Few films seem to have had as lasting an impact on my adolescent mind as did Ghostbusters.  Yes, in my later teenage years, like many of you, I spent hours pondering over works by Fellini and Bergman and Antonioni,  but well before discovering them, I thought Ghostbusters was one of the greatest things ever (and to be honest, part of me still does!). From the (then advanced) special effects to Bill Murray’s ridiculous delivery to the images of an idealized city that would eventually become my home, the film blew by juvenile mind (even if I may not have understood half the jokes at the time).

I have been thinking a lot about Ghostbusters lately–not just out of nostalgia–and the more that I think about it, the more that I believe that there is a lot that independent musicians can learn from the film.  Seriously!  Thus, our new series: Ghostbusters and The Modern Musician.  While we are going to focus on various parts of the film in the coming weeks, today I want to consider one of the key subplots, a tale of passion and love that transcends time and all obstacles. Yes, today I want to talk about the relationship between Zuul and Vinz Clortho.

Of Keymasters and Gatekeepers

Of course, Zuul and Vinz Clortho are the names of the two demons who end up possessing Sigourney Weaver’s Dana and Rick Moranis’ Louis, also referred to by their titles, the Gatekeeper and Keymaster. The two of them must “hook up” in order to open the portal that will bring their omnipotent, creation-destroying master Gozer into the real world.

In the music industry–especially with regards to new, developing and independent artists–we often speak of the “Gatekeepers,” or those who can expose our music to a larger audience, whether that be though radio & video play, inclusion in a video game or booking an artist in a large festival.  However, we rarely discuss the Keymasters, and I am convinced that one of the main reasons more musicians don’t make it past the Gatekeepers is because they have not spent enough resources with the Keymasters.

Who Are The Keymasters?

“Are you the Keymaster?”
“Yes, actually–I’m a friend of his. He asked me to meet him here.”

Think about it–who is it that is going to convince that head of programming or that booking agent that they should pay attention to your music?  In the past, you could count on a major-label-backed promotions rep or big-name manager to convince the gatekeepers to give your music a chance.  But in a world where even the most well-established of media companies are having a hard time making themselves heard, who is going to get them to listen to you?

You are.

Look at many of the most successful new artists who have emerged in the last five years–Lil’ Wayne, Danger Mouse, The Decemberists, Mastodon, Animal Collective, Soulja Boy Tell’em–all of them focused on building massive scene-based and/or online followings, having so much success at that level that the established gatekeepers could not ignore them. (Yes, there are the exceptions like Lady Gaga and the Idol-affiliated singers, but odds are if that is your thing, you’re not reading this anyway.)  In a world where you can force your music in front of the formerly-untouchable Gatekeepers with enough YouTube views or a sold-out club tour based on nothing but public radio play and some good blog write-ups, who else but you holds the keys?

The New Gatekeepers

Your fans, of course, are also important, but not in the way that you may imagine.  Yes, you can mobilize your fans to act as Keymasters via petitions and letters and other noise to make the local commercial radio station pay attention to your band, but you could have done that in the 80s and 90s as well.

No, the real importance of your fans today is in their new role…as Gatekeepers!

As Bob Baker put it in his Music Think Tank article on this topic:

But now there are new gatekeepers. You can also call them “filters.” And it’s these new filters that help weed out and determine who is to be highly successful, moderately successful, and not very successful at all…One type of new gatekeeper are music consumers. You must get a response from at least a small slice of people in the marketplace to gain traction and grow your career.

In an interview with Hypebot, iLike’s Ali Partovi stated something similar, expanding on the consumer’s role as Gatekeeper or filter:

“I believe, that if your music is great, we’ll find it, and it’ll get played. Help us find it!”
- Kevin Cole, KEXP

Consumers have more influence not only on getting a “personalized” experience for themselves, but also impacting what gets “programmed” to other people with similar tastes.  A social network is a very natural mechanism for this: if I discover a new artist that I love, I have a natural desire to share that with my friends on Facebook…the consumer is also creating “new content” in the form of commentary. Seeing what normal people (especially your friends) have to say about a song is just as much part of the experience as hearing the music.

