Monday, November 25, 2013

The 20 Highest Paid Musicians In 2013

Madonna 2013 image
It's always interesting to see who are the most successful music celebrities of the moment. Frequently they're not who we think they are since the ones making the most money are necessarily the hottest at the moment. That's exactly what you'll see in this year's Forbes Highest Paid Musicians of 2013.

1. Madonna - $125 million
2. Lady Gaga - $80 million
3. Bon Jovi - $79 million
4. Toby Keith - $65 million
5. Coldplay - $64 million
6. Bruce Springsteen - $62 million
7. Justin Bieber - $58 million
8. Taylor Swift - $55 million
9. Elton John - $54 million
10. Beyonce/Kenny Chesney - $53 million (tie)
12. Diddy - $50 million
13. Paul McCartney - $47 million
14. Calvin Harris - $46 million
15. Jennifer Lopez - $45 million
16. Roger Waters - $44 million
17. Muse/Rihanna - $43 million
19. Jay-Z/One Direction - $42 million

Of course, these numbers and positions will surely change by the end of the year, but it's still fair to say that the 1% of the music business are still making a lot of money.
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Sunday, November 24, 2013

Marketing Bob Dylan All Over Again

Bob Dylan 1962 image Music 3.0 blog
Bob Dylan - 1962
By now you’ve probably at least heard about the latest video to capture our collective online hearts - the first official video of Bob Dylan’s most famous song “Like A Rolling Stone.” The video has caused a sensation not only because it’s interactive, but mostly because it’s based around the concept of doing something we all do probably too much of; watching television. On this video, the viewer can change between different “channels” that represent a cross-section of what we have available today (16 in all), meaning news, reality, sports, game shows, a children’s cartoon and finally a vintage of live video from 1966 of Dylan and the The Hawks (later to become The Band) performing the song.

What’s disconcerting is that each of the television scenarios has the actors lip synching the song, but acting as they normally would on their prospective channels, so there’s a big disconnect between the song lyrics and how the actors are saying it. The interactive part where the user can change the channel is a tribute to technology as the each channel stays in perfect sync regardless of where during the song the channel change is made.

Forget the phenomena of the video for a moment and think about the marketing that the video represents. As brilliant of an artist as Dylan is, he peaked a long time ago and has been mostly irrelevant for at least a few decades. That’s no knock on him, as the same thing happens to all but a few artists. Sometimes it’s the market that dictates it, while other times it’s the artist him or herself that pulls away as the ability to enjoy the fruits of one’s success grows. Either way, the man doesn’t have to push himself anymore as he’s earned his freedom to do whatever he desires.

That’s exactly why I don’t believe that he’s the driving factor behind this video, but that fact is almost irrelevant. There’s some brilliant marketing that we’re witnessing.


First of all, the video revives a hit from 1965. Think about that for a moment. This isn’t a remake or a duet with a new hot artist, it’s the original song, which as great as it is, is still 48 years old! Read more on Forbes.


Join the conversation and let me know how Bob Dylan impacted your life. Share a lesson learned from Dylan below, and please share this post if you know others who’s lives were touched by Dylan.
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Thursday, November 21, 2013

How Twitter's Stock Price Will Affect Spotify

There are a lot of music tech companies with eyes on their big score, commonly known as the IPO. Spotify is likely to be the next music tech company in line, but much depends on Twitter’s stock price over the upcoming months.

Twitter Stock Price image from Music 3.0 Blog
The influence of Twitter stock over music tech has been hotly debated recently, with Billboard’s Glenn Peoples stating that it will have little effect, while industry analyst Mark Mulligan claiming that the effect can be substantial. If you can’t already tell, I come down on Mulligan’s side, mostly because so much of the stock market is based on perception.

Have you even noticed that if a company’s quarterly profit doesn’t meet an analyst’s prediction, the stock price declines? This happens even if the company had what many might consider a good quarter where it was profitable and only missed the analyst’s prediction by a point or two. The reason for this? The perception that there must be something seriously wrong under the company’s hood if the arbitrary goals set by the analyst haven’t been met, regardless of how unreachable they might have been in the first place. Then there’s the case of how the stock price of a company can tank if a negative rumor gets out in the wild, even if it’s far from being true. That’s because stock prices are built more on perception than reality.


Of course that means that how Twitter does in the market will affect any tech or music tech company who’s IPO comes after it. Facebook already put a chill in the tech market when its stock didn’t perform as expected (there’s that perception thing again). Even though the stock has come back to trade above its IPO price of $38 (it’s trading around $46 today), the general feeling around it is negative and that had rubbed off on the Internet tech sector as a whole. Read more on Forbes.
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Wednesday, November 20, 2013

A Look At 5 Free Twitter Measurement Tools

Twitter tools image
Twitter can be a great promotional tool for a musician, artist, band, engineer or songwriter, but it doesn't do you much good unless you can measure how well you're doing. Most social media analysts are paying less attention to followers and more to social interaction. Luckily there are a number of tools that allow you to determine just what your reach is. Here's an excerpt from Social Media Promotion For Musicians that looks at 5 free Twitter measurement tools.

