New Music Strategies – Page 17

February 15, 2009

Real Life Touring. A Social Media-Fuelled Tale.

So, we’ve been back in England a few weeks. I’ve even had time to do my busiest week of masterclasses ever! (more on that later, I promise)

For now, it’s time to round up some of the lessons and tips from our house-concert-based, social-media-driven jaunt to the US over christmas/january.

A few salient points to start with:

most of the gigs were booked by people we know via Twitter.
all but one of the gigs were house concerts.
we did 5 masterclasses – 3 in houses, one in a pub, one in a Uni.
in 7 weeks, we spent 2 nights in hotels, which we didn’t pay for anyway.
we made more money per gig than we ever have playing clubs/coffee houses (read: we actually MADE money, net, after paying for everything.)
we met more amazing people on this trip than ever before.
very few of the people at the gigs could have named a single other solo bassist.
moreso, very few of the people who came to the shows had heard OF us before, let alone HEARD us. Media exposure was not a prerequisite for attendance.
we have about 5 hours of video to pick through of the shows.
we have invites back for twice as many gigs as we played.
nobody got rich.
nobody planned to get rich.

Let’s break these down:

Most Of The Gigs Were Booked By People We Know Via Twitter:

the usual method for getting gigs is something like; “google venues and promoters in an area >> email promoter or venue >> send package >> agree to do gig for door money >> minus commission >> with food included if you’re lucky >> book hotel nearby for somewhere to stay”. Add other steps if a) promoter has no idea who you are and wants to put you on a double bill with someone who’s a ‘name’. The upshot is, it can often take 3 or 4 gigs in an area before you make any money. After the show’s booked, you contact local press and radio, send CDs, bios etc, and hope they cover it, so people will hear you and then come to the gig. Sometimes this works. often, it doesn’t.

Method for our tour: “talk to lots of people on twitter >> make friends >> allow them to discover music as they get interested in who we are >> tell them we’re touring >> invite them to host gig >> Book in the dates” – the audience is a shoe-in, cos most people can fairly easily find 15-30 friends who are up for a crazy night of music making in a house. It’s a nuts idea, it’s fun, and it has the added benefit of being validated by a friend of their’s… if Tracy/Linda/Angela/Steve/Gus etc are willing to book this, it MUSTÂ be good. The person who books the show then emails the links to what we do around (no need to send out CDs) so people have an idea what to expect. Everyone comes to the gig, eats, listens, buys CDs, and we go home with money and loads of new friends. Win-Win.

All But One Of The Gigs Were House Concerts:

if we get offered non-house-concert gigs, we take them if they’re fantastic. They have to be AT least as good as house concerts to be worth doing. We’re no longer desperate for somewhere to play. The show we did at Grace Presbyterian church in Long Beach was an amazing night. And we got to see Vicki Genfan and Jim Bybee play too. Win-Win.

We Did 5 Masterclasses – 3 In Houses, One In A Pub, One In A Uni:

masterclasses in houses are great fun, and a fab way of a) sharing knowledge on tour and b) making a lil’ more cash. We did classes on looping, bass stuff and ‘social media for musicians’ – again, arranged by the people hosting the house concerts. I usually do a pretty big bass class in Northern California, and it has in the past paid for my entire trip. I didn’t need to this time, so was able to do a much smaller, more focussed class, for people experimenting with solo bass. Win-win.

In 7 Weeks, We Spent 2 Nights In Hotels, Which We Didn’t Pay For Anyway:

at each of the house concerts, we stayed in the house where the gig was. That’s not always the case with house concerts, but on this trip, it worked really well like that. In most places, we also had another day or so to hang out and see the area. The hotel nights were a thank you from Modulus for all the masterclasses and clinics I do using their instruments all over the place.

We Made More Money Per Gig Than We Ever Have Playing Clubs/Coffee Houses:

so much of what happens on tour is built on the promise of imagined success; ‘if you do *** then *** will surely happen’ but rarely is anyone willing to underwrite it to that degree, and so the artist takes a lot of the burden of risk… With house concerts, there’s no chance at all that you’re suddenly going to find yourself making millions of dollars. But there’s also less chance that you’re going to find yourself in debt and unable to pay the bills. The financial arrangements are generally straightforward, friendly, and sensible. Guarantees are kept at a level where they work for everyone.

We Met More Amazing People On This Trip Than Ever Before:

guess that speaks for itself. My music life is full of encounters with incredible, inspiring people. At house concerts we just get way more time to get to know them, to make friendships that will last. Ultimately, I’m WAY more interested in people than ‘success’. If I can combine encounters with magical people with a sustainable touring model, I’m happy. House concerts do just that. Win-win.

