans, are not all that interested in grainy cell phone videos shot in areas with lots of external noise. Spend some time researching affordable and transportable video setups, then find time each week/month to focus on connecting with your fans. You can take the straightforward route of having members update supporters on the latest developments, which should at least happen seasonally, or you can take a more creative route and deliver original content on a recurring basis. For some this means running a cover song series that asks fans to submit answers via social media (great cross-marketing trick), while for others it means a monthly Q&A based on questions submitted through Tumblr (also good cross- marketing).

The possibilities for video content are relatively endless, but if you start something it is of the utmost importance that you see it through. The updates, whatever they may be, are forging new connections with listeners who will expect to be given attention on a regular basis. This means new content, and as long as you can stick with it you will see those supporters begin to grow. Like falling in love with a television show, people who anxiously await for your updates will want to share their excitement with others. Keep it coming and the word will continue to spread.

We put together a bulleted tipsheet to help get you on the right track with your own video efforts. Some of the following points were inspired by our friends at Wistia, who know more about video than anyone we know, while others were crafted specifically for this column. If you have any questions, feel free to comment at the end of this post.

  • Keep your script conversational and write it in your own words.
  • Don’t be afraid to show your personality.
  • Don’t be afraid to try new things
  • Focus on content, not on polish; don’t be afraid to show that you’re fallible!
  • View every video you make as an opportunity to strengthen your relationship with fans
  • Make video consistently.
  • Ask viewers for input, and take what they have to say to heart.
  • Set a schedule and stick to it
  • Promote your own content
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Industry Spotlight: Steve Busch (Total Assault)

Surprise! I know our routine the past several weeks has been two blogger spotlights, an industry piece, and at least one advice column, but the time has come for a change. Over the next several week you will begin seeing several new columns pop up, including contributor pieces from a number of notable industry professionals. If you know of a person or publication that would be a great fit for this series, please do not hesitate to email james@haulix.com and share your story.

Today we’re leaving the world of blogging and PR to learn about life in another area of music marketing: Social media. It’s probably the biggest paid of buzzwords in business today, and if you want to make a career out of it, especially in entertainment, you need to have skills that are second-to-none. We always knew the day would come when this area of music was explored in a spotlight feature, but we wanted to wait until we found someone who we felt represented the best the industry had to offer. We searched far and wide, then asked some friends, and at the end of the day one name kept coming up more than the rest. Ladies and gentleman, prepare to meet Mr. Steve Busch.

Ten years ago, there were few, if any, jobs in music for people who specialized in digital strategy. The internet was popular, sure, but it wasn’t until the boom of social media that companies began to realize the full potential of their digital reach. Steve Busch was fortunate enough to get into the industry just as social media was beginning to take off, and in the years since he has become a wizard in everything from YouTube to Twitter (and essentially everything in between). He’s worked for a number of companies, but currently calls Total Assault his home. You can read his journey with music below.

If you would like to stay up-to-date on everything Steve is doing, make sure you bookmark and frequent Total Assault. Additional questions and comments can be left at the end of this post.

H: For those unaware, please state your name, the company you work for, and your role at said business:

SB: My name is Steve Busch and I am the Director of Social Media at Total Assault.

H: To what or whom do you attribute your interest in music?

SB: I’d have to say much of it came into fruition with MTV. Like many of the kids of my generation, I would religiously watch music videos before school in the morning, then come home and again… music videos all afternoon. I wasn’t allowed to watch Beavis & Butthead, but I would tape it, and wait for my parents to go to bed, and then sneak into the living room and watch the episodes over and over… and believe it or not Bevis and Butthead did a great job of offering music discovery.

H: Do you recall the first album you purchased with your own money? Do you still own it today?

SB: I sure do. Metallica’s …And Justice For All. I don’t have that CD anymore, or any other CDs for that matter, but it’s on my iTunes. I still listen to it regularly.

H: You’re the first Director of Social Media we have featured, but your journey in music started long before the job you hold now. What first attracted you to the music business, and where did you first find work (unpaid internships count)?

SB: I always felt a connection with music growing up, so much so that I moved to LA from the Bay Area when I was 18 to work “in music.” I started out promoting shows, and from there, put out a few records for local pop punk bands that are no longer together for various reasons, all the while tour managing, which all led to Myspace.