"As with everything online, it’s possible to measure how well you’re doing on Twitter, although the measurement details can sometimes raise some eyebrows because of the differences between measurement tools. That’s why it’s best to look at the trends more than any actual scores that the following services provide. If you see a metric suddenly jump up or down, you want to know why. Likewise, if you see something trending up or down month over month, then it’s time for some real analysis. Here are a few measurement services to check out.
  • Klout: Klout gives you a score based upon the total action from your Twitter, Facebook, Google+, Foursquare, Instagram and Linkedin accounts. You’re able to see the approximate number of mentions, retweets, followers and lists you receive, as well as a 90 day history.
  • Topsy: Topsy is another measurement tool that has some free elements, but for anything granular it will cost you. It’s great for searching trends, hashtags, and just about any other social detail, and the Pro version can give you exact counts of mentions, sentiments, impact and trends.
  • Trackur: Trackur is another tool that provides social influence and sentiment analysis for a price. It looks at all social platforms, not just Twitter.
  • Kred: Kred is pretty cool in that it looks at your entire social community and scores you on your influence. It gives you a 30 day follower count, shows influence and outreach, and shows your top locations and communities, among other things. You can also look at the Kred scores of others globally, check out the scores for books, movies and TV shows, and see what your friends are scoring. It’s free for now.
  • Tweetstats analyzes your tweets over time and is a good way to look at your personal stats in a nice graph.
None of these tools are perfect so it's best that you use a couple to get a feel for your current Twitter presence."
To read additional excerpts from Social Media Promotion For Musicians and other books, go to the excerpts section of bobbyowsinski.com.
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Tuesday, November 19, 2013

YouTube Overtakes Facebook With Teens

YouTube logo image from Music 3.0 blog
We all knew this was happening, but now a number of surveys have told us that YouTube is now officially more popular with teens than Facebook. Studies by both Piper Jaffray and The Futures Company have reported that teens are migrating away from Facebook, and that YouTube is the main beneficiary of that attrition.

The Futures Company found that 50% of teens cited YouTube as their favorite site versus 45.2% for Facebook.

And it seems that the younger the teen, the less interested in Facebook they are, with only 41.6% of 12 to 15 year olds preferring Facebook, compared to 48% last year.

Facebook is still a powerhouse that's actually beginning to become profitable, but there are signs of problems ahead. While there's no mass exodus away from the service, losing the next generation of users doesn't exactly make its future bright in the long term.
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Monday, November 18, 2013

BitTorrent Traffic Lowest In 10 Years

BitTorrent Logo image
You haven't heard much from either the film or music industry about piracy lately, and that's because piracy is far less of a problem that it's been in some time. For music, that's because of the rise of streaming services, while for video, it's mostly due to NetFlix and YouTube.

While the decline of piracy was somewhat empirical until now, a new report from Sandvine shows that BitTorrent traffic has fallen to 7% of all Internet traffic, down 20% in the past 6 months alone. To put it into perspective, 10 years ago BitTorrent traffic accounted for 60% of total network traffic.

Meanwhile, video traffic is high, with NetFlix and YouTube accounting for 50% of today's Internet traffic.

Consumers embrace technology that make things more convenient for them. In music, subscribing to a streaming service or watching YouTube is far easier than pirating. With video, see your favorite movie or program on NetFlix or YouTube is easier than stealing it. In both cases, having access has a lot more benefits than owning.
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Sunday, November 17, 2013

How Music Management Rollups Could Affect Music Tech’s Future

Deezer image
We’re living in a very interesting time in the music business. Unlike when the industry was caught off-guard by the MP3 revolution, the powers that be are totally on top of the one that’s happening now - streaming music - and they’re being proactive about dealing with it. Interestingly enough, they’re way ahead of the curve this time, even before the majority of the public. Let’s look at how this is playing out.

The first step in trying to take control of the situation came when the major labels pushed Spotify for an equity stake as part of the licensing deal that let it enter the US market. The labels weren’t about to lose control again like they did with iTunes a decade earlier, so this was a condition for the deal. Now with Spotify’s biggest competitor Deezer about to enter the US, you wonder whether the labels are asking for the same agreement. My guess is that they won’t get it this time, since they’re not in the same position of strength that they were even a year ago, as more deep pocketed competitors are already in the marketplace where there was no way the labels could get equity (like with the recently introduced iTunes Radio) and new ones are about to be introduced (like YouTube Music which had it’s deal in place before Spotify’s). 