Very Few Of The People At The Gigs Could Have Named A Single Other Solo Bassist:

SO often gigs by bassists are largely populated by other bassists ogling their wikkid skillz and monster tech. As much as I love spending time with bassists, it changes the gig if they’re over-represented in an audience. Singers never have to play to entire audiences of singers. It’d be weird. So to play to rooms full of people who have little idea what looping is, don’t know any other solo bassists, and so are listening to what I do as music first and last is REALLY inspiring. I love it. It makes me a better musician.

Very Few Of The People Who Came To The Shows Had Heard OF Us Before, Let Alone HEARD Us. Media Exposure Was Not A Prerequisite For Attendance:

we had precisely ZERO mainstream media coverage for these gigs. No radio, no TV, no mags no nothing. At least partly because these are private events at people’s houses, and so we weren’t about to be giving the addresses out to total strangers. There are ways for people to get to the gigs if they contact us, but it’s not about broadcast at all. No, most of the audience were friends of the host, people brought in because the host said it was good, put their house and money behind it, and believed in what we did. It paid off. We had no shows that were less than wonderful. Made loads of new friends, and sold lots of CDs. Win-win.

We Have About 5 Hours Of Video To Pick Through Of The Shows:

the digital footprint of house concerts is probably about 10 times that of a normal gig. People are excited and talk about the show. Often the attendees are geeked-out, tweeting and facebooking the show from their iPhones and N95s, filming it, taking pics and posting them online, and in many cases, streaming it. The Milwaukee show has now had nearly 300 views on Ustream.tv. Everything is amplified.

Not only that, but after watching the Milwaukee show, we were invited to play in Philly. The show was booked because of the stream. Lovely Linda Mills saw the gig, sent me a twitter message, booked it, promoted it, and the show happened. All in about 3 weeks. Win-win.

We Have Invites Back For Twice As Many Gigs As We Played:

at house concerts, everyone there is a potential booker. they all have homes they live in, and may want to book a show. Loads of people went away inspired to book us next time we came, and also to start doing shows for their friends. That’s GREAT news.

Nobody Got Rich / Nobody Planned To Get Rich:

this is so far from being driven by the rock ‘n’ roll myths it’s untrue. No-one’s getting rich doing house concerts. But no-one’s doing it to try and get rich. It’s sustainable, people-centred, low-impact, high-value touring. It’s cheap to put on, flexible, engaging, original, exciting and artistically elastic. You can do the kind of show in a house you could never get away with in a club full of drinking punters expecting to dance. And you can go home making a profit, paying your bills, with time and resources to make more music for the next time you come round.

This tour was probably my favourite tour I’ve ever done. Every gig was more fun than playing the Royal Albert Hall. The people were amazing, the hosts were incredible in their generosity and still grateful to us for coming and playing. The audiences were attentive, engaged and loved it. There really was nothing bad about it at all.
Yesterday on Twitter, someone suggested that while my soundbites were enjoyable, the reality was different. (see the whole conversation here ) Our experience on tour says this works. Says it’s real. Says it will continue to work.

So, were you there? What did you think? Have you done house concerts? how did they go? please post your thoughts on house concerts/social media/the future of touring in the comments below…

(the picture at the top is of about half the audience/musicians who played at the inauguration house concert/party we co-hosted with Kerry Getz in Newport Beach – an amazing bunch of musicians, from all over the place, playing amazing music)

February 5, 2009

The Problem Of Time Pt II – Social Networks for Social Musicians

So, as I outlined in Pt 1, Social networks can be a really tough place to inhabit as a musician, because you’re going to get a LOT of artists sending you friend requests expecting you to check out their music.

The idea for the artist, in that case, is that numbers mean everything. If I have 80,000 Myspace friends I must be doing something right, right? Surely that means that a percentage of them are going to become fans, tell their friends and then go and buy my CDs. Surely those kind of numbers will land me a record deal? Any label that knows I’ve got 80,000 devoted Myspace ‘fans’ will surely snap me up?

Wrong. As anyone knows whose spent any time on Myspace, there’s no correlation at all between numbers of myspace friends and any real-world metric of success, be that sales, gigs, quality or measurable commercial potential. There are some truly dire musicians on myspace with 80,000 friends, who clearly didn’t get the memo that said ‘oi! stop adding myspace friends and go and practice, your music sucks!
And sadly for musicians on other social networks, the numbers game of the old industry – and myspace – still carries over, and there are bands spamming everyone and anyone on Twitter, ReverbNation, Facebook, Last.Fm and anywhere else they can find to pimp their music. The internet equivalent of aggressively flyering in the street.