H: You worked with the editorial team at MySpace for a number of years before taking a marketing job at indie label Suburban Noize. Was working in digital marketing always a career goal of yours?

SB: Over my six or so years at MySpace, I was fortunate enough to get a broad scope of experience, working in editorial, content production and artist relations.  My experience ran the gamut and to be honest I enjoyed every role I played. I’ve found that digital marketing encompasses all that is creative in building an artist or a brand and I’ve always enjoyed that development process.

H: This is a good point in your journey to note that you, like many of the people we’ve featured, also do a lot of freelance work. Could you tell us a bit about the video work you do and how that all came together? Do you have other projects outside that and TA that are tied to music?

SB: I have produced music for many years, and have licensed songs for films and advertising. I currently make electronic music under a few different pseudonyms including Dead Planets and Killtron. I also produce lyric videos and other video content. It really helps with my position as a digital marketing expert to know what it feels like to be on the other end, with a need to market myself. I’ve learned a lot through the years through trial and error of putting my own creative content out for public consumption.

H: Onto your work at Total Assault. What drew you to this position?

SB: A few different things drew me to my position. I was particularly interested in working with artists from the neutral perspective of a digital marketing team. It’s nice to know we get to solely keep the artist’s interests in mind. I was also excited to develop a team that will inevitably go on to become experts in the field.

H: What is the biggest challenge you face as a Social Media Director on a day-to-day basis?

SB: Oftentimes, we don’t have the control over what content the talent is creating, or the consistency of when they produce content, but it is our responsibility as the social media team to take the content we are given and make it interesting and palatable for public consumption.

H: Social media is a growing career field for many aspiring industry professionals. What are some of the biggest mistakes you see people make when marketing through these channels?

SB: Focusing too much on numbers. For example, I highly advise against buying numbers, which has become quite the trend. Whether it’s Twitter followers, or Youtube views, it’s one of the most counterproductive efforts you can make, and it can have an adverse effect almost immediately. Kids are pretty savvy. They see 100,000 Facebook fans, and only 10 people liking the posts and engaging, they will figure out your ruse quick, and won’t hesitate to call you out on it.

H: There are entire web communities dedicated to mastering the art of social media. What’s one piece of advice you could offer people hoping to better their efforts?

SB: Again, don’t get caught up in the numbers. Put your efforts into creating good, consistent content, and connecting with the fans you do have. Stick to the basics and those Facebook fans and YouTube views will follow. If I could give artists any one piece of advice it would be to be patient and allow the brand to grow organically. It is better to have 10 die hard fans that will promote you to no end than to have an inflated sense of success with no real backing.

H: Total Assault has helped break a number of artists of the years. Where do you turn when hoping to discover new music?

SB: I rely a lot on friends and word of mouth. Blogs like Pretty Much Amazing and Noisey are good for discovery, and the Mishka blog is a good source for new and weird stuff.

H: Do you feel there is still a need for record labels in the modern music industry?

SB: I think that there is still a role for record labels to play, depending on how one defines “record label.” There is still a large gap between your garage and Madison Square Garden, and many bands lack the tools needed to get from point A to point B, so a label is still necessary in that sense. Major labels are arguably still key, if not necessary for radio play for pop artists. I think those labels that have progressively incorporated a good digital strategy can offer artists something valuable.

H: You’ve had a few job titles in life up to this point. What is your ultimate career goal?

SB: Ultimately, I’d like to comfortably call myself an expert in all things digital strategy.

H: If you could change one thing about the music industry, what would it be?

SB: It would be nice to see the music industry create an internet radio solution that could serve as a discovery engine for fans, while being economically viable for both the artist and the platform.

H: Total Assault seems busier than ever. Before we let you go, would you mind sharing with us anything special you have on the horizon?

SB: I am pretty excited about all of our projects right now. We have a new group out of the UK called Charming Liars. They are on the road with Sick Puppies right now, working their butts off. We have a new all girl pop group called Girl Radical that was put together by JC Chasez from N’sync. They prove a great example of building your social presence through consistent, fun and engaging content.