In other words, the new Gatekeepers are your fans and potential fans, which makes what you need to do relatively obvious if you accept that you are the Keymaster and want to bring your version of Gozer into the real world–hook up with the Gatekeeper!

(And yes, for the purposes of this article, we are assuming that Gozer is a good thing–imagine him destroying the world of the old-school music industry if it makes you feel better).

Now, however, knowing which key to use when and where can be the real challenge. Again from Barker’s article on Music Think Tank:

…there’s another new filter that has become more obvious to me in recent years. And that has to do with effort and workload…In fact, a large percentage of artists have disdain for most marketing activities and curse the long list of things they must do to promote themselves effectively…

“Where do these stairs go?”
“They go up.”

Again, the real challenge now lies in knowing which keys to use when and where.  Every artist has different time constraints and commitments, and no two fan-bases are identical, so I am not sure that there a one-size-fits-all answer to this question, so now I open it up to you–how do know which keys to focus on, or in other words, how do you determine your priorities as an independent artist? Let us know in the comments below.

*****

Further Reading – the ideas that inspired this article:

• Malcolm Gladwell on how David beats Goliath
• Music Think Tank on The New Gatekeepers
• KnowTheMusicBiz‘s feature article by KEXP’s Kevin Cole
• Hypebot’s interview with iLike’s CEO, Ali Partovi
• DigitalMusicNews on the challenges of Social Networking

and, of course:

*****

In the first twenty minutes alone, he discusses new music business models, using scarcity to drive demand, suggestions for digital distribution through Topspin and much more.  Even when the interview delves in to fans-only territory (favorite video games, etc), Reznor provides insight into diversifying your revenue stream and life as a professional musician.  At 40 minutes long, it may seem like quite the commitment to watch, but we consider this essential viewing for any MusicIsMyDayJob reader.

(note that this is the entire 40 minute interview–if you only want to watch Reznor’s replies to specific questions, go here)

Comments? Thoughts? Suggestions? Share in the comments below or via Twitter.

Don’t forget to check back tomorrow for more articles and useful goodness for independent musicians.

Too much trouble to remember? Subscribe to MusicIsMyDayJob via RSS or email and let us remember for you.

Much has been written about Twitter, and many things will continue to be written about the seemingly ubiquitous micro-blogging service (especially if these rumors are even slightly true). As of 16:00hrs EST on April 2, 2009, Google finds 43,058,597 blog articles on the topic–a number nearly impossible to comprehend, but it goes a long way to demonstrate both the popularity of the service and the immense number of people who are trying to determine how to use it to their advantage.

Musicians are no exception–this spreadsheet lists hundreds of artists, bands and other music-related Twitter users (and it continues to grow exponentially), all of them trying to determine how to use the service to reach fans and spread the word about their art.

So is Twitter just another social media fad, or is it an important tool to reach new fans and interact with your audience?

The answer is “yes.”

Twitter is the hip social media thing to do right now, but after you peel back the hype and “trend-spotting” news reports (and actually start to use the service!), you will discover that Twitter allows for interaction unlike any other type of social media, and there are specific benefits to musicians that no other service can offer, especially when it comes to connecting with fans.

You Should Be On Twitter

The secret to Twitter’s utility lies in its (a)brevity and (b)immediacy.

On Twitter, you only have 140 characters to express yourself, so every letter matters (this sentence happens to be exactly 147 characters long, to give you some perspective). No fluff, no hype–only the essential, and because of that, it allows you to connect with fans and potential fans in a very direct manner. It also forces your creativity and personality to shine through–if your updates consist of thoughts like, “At the grocery store,” “Reading email,” or, “Buy my record,” very few people (if any) will want to hear what you have to say, but if you inject your personality into the few characters that are available to you, people will be interested in hearing more.