Only, as I wrote in part 1, that’s just not how people find music. If you want to know how people find music online, read ‘Net, Blogs And Rock ‘n’ Roll‘ by David Jennings. It’s by far the best book ever written on the subject. It’s brilliant, and you need to read it if you want to be were you audience are likely to be. David outlines the ways that communities form around musical artists and styles, and what the tools are online that are facilitating that. His book is vital reading for anyone working in the industry, and would make fascinating reading for anyone interested in any level of community formation online.

But what I’ll add to it is about the value of being social on social media platforms.

I know, it sounds flippin’ obvious. And it is. It is obvious. So why do so many morons persist in ‘following’ 3000 people on twitter in the hope of picking up listeners? Why the inability to hold a conversation with anyone?

Lobelia and I just booked a whole series of house concerts in the US, almost entirely through Twitter. The vast majority of the hosts of the concerts were twitter-friends of ours, and between us and them, we promoted the shows via Twitter. Loads of our twitter friends showed up, almost all of whom found out about ‘us’ before they found out about our music. They were people we’d chatted with about everything, who listened to the music we make because we were interesting to them.

The conversation was what gave them cause to listen, not the description of what we do. I would hazard a guess that well over 90% of our audience on this tour couldn’t name you another solo bassist (except at the shows that featured other solo bassists!). We didn’t end up playing to rooms full of bass and looping geeks. We played to people who were already caught up in the story of who were are, and were the only too eager to become part of the event, and bring their friends.

We still had to be really good at what we do. Moreso, given that the person hosting each gig was putting their reputation on the line by hosting our gig (in most venues, the owner couldn’t care less what you sound like if you can guarantee beer-drinking punters. House concerts obviously aren’t like that!).

So how does this idea of conversing with your audience transfer to social network activity? Here are some key points:

Myspace friends are a cheap (near-worthless) currency, in and of themselves. Most of the people who add you on myspace only do so to get you to listen to them. The only value is the interaction.
There are only so many superlatives in the world, and all of them have been claimed by other musicians. Telling me in your bio how universe-conqueringly amazing you are counts for nothing.
Your audience are far more likely to talk about you once they’ve made friends with you. ‘Hey guess what, I met this really cool guitar player on twitter, we were chatting about his dog, then I listened to his tunes – amazing stuff’ – etc.
Pretending to be an aloof detached rock star doesn’t work unless you’ve got the kind of money it takes to make you into a rock star. ‘Fame’ is way too expensive for very little pay-off – ignore it.
If all you talk about is your own music, you’ll bore people pretty quick. Frame it in the context of the rest of your interests. Use the platform you have to share info that’s of value (at this point, if you haven’t read my top twitter tips for musicians, do it!)
Time is precious, you have to earn the right to the time it takes people to listen to your music. Take that responsibility seriously, talk up to your audience not down to them, listen, chat, answer questions, ask them, and you never know, you might even end up getting more out of social networking personally than you do professionally 😉
Don’t get lost in the numbers – communities of properly connected people take time to grow. Give it time. You’ve got plenty of it.

It’s vital to not get distracted by the over-hyped, bankrupt ideas of the old school record industry. The cost of turning records into hits vs the chances of making it back made for pretty crappy odds for each artist – the labels eventually did OK by making it all back on the ones that went supernova, while the rest were left in debt, and the stars often ended up drugged out and fucked up.

We have the chance to do this differently. If we understand what’s going on, reject the giantism of the friend-list-size-obsessed spam culture and instead invest our time in making great music and inviting people into the world where that music is made, we have much less to lose and much more to gain.

Win-win.

(BTW, the picture at the top is me on Tracy Apps‘ laptop, chatting to the people who were in the chat room watching the live stream of our house concert from Tracy’s place, on Ustream.tv – gettin’ social on yo ass!)

February 2, 2009

The problem of time. The eternal crisis of music-based social networks.

So, context: I’m on Myspace, ReverbNation, Last.fm, Facebook and Twitter. Oh, and Youtube, Vimeo, Seesmic, Phreadz…etc. etc.

All of them are social networks. On all of them, not surprisingly, I get followed/added/friended by a lot of musicians and bands.

Which is all well and good, except that I can’t listen to them. Not ‘won’t‘, ‘can’t‘ – the numbers don’t add up. Even if we ignore the 8000 myspace friends I deleted before christmas, we’re still looking and thousands of interactions. Even if I only listened to one song from each, that’s upwards of 4000 minutes of listening time, just to grant each of them a cursory ear. And given that a handful of them will really catch my imagination, I’ll probably end up listening to them a lot over time.