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Haulix Advice: 3 Tips On Retaining Fans Following A Tour Or Festival Appearance

Welcome to another edition of our ongoing Haulix Advice series. Last week we discussed how to better market yourself going into a tour or festival appearance. This week we’re staying in line with that idea and looking at what needs to be done after your set. Your songs may win over the crowd, but if efforts are not made to retain those newly interested music fans your growth will be significantly stunted.

One of the biggest problems young artists face after developing a live show is how to retain new listeners they engage during performances. Fans who comes to see you will (in theory) remain fans following your show regardless of your direct interaction with them, but those unfamiliar with your music prior to seeing you live are far more fickle. They may be interested in what you have to offer, but to them you could be any one of the countless bands they’ve yet to discover and if you do not act fast you’ll lose their attention as fast, if not faster than you earned it.

We are not exactly known for our work with touring, but we realize how vital the live performance is in the career of artists who use our service and wanted to do our part in helping the talent we love further develop. To do this, we spoke with a number of industry professionals and put together a list of ___ tips to help better your fan retention efforts. You can read our advice, as well as insight from a number of our friends in the industry, below. Any questions or comments can be left at the end of this post.

1. Never underestimate the power of a strong email list – Email marketing is one of the oldest forms of digital brand promotion, and to this day it continues to be one of the most effective. Permission-based email marketing has a higher return on investment than unsolicited email, direct mail, or traditional advertising and has revolutionized the way we do business. Having an email list signup at shows encourages fans to become involved in future efforts at zero cost to them and essentially removes any major barriers to entrance someone interested in your art may encounter. It’s the easiest way for someone to show an interest in getting to know more about you, and if used properly can yield a dedicated and engaged following. That said, if used for spamming and/or endless product promotion the same list that once held a world of potential could be the first step toward failure as annoyed music fans begin sharing their bad experience with others. We suggest using lists like this or this to refine your email marketing skills before diving too heavily into this area of fan engagement, but cannot emphasize enough how important of a role it can play in long term retention.

2. All hail the mighty power of social media – We often open these lists with the most obvious answer, but this time that title moves to tip number two. Social media is the easiest, fastest, and most direct way to engage those who are just discovering your music following a live event. By reviewing your tagged messages and searching social feeds for non-tagged mentions of your name you are able to see and interact with music fans curious about your future efforts. This opens a direct line of communication between you and music fans that, if used for conversation and not hard selling, can yield dedicated and engaged new listeners. Much like email, however, incorrect messaging and/or a perceived lack of interest in who listeners are as individuals will only serve to hurt you in the long run. The people you’re hoping to reach know that you know they liked your music, but that doesn’t mean they need to sell them on purchasing whatever you have available. They’re looking for a relationship. Give it to them.

3. Post media from events and request those who attend do the same – Nightly gigs may become a way of life for you, but for the people who attend your shows any night may be the only night they see live music all year. Concerts are not a regular occurrence in life for most people, so when they do have the opportunity to attend something special they like being able to keep that memory with them for as long as possible. Blurry cell phone photos hastily posted to Instagram are one way to create such keepsakes, but your band can help fans keep their memories near by actively posting your own imagery and video from each performance. By hosting such media on your personal accounts, you establish a connection with fans who spot themselves as having been part of something that will never happen the same way again. It also promotes engagement on updates (likes, comments, etc.) and encourages those who see themselves to tell others about the image, which in turn brings additional new eyes to your page.

Additional insight from around the industry:

“Talk to them! Utilize social media to build relationships with new fans. That doesn’t mean you’re tweeting kids to buy your album – you’re talking to them as fans of all music. Plus, you can make someone’s day just by talking to them – everyone loves when a band responds.” – Jack Appleby, Siren Records

“We live in a social media world these days. Fans have access to bands in a way that is accessible like never before. I think because of this the industry is now driven just as much by the fans connection to the band as the music itself. So having band some time and reach out to their new twitter and facebook followers on a personal level is a quick way to cement a solid relationship following a fest. It is a simple gesture to show the new fans that they are just as important to the band as the band is to them.” – Josh Hammond, Publicist

“I would say whatever you do, do not let too much time pass between ending your festival run and getting back to every city you just played. Even if it means playing your new fans basement. Be humble and remember your fans don’t owe you anything, you owe it to your fans to over deliver every night.” – Danny Fonorow, Jonas Sees In Color