A bigger problem for the record labels is that they’re no longer the pinnacle of power in the music business - managers are. Modern music management now includes many of the former duties of a record label, like marketing and promotion, as part of its core offering to an artist. And with artists now capable of ably recording their own masters without a huge financial outlay, the banking services of a label are no longer needed either.


That’s why some of the recent deals involving managers are interesting, because it can put them and their artists into a more leveraged position with the various music tech services. There are three very recent examples. Read more on Forbes.
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Thursday, November 14, 2013

How Spotify Helps A Song Become A Hit

Slide from Spotify's Will Page's presentation at the Media Evolution event in Sweden.The other day Spotify director of economic development Will Page showed some data about how the service can be front and center in helping a song become a hit, using Lorde's "Royals" as an example.

The gist of the example is that playlists are one of the primary reasons that a song takes off on Spotify. When people add a song to a playlist they create, it's almost the same as word-of-mouth in that other people check out the song and potentially add it to their lists as well.

As with so many hits these days, that can help a song get a groundswell, but it takes a celebrity or someone with high visibility to add it to their playlist for the song to explode. In the case of "Royals" it was Spotify's Sean Parker who added it to his Hipster International list which pushed the song to hit status almost overnight.

The interesting thing here is that this is really no different from hit making on radio going back to the 50s. If a DJ started playing a song in a major or secondary city, the song would begin to break out as other DJs would add it to their playlists because it was suddenly got hot.

The fact of the matter is that it still requires some sort of a unexpected break for a song to become a hit, it's just that the break now may come online instead of over the air.
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Wednesday, November 13, 2013

Lady Gaga’s Management Blues

Lady Gaga image
It’s been reported that Lady Gaga, a performer seemingly at the height of her powers, has fired her longtime manager Troy Carter in a move that has many in the industry scratching their heads. Carter and his management company Atom Factory have been in charge of Gaga’s career since 2007 and are largely responsible for putting her in position to become the superstar that she is, and even more importantly, being able to financially take advantage of it.

There’s been no reason given for the split, but an artist/manager divorce usually comes down to one of three reasons; the artist isn’t making enough money, the artist is being asked to do something he or she feels compromises some artistic or personal integrity in order to make more money, or the artist feels slighted because the manager takes on a new client. 

Gaga’s making plenty of money (she reportedly made $80 million last year alone, topping Forbes list of most powerful musicians), so that’s an unlikely scenario. The other major star in Atom Factory stable is John Legend, but he isn’t a new signing, so that’s an unlikely conflict. 


That said, Carter does have a new label venture with Capitol Music Group with two new acts, Basic Vacation and The Ceremonies, the later who will have an EP released on November 19th. The label (Atom Factory Music) is said to be a hybrid record label in that it uses Capitol more for their radio promotion, with the rest of the marketing occurring in-house, which would take more attention than in a normal artist-manager-label relationship. This could be another thing that competed for the superstar’s attention. Read more on Forbes.
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Tuesday, November 12, 2013

8 Steps To Developing Your Brand


Social Media Promotion For Musicians book cover image

Everyone has a brand, but one of the problems that most musicians, artists, bands, songwriters, engineers and producers have is that they don't understand exactly what their brand is. It's difficult to stand out from the crowd unless you have a really good idea of your brand and know how to develop it.

Here's an excerpt from Social Media Promotion For Musicians: The Manual For Marketing Yourself, Your Band And Your Music Online, that describes the 8 steps to develop your brand.

"While the music that you play or create is totally up to you and outside the realm of this book, what we can deal with is the second part of the brand - your image. Here are some steps to take to refine your brand.

1. Make sure your brand image accurately portrays your music and personality. If you’re a biker band, you probably don’t want a website that’s all pink and flowery. On the other hand, the pink works great for Katy Perry. Likewise, if you’re an EDM artist you wouldn’t want your site to show the woods and trees, although that could work well for an alt rock band from Minnesota or someone doing music for meditation. 

2. Keep it honest and simple. Don’t try to be who you’re not, it’s too hard to pull off. You are who you are and people will either love you for it or they won’t. While you can concoct a backstory where you were taught a new form of music by aliens, then honed your technique in the jungles of Brazil, that just sets your brand up to fail if you really can’t live up to the image that’s been painted. Best to keep things simple and be honest about who and what you are and where you came from. If people like what you do and can relate to you, that will shine through and your fans will not only find it interesting enough, but will be totally fascinated as well.

3. Differentiate yourself. While it might seem tempting to proclaim that you’re just like Coldplay, that doesn’t immediately make you their equal in the eyes of the public. The fact of the matter is, there already is a Coldplay, why does the world need another one? It’s their brand, not yours. The only way that a brand can be successful is to differentiate itself from the competition. A great example is the seminal punk band The Ramones, who decided that all their songs would be as short as possible and played without solos. There must be something that makes you unique in even a small way. If you can’t find it, it may be time to go back to the drawing board.