Add in that my listening time is already taken up by copious amounts of the music I love and a fair chunk of trusted friend recommendations, and the amount of time I have available to check out random stuff thrown at me on Myspace is tiny.

So what are we to do?

Let’s use me as TWO case studies. First as a music fan/listener.

Some facts about music-listening-Stevie:

I love discovering new music
Other than ‘it’s great’, it’s pretty tough for me to define a type of music I like. The one nearly-unifying element is that I tend to go for music with a story, whether vocal or instrumental.
[As it relates to the second point, ‘Solo bass’ is not, as far as I can tell, a genre. Neither should it be.]
I listen to an awful lot of music by people I know/have met.
I discover a lot of music from friends recommending it.
I have online a list of ALL the music I’ve listened to over the last 5 years.
Meeting an artist quite often moves their music from ‘have heard‘ to ‘required listening‘ in my estimations.
That being said, the majority of my music listening time is spent listening to things I already love.

So, what does all that mean?

It means I’m not going to listen to a band just because they ‘add’ me. I resent the idea that I should spend my valuable time on music without context. The worst culprits of this (it’s why I included it in the list above) are solo bass players. I say ‘worst’ – to be fair, it makes sense that they would send stuff my way. After all, I am a solo bass player and am interested in what’s going on within the field of solo bass performance, but only as it over-laps with great music! I’ve never been into the gymnastic, technical side of music. If it doesn’t work as a straight recording, without explanation, it doesn’t work for me.

Right, so just sending me a message saying ‘check out my solo bass stuff‘ isn’t going to cut it. which of those other points give us angles to work?

What we need to look for are where the filters are, and how to get into those filter-streams. So what flags music for me as being worth investigating? largly these two:

My friends recommend it,
or I know the artist…

It’s pretty safe to say that ALL the musicians on twitter that I’ve bothered to click through and listen to are those who I find interesting apart from their music.

Is it an efficient way of finding great music? Possibly, possibly not. But it does provide me with a few things:

a way of just cutting down the sheer numbers. Relatively arbitrarily, but it works.
a way into one of those things I like about music: the story – I’m actually getting the story first, then the soundtrack…
a way of making sure I’m less likely to listen to music by people I don’t like. There’s SO MUCH amazing music out there, I might as well limit myself to listening to the ones I really like as people 🙂
a way of encouraging people AWAY from spam and TOWARDS engagement. It’s what I want, it’s what I do, it’s what works.

And In Part II of ‘The Problem Of Time’, I’ll talk about what this does for me as a musician.

How does this chime with your experience of finding music online? Similar? Completely different? How much GREAT music have you found? I’d love to hear your experiences.

January 9, 2009

2008 in review II – Nokia OpenLab blogging and my writing elsewhere…

One of the highlights of my year was the great weekend I got to spend in Helsinki as part of the Nokia Open Lab 08. It was a weekend in which social media practitioners – most with an emphasis on mobile usage – brought together for a series of discussions, workshops and presentations on the future of mobile social media, with a focus on Nokia’s hardware, obviously.

I met some amazing people there, many of whom have become really good friends over the ensuing months (particularly Phil Campbell and Ilicco Elia).

When I got back, I wrote a series of blog posts, encapsulating a lot of the things that the weekend covered, and my thoughts on them. Looking back on them now, I’m really grateful for the brain-food I got over the weekend.

Here they are:

There were a couple of other big writing things I got up to online (as well as my column in Bass Guitar Magazine, which ended this year after a couple of years…) – I was invited to write for a blog on a government website called Creative Choices which aside from being an appallingly badly designed site (front and back end), was a great project to be a part of given that I had the remit to write about the creative life, and got paid for it! Here’s a link to all my posts there.

The other site I’ve been writing for is an ongoing project, writing for MusicThinkTank.com – as you’ll see if you look at the list of my co-authors over there, I’m in insanely good company writing for them, sharing the web space with some of the best thinkers I’ve ever come across.

I’ve posted a couple of articles to MTT in the last few weeks – this one I posted today:

Art Is An Energy

And this one was in December:

The 3 Dimensions Of The Music Long Tail

The rest of my writing there can be found here.

It was an amazing year for me, geek-wise. Will come back to that in more detail soon!

January 8, 2009

Pre-NAMM Social Media Seminar/Workshop, in Santa Ana, Jan 14th.

Finally, the details have been nailed down, and thanks to the wikkid organisational skillz of the wonderful Geoff Hickman, I’ll be doing a ‘future of social media for music makers’ masterclass in Santa Ana, the night before NAMM starts.