Immediacy is the other aspect that makes Twitter so essential for independent musicians.  In fact, Twitter is most effective when used in the immediate present, rather than for documenting the past as you would in a blog or on your MySpace page.  Because of this immediacy, Twitter presents intriguing snapshots into precise moments, allowing people a perspective no other media can  provide.  As such, you can pull your fans into your world, sending out immediate updates as you record an album, or taking them along on tour as you look for something to do between cities, creating an experience and loyalty that an MP3 can not.  You can also receive real-time feedback and comments, whether you want to know which mix of a track you should use, where to perform in a given city, or even whether or not you should change your band name!

Use Twitter to Find Your Ideal Audience

Twitter is a ridiculously effective way to find your audience, but it requires that you be a real person in order to do so successfully. Don’t simply sign up for an account, post a few updates, and expect the followers to come beating down your door–you need to reach out to others and actively participate in the conversation.  Remember, if people care about you, then they will want to hear your music, and the same people will eventually become your music’s champions.  On the contrary, if you constantly send nothing more than the Twitter equivalent of spam, saying, “Download our new E.P.” (as several artists actually do each day), people will quickly tune out, or worse, not even bother following you.

When following people, follow them because they interest you, not because you are trying to trick them into liking your music. Be authentic in your updates–don’t reveal every detail of your day, but also don’t hesitate to say when things are not working out; it sounds corny, but just be you, and people will feel a connection.  Reply to people, and let them see that the person updating your profile is actually you (and not some record label intern).

Follow other musicians and artists, and you will see what attracts people and what does not.  @questlove, @imogenheap and @trent_reznor certainly do not need any help attracting fans, but they are excellent examples of what to do if you want people to follow you, fans or otherwise–they are real people in their updates, they interact with their followers, and they provide the immediate glimpses into their lives that are the life-blood of a successful Twitter user.  They also take full advantage of Twitter to transform their followers into fans and keep their name and music in conversations, even when they are not releasing anything new or touring.

Turn Your Followers Into Fans

Twitter is an amazing way to turn casual followers into fans, as well as fans into super-fans, especially as they begin to feel a real connection with you and, thus, your music. The secret here lies in the consistency and quality of your updates–be active and regularly update your profile, but continue to focus on updates that bring fans into your world and gives to them an experience and interaction that they could not get otherwise.

You will actually learn more about effectively using Twitter to connect with your ideal audience by signing up and following the people I have linked to throughout this article, so I would suggest that you make that your priority.  However, as you work at using Twitter to connect with your fans, here are some things you may want to experiment with:

• Debut music, videos or other content on Twitter especially for your followers and watch them spread to other media outlets
• Hold contests and competitions for your followers–everyone who sends a specific link to their followers is entered into a drawing, best suggestion for an album title gets a name in the album credits, etc.
• Determine which venues you should be playing in a given market with fan suggestions solicited on Twitter–not only will this help you book gigs in unfamiliar markets, but if you can show a promoter or booking agent that X number of fans/patrons have told you that you should play in a specific venue, they can’t argue that you are not “right” for their regular audience
• Reserve a couple of spots on your guest-list at each live show specifically for your Twitter followers, and give them away the afternoon before a show. Not only does it reward their loyalty, but it also creates pre-show buzz and anticipation in each market
• Let fans create your set-list on Twitter. Ask them what they want to hear and build the list from their suggestions
• Even better, as there are various ways to use Twitter from mobile phones, build your set lists spontaneously through encouraging fans at your live gigs to request songs via Twitter. You can even use #hashtags to track the requests.  Yes, this requires some extra practice, but imagine the excitement your fans would feel in having this opportunity!

*****

Additional Reading

• In Defense of Twitter for Musicians – If this New Music Strategies interview with bassist Steve Lawson doesn’t sell you on Twitter, then I’m not sure what will. (via Hypebot)
• Better Than Free – Wired-founder Keven Kelly on competing with free and giving your fans an experience that they can not get from a download or plastic disc.
• The Fan Economy – Social Media Strategist Bud Caddell’s excellent slide show on working within the new fan-centric economy and using it to your advantage. Spend some time with this one.

*****

Comments? Thoughts? Suggestions on the most effective ways to find your audience using Twitter? Share in the comments below or, of course, via Twitter.