4. Keep the look consistent. Consistency of product and image are the key to branding. That’s why you need to use the same logo and fonts and have the same general look and feel across all your promo for it to be effective. That includes your website, press kit, blog, newsletter and all social media.


5. Create a remarkable logo. This is a requirement if you’re planning to promote your brand. You need this for your website, social sites, merchandise, press kit, promo and on your stage during gigs. In short, it has to be part of everything you do. You may start promoting yourself without it, but it’s a big plus if you already have a logo. It separates you from the newbies. Just as an example, here are a few unmistakable musician’s logos in Figure 3.1.

If you’re a musician without a band, a producer, songwriter or engineer, it doesn’t mean that you must also have a logo as well (although it would be better), but at the very least, use the same font for your name on your blog, website, newsletter and anywhere else it might appear.

6. Great photos are a necessity. You need first class photos for posters, merch, website, social networks, press kits, and a lot more if you want to build your brand. This is as important as the logo - you need a great photo in order to begin any kind of promotion. Have you ever seen a Facebook page or website of a major artist without an artist or band photo?

7. Give away samples. Learn this phrase well as it will be repeated throughout this book. 

Your music is your marketing.

That means that you can’t look at your music as your product. It may bring in some money eventually but not all that much in the grand scheme of things. Remember that 90 to 95% of the money that a major artist earns is not from recorded music. It’s from concerts, merchandise, publishing and licensing. 

TIP: Don’t be afraid to give your music away. It’s your best marketing tool and the best way to build your brand.

8. Cool is never declared. You cannot proclaim how new and unique you are. If such a statement is in fact true, people will find out soon enough and tell the world. You can use quotes from other people, but telling the world that you think you’re cool does not make it so.

These are not the only steps that you can take, but they’ll take you a long way to creating a brand image that works for you."

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Monday, November 11, 2013

A Search Engine For Radio

Have you ever listened to the radio and wished that the station would play a song that you can't wait to hear? You had to wait until either the song was played, or search for another station where the song might be playing and risk missing it on the original channel. Of course, if you're near a computer you can dial that song up in a second on any number of streaming services or YouTube, but if radio is your thing, that meant that you were stuck with the way we've listened for nearly a century. But that's changed now with the a new service called Radio Search Engine.

Radio Search Engine, the brainchild of Michael Robertson (who's also responsible for DAR.fm and way back, MP3.com), allows you to search for a song or artist, and the service will find a station that's currently playing it. It gives you a list of popular songs that are playing, and poses suggestions of other songs and stations after the search engine has found your query. You can think of it sort of like Google for radio.

Radio Search Engine works pretty well but it's not perfect, probably because it depends upon song metadata. If the metadata is incorrect or incomplete, a song could be playing but RSE won't find. That's not RSE's fault, but it's something that does come up. Then there's the fact that, as stated before, you can use one of the many streaming services to do the same thing.

One area where Radio Search Engine can help an artist is by searching to see what songs are being played on radio and where. While there are other ways to measure airplay, there's nothing like hearing it yourself as the ultimate aircheck. Check out the video below on how it works.



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Follow me on Forbes for some insights on the new music business.

You should follow me on Twitter and Facebook for daily news and updates on production and the music business.

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Sunday, November 10, 2013

Three Reasons Why The CD Is Still Important

CDs image
Everybody knows that the CD has died, replaced by a digital world where files and streams are the main methods of music delivery. The only problem with that statement is that the CD is not yet deceased by a long shot, and it’s still a real tool in the belt of artists and bands everywhere. Sure, it’s rapidly diminishing in importance, but important it still is. I know that most of you reading this don’t believe me, so let me give you three reasons as proof. 

Reason #1: Last year there were 211 million CDs sold in the United States, according to the Recording Industry Association of America. While this number is down 78% from the format’s peak in 2000, it still amounted to around $2.5 billion in revenue, or about 35% of the income of the entire industry in the US. If you think that there’s weeping and gnashing of teeth in the business now (although it’s far more quiet than it’s been in the recent past), you’d hear some real wailing in record label boardrooms everywhere if the format were to disappear into the ether tomorrow.


Now 211 million of anything is a lot of units, but keep in mind that these are only the sales that the RIAA could count through their traditional distribution channels. This doesn’t account for all the CDs sold independently by artists at gigs, shows, church services, or online, and who knows how many other outlets.  And keep in mind that CDs are a high-margin item that makes not only more revenue per sale but more profit as well. An artist or band selling a few units per night might not seem like much, but this is occurring by the the thousands daily, which adds up to real money that’s not on the books anywhere and never will be. Read more on Forbes.
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Follow me on Forbes for some insights on the new music business.

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