Date: Jan 14th
Time: 7.30pm
Venue: The Olde Ship, Santa Ana (map)
Cost: $15.00

Description:

“Making your way in the world today takes everything you’ve got… no, wait, that’s the Cheers theme-tune… anyway, it’s true that the times they have a-changed for anyone trying to make it in the music world – record labels are resorting to increasingly desperate measures to make money and artists are getting squeezed. The smart money is definitely on handling your own career, out there on the world wide interwebs. But how? There are million services promising audience reach, targeted email addresses, high profile this and big bucks that… most of which are glorified spam email campaigns. So what can we do? How can we, in the words of Rage Against The Machine, ‘Take the Power Back‘?

“Enter Steve Lawson, a solo bassist and ambient/electronic music pioneer from the UK.

“Steve’s managed to keep his career buoyant for the last decade, all via online interaction direct with his audience. He was exploring social media tools before the term ‘social media’ existed, and was using the web to connect with fans and fellow artists back in the heady days of Web 1.0.

“These days he splits his time between playing his beguiling cinematic music – at venues ranging from house concerts to the Royal Albert Hall – and teaching other musicians how to form genuine connections with their audience, to understand the new attention economy of the internet, and make the most of the opportunities that are out there. It’s not easy, it’s not a get rich quick scheme, and it probably won’t result in you making a million. But if that’s what you’re looking for, buy a lottery ticket. The music world has never been a good place to get rich. This is a chance to discuss, to ask questions and to come up with workable strategies for finding the people who want your music to soundtrack their lives. Sounds great, huh?”

There you go. Please do forward this page to any friends of yours who are going to NAMM, and may benefit from a lil’ StevieStyle social media make-over.

And if you’re at NAMM, please do drop by and say hi. Lobelia and I will be at the Looperlative, Modulus and Accugroove booths as well as around and about. And we’ll be tweeting, streaming some video, and generally having a lark!

January 5, 2009

More House Concert magic.

Tonight’s our last night in Nashville, the town that both Lobelia and I think is the US city we’d be most happy to live in were we to move here… It’s so full of amazing people, and has an incredibly vibrant and exciting arts world. Ironically perhaps, it exists a long way outside of the music scene that makes Nashville famous, but throughout the city there are people producing amazing and vibrant art, music, and writing.

Last night’s house concert was at a beautiful house in the woods out near Franklin. Franklin is kind of CCM-ville, the bit of the Nashville area most heavily populated by the people that comprise the Christian music scene that makes up so much of the music commerce in the city.

But the vibe couldn’t have been further from the hairspray and choreography of a slick pop gig. One of the things I most love about house concerts is that they break the binary nature of the artist/audience relationship. Rather than it being about us communicating AT the audience, with house concerts people get to meet, to hang out, to eat together, swap stories, and the artist is no longer the only relevant factor in people having a good time. The space, the hosts, the food and the sense of coming together for something special all contribute to the overall effect of the event.

So being in such an amazing setting, the home of the very wonderful Angela and David, and having Angela open the show with some really beautiful songs, then getting to eat together, chat, hang out and get to make loads of new friends made for another great experience for us, and for the audience, by all accounts.

Immediately before the show, I gave a workshop/masterclass, advertised as ‘the future of social media for music makers’ but to an audience made up half of musicians and half of wordsmiths – authors, journalists, creative writers. A really wonderful group of creative people to discuss the amazing opportunities presented to us by social media.

Again, the space proved perfect for it, including the million inch HDTV I was using to show some of the sites I was talking about in the presentation.

The reaction was pretty much as it always is – one of relief, that the fear and loathing that has swept through the music and publishing industries is actually caused largely by their short-sightedness in recognising what we can do with social media, how diffuse and varied our ways of connecting with an audience are, and how great it is to not be tied to a record release schedule followed by expensive PR campaign as a way of getting music or books out there.

All in all, an amazing day. More of those please!

More photos:

Lobelia chatting to lovely audience people between the two sets at the house concert:

the very lovely Julie Lee, who came to the masterclass, and then guested on one song on the gig. She’s amazing:

Lobelia and Victor Wooten, swapping looping tips:

Lobelia being filmed for the gig:

December 31, 2008

2008 in review – Blog posts for musicians, Pt 1

It’s been an amazing year for me – a proper round-up of the year will be coming soon. But I thought that first I’d pull together some of the things I’ve blogged about this year. So this is part 1 of a compilation of links to my blog posts for musicians this year –

Back in May/June, I did a series of posts about Social Media for Musicians:

…ah, clearly i didn’t finish that last one… 🙂

Then in July, I did a series on my thoughts on bass teaching, and music teaching in general:

These had some really great comments off the back of them…

And here, in roughly chronological order, are my favourite posts from Jan – August:

There you go, that lot would make a pretty good e-book, if I ever get round to editing out the typos, and shortening some of my more overly-verbose entries 🙂

Next entry will cover Sept – Dec, and then the rest of what’s happened this year! If I don’t get to it til tomorrow, have a great new year, see you in ’09!