Don’t forget to check back later for the final post in our series on Finding Your Audience.  Too much trouble to remember? Subscribe to MusicIsMyDayJob via RSS or email and let us remember for you.

There are many articles and forums to help you determine how best to find an audience on YouTube, as well as examples of people who are doing it successfully (our favorite is here, but you can also find some great tips here, here and here).  While we do not want to duplicate most of what is already out there in excess, there are some specific things that musicians should be doing to find and network with their audience on the popular video sharing website.

Customize Your Profile and Channel

Make your channel look like you and your general aesthetic–change the colors and font, use a background image that ties into an album cover or other appropriate image, and make sure that your contact info all completely filled in (official website, bio, etc). Also, don’t forget to properly tag both your channel and your individual videos with your name as well as other appropriate adjectives, as that’s how people will find you.  For more on how to do this, read this article.

Create Individual Videos With a Specific Goal in Mind

What are you hoping to accomplish with your video? Do you want to show that you can play the most unique version of Flight of the Bumblebee? Maybe you want to prove that you are a guitar prodigy? Maybe you want to stun your potential fans with a visual artistic interpretation of your music?  Maybe you just want to let your fans see what you are like off-stage?

Whatever your purpose, stick to that and don’t get distracted. If you are showing your band perform your best song live, do that and nothing but that–don’t take away from it with backstage antics or other unrelated content. You can always post a second, third and fourth video for whatever you left out of the first. Attention spans are short on YouTube, so make sure that each view counts and each video stays “on task.”

Use Standard Opening and Closing Images

Make sure that people know that your video is coming from you (and not a fan or other content creator) with a standard opening and closing sequence–it works for television shows, and it will work for you.  Ideally, the image will be one that is similar to your customized background and album artwork. Even something as simple as an image with your name, your website, and a reminder of where people can find your music is fine as long as it looks professional and you use it consistently across all of your videos.

As YouTube videos can be embedded in blogs, websites and just about anywhere else on the internet, there is no guarantee that people will be watching your videos on your YouTube page, so make sure they know which artist the video is from.  Low-cost programs for creating these abound, though we recommend picking up Kinemac as part of the MacHeist bundle today, as you are never going to find such a high-quality program for so little money and support worthy charities at the same time (ends 6 April 09 so act now!).

Be Social

YouTube is more than just a place to watch videos–it is a video-based social network, so you need to treat your fans there just like you would those on MySpace, Twitter, Facebook or any other social networking site. Comment on people’s videos; choose favorites that are not your videos and display them on your page; and send video replies as any other user would.

Perhaps most importantly, as people start to find you and your music, implement YouTube-specific marketing campaigns that speak to YouTube-users’ particular strong points–invite fans to make a video of one of your songs, mention specific users in your videos, and give fans something special that they would not otherwise have access to such as backstage interviews (conducted by a YouTube fan?), video journals and more.

* * * * *

Comments? Thoughts? We know that this is just a small portion of ways that musicians can use Twitter to find their audience. Share your favorites in the comments below or via Twitter.

Don’t forget to check back tomorrow for more in our continuing series on Finding Your Audience.  Too much trouble to remember? Subscribe to MusicIsMyDayJob via RSS or email and let us remember for you.

We have been focusing on using technology and, more specifically, the internet to find your ideal audience, but the truth is that musicians have been successfully finding fans for much longer than the last decade, and many of those old-skool pre-internet techniques are still very effective.  Here are a few tried and true ways to find your audience that the internet can not duplicate:

Indie Record Stores

We’ve waxed rhapsodic about independent record stores in the past, but with good reason. Again, these stores don’t just sell music–they are cultural centers, acting as the proverbial water-coolers for any scene’s true music fans, with employees who are both integral parts of the local seen and some of the most voracious (and knowledgeable) music consumers you will ever meet.  Most of these stores sell music on consignment, and many have listening stations and displays devoted specifically to local acts, so why not find your locals stores and approach them about carrying your CD? (We’ve even made it easy for you–check out our resource list at the end of the article to find your local stores and more).