“This one is probably a no brainer, but stay incredibly active on social media. It’s really easy to take "time off” after a long tour or festival, but you want to stay in people’s minds, so they can continue to connect with you, the first week or two after a tour is crucial in getting people to not just enjoy your band, but want to support your band.“ – Tyler Osborne, Under The Gun Review

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5 Social Media No-nos Every Artist Should Avoid

Social media has developed countless ways for artists to promote themselves, but along the way a number of bad habits have developed that drives journalists, fans, and labels alike absolutely insane. Using improper marketing techniques over these channels can not only drive away fans, but prevent you from reaching potential new listeners as well. We polled over a dozen bloggers from various genres about the social media no-nos every artist should avoid and put together a list to help all you aspiring stars get a bit closer to your dreams.

1. Stop requiring a “Like” before allowing users to access your music. Even though we asked bloggers from a number of musical backgrounds when working on this article, every single person polled mentioned Facebook “Like” walls within the first few lines of their response. The whole point of promoting your music is so people will visit your page and hear what it is you have been working on, so why make it any more difficult to hold their attention than it already is? The few seconds it takes someone to notice your “Like” wall and read it may be all the time they need to decide you aren’t worth their time.

2. Avoid unsolicited direct/private messaging (AKA Spammer No spamming). Everyone knows you’re excited about your music, and for the most part people will give you a bit of their time to share your excitement with them. However, sending direct/private messages through social networks is not the way to begin the conversation. Your band may be a group of people, but online you’re a single entity that is essentially a complete stranger to anyone unfamiliar with your music. You have to break the ice to start the conversation, of course, but to do so requires more tact that blindly messaging a link to your latest release. Social networks are like mixers, they exist to create a sense of community among strangers through dialogue, but that is not the same as pitching yourself. Leave the pitching to emails and press kits unless someone asks for more information. Until then, join the conversation wherever you are able and keep an eye out for opportunities more fitting for self-promotion (ie people requesting/asking for new music recommendations).

3. Your band does not belong on LinkedIn. This one is relatively simple, but it can be apply to a number of emerging social networking sites. While there are a limitless amount of opportunities to meet people who could help your career through various groups and discussion boards, LinkedIn works best as a tool when used by an individual (or an individual representing a group). Professionals using LinkedIn are not looking to add your band, The River Run Blood Red, to their networks, but they may be interested in engaging with you as an individual. If you can create a dialogue with them through the site by leveraging the various messaging tools, then it may be possible to open a door to promote your band. If you rush it, or try to force your music on those unfamiliar with your work, no one will want to listen.

4. Stop promoting yourself 24/7. Bands are a brand in their own way, and just like many brands on social networks bands often forget the key to maximizing the effectiveness of your network: Engagement. People follow you because they support what you’re doing and want to know more, but that does not mean they want a constant stream of advertising for whatever you have to promote. You may be a group, but you’re also individuals with personalities, and that should be conveyed through social media as well as your latest activities. Fans know about your latest album, and they certainly follow because they want to know when you have new tours or releases, but they’re also trying to learn more about you as people. They want to connect with you more than they have been able to through albums and live shows, and that is the exact opportunity provided by social networks. By engaging them you’re able to create a dialogue that can eventually evolve into a digital community of fans who not only communicate with you, but others as well. If you can accomplish that, those same users you engaged in the beginning will aide you in sharing your music with others. That will lead them to start conversations with new people who could potentially fall in love with your music and the cycle begins all over again.

5. Save the drama for your blog. Everyone is entitled to an opinion, and without a doubt there will be days when you feel stressed as a band, but ranting on social networks and/or attacking others is not going to help further your career (especially if those attacks are directed at fans or members of the industry). Just like how LinkedIn is no place for a band profile, band accounts on social networking sites are no place for unnecessary drama. Fans want to know what’s going on with you, and you should keep them informed, but too much drama can take the focus away from music. Also, you must always be aware of how your accounts appear to those not familiar with your work. If your feed looks more like an individual’s thoughts than the efforts of a cohesive band focused on getting ahead, people may pass by without even giving the music a chance. Appearing driven and welcoming will get you much further than anger and negativity. Always.

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