If you particularly like any of the posts, please share the links around, either via the ‘share this’ option below, or just by forwarding the URL to people who think might like to read them.

December 29, 2008

Top Twitter Tips for Musicians.

I’ve been getting WAY too many ‘follows’ on Twitter of late from musicians who really don’t get it. So here’s my Top Tips For Musicians On Twitter. You may want to start with my Best Practices In Social Media post, or just jump straight in here.

OK, let’s start by comparing twitter with Myspace, as that’s where most musicians get their start in social media:

Like most musicians, my start on Myspace involved using the search function to find other musicians and ‘fans’ and adding them without any interaction. I accumulated thousands of ‘friends’ in no time, and for about a month was getting hundreds-sometimes-thousands of plays a day. But very little of it turned into any real interaction with them, either at gigs, buying/downloading music or just messages to say ‘hi’.

So I backed off, and stopped actively adding anyone to myspace, and recently deleted 8000 myspace friends in an attempt to make it useful.

So how does that relate to Twitter? Well, Twitter has no media player. It’s just text. It’s also asynchronous. This is crucial to understanding it. So point #1 with Twitter is:

‘Following’ someone on Twitter means next to nothing. The interaction is everything.

So if you’re tempted to come onto twitter, search for ‘music’ or ‘jazz’ or ‘bass’ or whatever and hope to gain an audience. Think again. It’s not going to work. All that happens is, your timeline becomes unusable. You miss the good things other people are tweeting and you look like a spammer. Because (point #2):

Twitter is all about other people.

That’s right, it’s not primarily about you. It’s a very difficult interface to game anyway. You can’t turn up, post links to your own page and hope people will find you. Because everyone else is way more interesting than you are. So, tip #1 (as opposed to point #1, that was above) – Tip #1 is:

Be interesting.

And it stands to reason that tip #2 is:

“hey check out my site” isn’t remotely interesting.

No, it’s not, it’s self-obsessed, dull and ultimately does you more harm than good. If you’re trying to get me to listen to you, you were in a better position when I’d never heard of you than when I saw your twitter page with 4 tweets that said ‘hey, check out my myspace‘. Now I just think you’re a tool.

No, if I go to your page, and you’re interacting (twitter interactions happen by way of ‘@’ replies – if you put an @ in front of someone’s username in your ‘tweet’, it shows up in their replies, and for other people, it links to their page. It’s creates a contextual network for what you’re saying, it means people can find out what your tweet was in response to, and more about the person you’re talking to.) then I’m more interested in talking to you, asking you questions, answering your questions and generally getting a conversation going with you. Which is good for you, because if I reply to you, the 900-or-so people that follow me are going to see it, an if they find what I’ve said to you interesting, may click through to you…

So, tip #3 relates to how to get started:

Start by adding people you know already and talk to them.

If you’re having normal fun interaction, you look like a human being, not a spam-generating bot, or worse, an up-their-own-arse musical narcissist. Just talk about what you’re up to. What you’re doing is placing your music within the narrative of your life. You’re letting people know what you’re about, so they may then be interested in what kind of music such an interesting person would make. And if you’re a musician, the day-to-day life of practicing, getting gigs, designing flyers, getting paid, making records etc. is fascinating. It really is. So talk about it.

Tip #4 relates to this:

Twitter users are largely curious people, you don’t need to post links all day to get them to find you.

There’s already a link back to your site on your twitter page. And if you’re clever, you can post a nice pretty twitter background (here’s mine) that will give them a little more info. When you are interesting, people will be interested. That’s just how it works. So be interesting.

Tip #5 follows on from this

Twitter users are curious, but also deeply suspicious of spammers.

Like I said at the top, if you get it wrong, it’s worse than not being there. if you look like a spammer, people will not only ignore you, they’ll block you. That’s not good. So If you

interact
keep close-to-parity in your followers/following ratio
tweet a lot about what you’re up to without links to your site,

people may follow you back.

So, last tip – #6 – for now (I’ll do a part 2 later) is about Conversation:

People are far more likely to follow you because your conversation is interesting than because your music is great.