A couple of suggestions:

• Do your research–Find the stores that sell the type of music you make–some stores carry all genres, but others specialize in one genre or clientele. Angel’s New Age Emporium of Happy Vibes will not be interested in your Gothic death metal, so don’t waste their time (or yours)
• Make your contact info obvious–Often times, music fans go to music stores to purchase  specific releases, making a list of other music that they want to check out or learn more about before purchasing, so make it easy for people to find you. List your website on your CD packaging and make sure your band’s name is easy to find on MySpace and other social networks (for example, if there are five different bands called The Sun, make your MySpace name TheSunSLC or TheSunUK so people know which artist is the local one they just discovered)
• Keep promoting your music–Don’t think that just because your CD is at the store, it will sell; continue to do all that you can to get the word out in your community about your music and album
• Support your local indie store–If the store is kind enough to sell your album, the least that you can do is support them. Have links on you website/blog/etc to the store’s website; include their info in any email blasts or newsletter orflyers you are making (“CD available now from Bob’s Record Shoppe”); and support Record Store Day!!!

Non-Music Retailers

Most retailers enjoy–prefer even–to have music playing in the background, and those who are not chain stores generally do this either via CD, an MP3 player or computer. After completing your ideal audience profile, visit some of the stores, bars and other businesses that your audience frequents and offer to provide them with a free copy of your music if they would be willing to play it in store.  If you are prepared and can show them that you share a similar audience (i.e., “…more than half of my fans on MySpace say that they also enjoy skateboarding…” or another applicable hobby/interest), most will gladly accept your offer.  Some may even be willing to feature your flyers and posters in-store, or even sell you music on a consignment basis.

Live Performances

Still one of the most important parts of promoting your music to anyone, a killer live performance can connect with new listeners like nothing else. Don’t limit your thinking to traditional gigs in clubs and other “proper” concerts–for some artists, busking can be very effective (especially if in an area that your ideal audience frequents), as are house parties, street-fair performances, gigs in art galleries & museums and online broadcasts (whether via an actual video feed or in SecondLife). Check out the resource list below for suggestions and useful links.

Family and Friends

It’s sometimes easy to take your family and friends for granted, but don’t–they are one of the most under-utilized resources out there.  They are already people who love and appreciate you, so why not ask them to pass your music on to others who they think would enjoy it? Outside of the jaded metropolitan centers, most people are proud to say that they have a friend who has released some music, and most will gladly pass your music on to anyone and everyone.

Not only that, but think about how much more likely you are to check out a recommendation when it comes from a trusted friend or family member, whether that be a restaurant, a movie or a new song. Now multiply that by however many friends and family members you ask to spread the word about your music and you will start to comprehend the potential this has to connect you with your ideal audience. It may feel like throwing things against the wall to see what sticks, but as you already have so much contact with these people anyway, what’s one or two more sentences about your music, especially compared with the potential return?

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Resources

• Find your local indie record store: http://www.recordstoreday.com/Venue
• The indie record store coalitions in the United States (members are some of the most active and innovative music retailers out there, as well as the most likely to sell music on consignment):
  • CIMS – http://www.cimsmusic.com
  • AIMS – http://www.thealliancerocks.com
  • MMN – http://www.musicmonitornetwork.com
  • SECUR – http://securmusic.com
• Music Think Tank on booking live gigs: http://www.musicthinktank.com/blog/a-better-way-to-book-live-music.html
• Homes looking to host live concerts: http://www.concertsinyourhome.com/
• Music venues in SecondLife: http://secondlife.com/showcase/music/
• Getting fans to promote your music: http://www.musicthinktank.com/blog/from-exposure-to-conversion-how-to-create-a-real-fan-part-on.html

*****

Comments? Thoughts? Suggestions on the most effective old-school ways to find your audience? Share in the comments below or via Twitter.

Don’t forget to check back tomorrow for more in our continuing series on Finding Your Audience.  Too much trouble to remember? Subscribe to MusicIsMyDayJob via RSS or email and let us remember for you.