No-one knows if your music is great. Lots of links to your site won’t make them want to check it out any more than one link. However, lots of conversation makes you more interesting than no conversation.

No-one likes the guy/girl in a bar who talks about themselves all night to the exclusion of all else. Don’t be that guy on Twitter.

For reference, here are some musicians being interesting on twitter:

Lobelia, Jeff Schmidt, Imogen Heap, Warriorgrrl, Botched, Steven Guerrero, Alun Vaughan, Simon Little, Ben Walker, Graham English. They range from the hugely famous (Imogen) to the ‘tweets all the time (Graham and I), to the ‘small but important interactions’ (Botched and Steven G) – there’s a range there. Watch them, see what they do, what makes you want to listen to them, and do that.

Have fun, make friends, and post any questions you may have in the comments below! And if you want to recommend a musical twitterer (that isn’t YOU) then please do that too, but give reasons why…

December 12, 2008

Social Media first principles for Musicians Pt 3 – going Mobile.

Finally… part 3! The timing is prescient for two reasons. Firstly, last Monday I was invited to be a panelist at a discussion hosted by Mobile Mondays (MoMo) on the whole area of Mobile tech and Social Media.

Secondly, it’s because today I’m heading to Leicester to De Montfort University Business School to help put together a social media toolkit that small businesses can use. (In case you’d let it slip your mind, being a pro or semi-pro musician IS a small business – makes for a great case study, in fact…)

So, cutting to the chase, our two Sesame Street-esque words of the day are:

‘Mobile‘ and ‘Transparent‘.

As I said to the lovely suits at MoMo, one of the big problems for non-uber-geeks using mobile social tools at the moment is the lack of transparent interface.

What the hell does that mean? OK, if you take a picture, click a button and quietly in the background it then uploads to Flickr for you (or to Facebook, Ovi, or if you want to post it to lots of places at once, Phreadz), that’s transparent. If, however, you take a picture, scroll through 100 menus, click a button, tell it to upload and then have to watch the screen for 5 mins because the connection keeps dropping and your phone might crash… that’s what I like to call ‘Not Transparent‘. That’s a pain in the arse, and unless you have a dedicated Social Media monitor (like a library monitor in school, but with cooler toys), it makes it very difficult to be spontaneous.

And spontaneity is key to the value of mobile for a musician. If you’re touring, all kinds of fun and crazy things are happening all the time. Lots of them (the ones that aren’t borderline illegal), when photographed, filmed or recorded, have enormous shareability. They’re funny, engaging, interesting and easily become part of the narrative. Even more importantly, they are something free you can GIVE to your audience, expecting nothing in return. You’re just inviting them into your world, to see a glimpse of the life you live on the road. Or in the studio, out shopping for music gear, or – if you’re comfortable with it – bits of your day to day life.

So where are we up to with the tech? Well, it is, not surprisingly, getting better and better. Hardware-wise, the front-runners are the Nokia N95 (my own smartphone of choice) and the iPhone… I’m not a huge fan of the iPhone, but I do appreciate the feature set it has, and it is a great device for playing around with mobile social media.

My reason for loving the N95 is that it’s as close to an all-in-one tool as I’ve seen yet. The camera – and more importantly, the video capture – is the best I’ve come across in a mobile phone (even the world’s biggest cynic about such things, PhotoMonkeySteve, was impressed by the quality…). It has wifi, 3G and a whole slew of great apps developed for it. It’s a pretty good media playback device (if you rip films in the right format, you can even use it as a portable DVR, hook it up to your TV and watch films on the big screen…)

For me, being able to record gigs (I’ve currently got about 3.5 hours of Lobelia and I playing house concerts on the phone, waiting to be edited and uploaded to YouTube…) stream little bits of my daily life and upload photos direct to flickr (or, using TwitPic, to Twitter) is really cool. I can even blog direct to this WordPress blog from the phone.

The connection your audience will feel with what you’re doing is multiplied by a pretty large factor when you talk to them ‘in the moment’ – not ‘last night I played a gig’, but ‘I’m about to go on stage, wish me luck!’ – I posted that very message on Twitter last night before I played with Lawson/Dodds/Wood and got LOADS of replies from people who wouldn’t drop in to say ‘hey, really glad you had a good gig’ on my blog, but feel all warm and snuggly, and again, importantly, ‘like they’re missing something’ because I tell them what I’m doing right then.

So here’s what you need to get going with your Mobile social media life:

A Nokia N95 (or N82, or iPhone, or any other smartphone that has the features listed above)
A twitter account (twittering on the go makes bus and train journeys so much more fun. Most of the members of Jars Of Clay are now on Twitter, and their tour-banter is a lovely glimpse of life on the road)
A flickr account (you should have one of these already – I’ll post more about flickr soon…)
A youtube account (be warned, if you get an iPhone, the current version does NOT do video. I know, it’s insane, why the hell not?) – you can upload directly to your youtube account from the Nokia N series phones, via the youtube app. Same goes for Seesmic and Phreadz.

You can also post to Facebook, Myspace and a raft of other social sites from your phone.

Bottom line, you can double your social media footprint and quadruple your connection with your audience by going Mobile.

What’s more, it’s only going to get better from here. Be warned, a few of these things have a bit of a learning curve attached, mainly to get round the foibles of the hardware and software (by far the best feature-set of the upload apps is ShoZu… it’s just a shame that it makes my phone impossible to use when it’s running… I met the VP of Marketing at Shozu at MoMo, so will report back on my communication with her soon – she’s eager to help…)

4 years from now, social networking is going to be predominantly mobile and very much driven by rich media (photos, videos, audio) – get in there now and you’ll have a bigger slice of the audience, have made all your mistakes while most people don’t even know what you’re doing, and be in a position to innovate as soon as the tech comes along that lets you do it.

So, off you go and upgrade your phone (just don’t forget to recycle the old one…)

December 4, 2008

'But I still like CDs!': why it's OK if your audience are webphobic.

This morning I read a really excellent blog post by Ben Walker.

It’s headed Wake Up And Smell The Evidence and outlines via statistics gathered from Ben’s own audience just how little of this social media webby geeky stuff gets through to ‘your average music fan’.

So are we wasting our time? Not if, like me, you see David Jennings amazing book, Net Blogs And Rock ‘n’ Roll as the handbook to understanding this stuff.

David addresses the very issue that Ben is most concerned with in the book, and in this blog post entitled Participation And Influence In Social Media in which he introduces us to a pyramid in which the 3 categories of participant in social media – as categorized by Bradley Horowitz – work as follows:

Creators â€” 1% of the user population might start a group (or a thread within a group)
Synthesisers â€” 10% of the user population might participate actively, and actually author content whether starting a thread or responding to a thread-in-progress
Consumers â€” 100% of the user population benefits from the activities of the above groups (lurkers

So when we put all this stuff out there, when we make our blogs and music and widgets and all that geeky bollocks sharable, we’re actually doing it for only a small percentage of our audience.

We can actually take heart that 1% of our audience are likely to be creating their own widgets, writing their own blogs about music and generally making a fuss about the things they love. If that happens to be us or our music, so much the better.

The next 10% are the ones who care, who share and who are very often there to bring friends along to gigs – they aren’t doing youtube mash-ups of our songs and clips from US teen TV shows, but they are very much aware of what we’re up to, and are more than happy to pass the info along.

And at the base of the pyramid we have the other 89%, who just like what we do, who listen, who put it on while they do the dishes. Who buy CDs, who listen to the radio, and use the internet to write emails to relatives and to passively stalk old school friends on FriendsReunited. They don’t really care (at the moment) about downloading and RSS feeds and twitter and tagging and all that other stuff we’re so excited and passionate about.

But then they don’t need to. Hopefully they’ll find out about us because one of their 10 BFFs is doing that for them. and then maybe…

…1 of their 100 work colleagues has started his own internet radio station,
…and he digs mellow loopy solo bass post rock goodness.
…So he plays me.
…And then Mrs FriendsReunited hears it because, hey, he’s a nice bloke to work with, and he even went to the trouble of emailing the link round.
…Most of what he plays is very odd, but there was this really gentle bit in the middle, sounded like the soundtrack to a mellow film.
…etc. etc.

The evolution of web-tools will always be targeted at these three groups differently. While Ben and David and I are all trawling the net for news of great social apps that we can add as plug-ins to our wordpress blogs, our keen friends and fans are happy to click on the ‘share this’ links a the bottom of each blog, and send it out to their mates on facebook. The better the facebook integration with our blog is, the better the chances are for them to share that stuff. And given the size and reach of sites like facebook and myspace, you never know, Mrs FriendsReunited may well have a facebook page, and get sent a link to a post about my new album, and hear it, and think ‘hmm, that reminds me of that thing on the internet radio station’ and about 3 years later she’ll serendipitously find out that they were one and the same, and will buy a CD…

So please do read Ben’s post. It’s excellent. But the situation is slightly less bleak than he makes out, as the marvellous David Jennings makes so clear in his post. I’m glad I have such wise and talented friends. (and no, for the record, David didn’t steal the idea from me… 😉 )