Brand Your Music: Brand Image (The Next Level)

They say confession is good for the soul, so here goes nothing. I, Saqqara M. Grant, have not been taking care of my brand as well as I should. There I said it. I hope that no one will judge me.

During the last 12 weeks, I have embarked upon a journey that has taken me from thinking like a small business owner to full fledge brand conglomerate. Along the way, I have continued to share my gems of brand wisdom with you but it wasn’t until last Tuesday that I realized that I needed to do more. It has been 6 months since Brand Your Music started and to be honest, like many of you in your own careers, I didn’t know how it was going to pan out. I thought I had a solid idea and a good outlet, but I didn’t anticipate the rapid growth of this movement. I created and adjusted my overall brand strategy along the way, got some really interesting feedback from some of you, and ultimately learned where my brand strengths and weaknesses were.

The point I’m trying to make is that your brand cannot stay the same forever. Realistically, if you want to continue to make an impact on your core audience and appeal to new ones your brand image must evolve. Your brand has to have a makeover every now and then. The change can be as big as rethinking the complete image of the brand (new band logo, a completely new style of music, new look for your band, etc.) or as small as changing the way you connect or interact with your core audience. With that said, I am extremely excited to offer you the new Brand Your Music.

Feel free to offer your feedback on our Facebook page or tell me directly on Twitter.

 

This week on Brand Your Music (Aug 1, 2011)

What do you think about the Beyonce´ brand? Share your thoughts on our Facebook fan page or tell Saqqara M. Grant directly on Twitter.

 

Consumer Profile-Natalie

Based on your extensive consumer research, you’ve found that your ideal consumer is Natalie. A 31-year-old professional who enjoys spending time to connect with her friends on Facebook and likes the fan pages of artists like Kem, Jill Scott, and Ledisi. Natalie also likes to listen to internet radio stations like Pandora while at work, and prefers to listen to XM radio on her drive home. Her salary is more than reasonable, so she has extra income for recreational activities like concerts. Natalie often attends local outdoor festivals and has traveled with her friends to the Essence Music Festival in New Orleans the last three years. This description gives you an idea of what your ideal consumer profile should read like. Obviously, the more detailed the research the better the consumer profile.

 

Mixtape Marketing

In the ever-changing world of the current music industry, artists are constantly looking for ways to promote themselves. Today’s artists, signed and unsigned, are using the mixtape to its greatest advantage. Originally intended to showcase a DJs live mixing skills, the mixtape has evolved into a promotional tool that is essential to today’s artist no matter what the genre. The mixtape, as a part of Hip-Hop culture, goes back to the 1970s during Hip-Hop’s emergence on the streets of New York. Fans of artists like Afrika Bambaata and Kool Herc commonly recorded their live shows and eventually spread the tapes around to other fans. This, in turn, widened the reach of their music. The mixtape has now become a staple in the music industry with artists like Rasheeda releasing volumes of her “Boss Bitch Music 1 and 2″ to create anticipation for Volume 3.

Releasing a mixtape can benefit an artist in a few ways. First, most mixtapes are free. This allows the consumer to try out your style of music without any “buyer’s remorse.” The last thing you want is for a dissatisfied fan to hit their social networks and spread their distaste for your music. Of course, everyone is not going to take to your brand of music but at least they won’t demand their money back. Second, if your mixtape is “hosted” by a well known DJ it strengthens your overall promotion*. You (the artist) are essentially using their (the DJ’s) status to solidify your place in the music business. Third, if your mixtape generates enough buzz it can position you to be able to tour or do spot dates (a single show). A successful mixtape can generate serious interest in your music from fans and industry professionals alike. So what’s the key? Good music. If you’re actually good at what you do, people will gravitate to you.

*Before we go any further, a distinction must be made. There are mixtapes that are just that. A mix of songs, typically of a certain genre, complied on a CD. These can sometimes be hosted by DJs but most times they’re not. Then there are mixtapes released by artists or prominent DJs. For the purpose of this discussion, these are the mixtapes I’m referring to.

 

Who Run It?

There are certain laws that are universal. What goes around comes around, what you give is what you get, and give people what they want. This last universality is the cornerstone of basic business. Find the need and fill it. How else could you explain why anybody buys anything? But while this “law” may be true, it isn’t always the right kind of mentality. Business minds think along the lines of creating a demand rooted in worthlessness and then persuading the consumer to feel that they need it. This thinking permeates every industry in the world. The consumer, nonetheless, is left to his/her own mind to distinguish whether or not a presumed need is actually a need or simply a want. When a company presents a product to you that fills a certain need, your purchase or non-purchase of said item sends a strong message to the company. Your dollar becomes a vote for their product. Keep in mind, that every business is established to do one thing and one thing only: make money. It is naive for you, as a consumer, to think that a legitimate business with expenses, overhead, and any other miscellaneous expenditures would only be “trying” to sell you something.

What does all this have to do with the music business? Record labels, music management companies, music marketing companies, and even this wonderful music blog you’re reading now are all in business to sell you something. In my case, I’m selling an idea but I’m still selling. They’re all competing for your attention, so when your attention focuses in on a particular artist from Company A, Companies B, C, and D all take notes. You ever notice how some new artists come out and they look like a knockoff of an established artist? What’s happening is that a formula is being created for success. If the R&B girl from Company A dyed her hair blonde, put on a sexy outfit, and danced herself around to the tune of moving 250,000 copies sold in her first week of release, please believe that every executive at Companies B, C, and D with a new R&B girl will market her this same way. So the big question is, who has the power? Is it the consumers who just so happen to like R&B girl from Company A, or is it because she was marketed by the company so well that it made people like her? It’s the classic chicken vs. egg conversation. Do you remember Christina Milian? What’s the difference between her and Beyonce´? Think long and hard about this. There’s no humungous difference in terms of look, talent, or personality. If this is true, then why isn’t Christina Milian as big as Beyonce´? Have we all been duped into believing that Bey is really that good?

 

Brand Unexpectedness

As a person whose loses interest quickly, I always appreciate a good surprise. Learning how to capture an audience’s attention is great, but learning how to keep it is better.

As an artist, you should always push the boundaries of your artistry to keep your audience engaged. I’m not suggesting that you go to extreme lengths to do it, but you should keep it fresh. Suppose you’re a new pop singer who just got signed to a recording contract with a very well respected Hip-Hop legend. You can sing, dance, and dabble in a little acting from time to time. You just so happen to look like every other Pop star out right now (fairly attractive, good physique, and a decent sound), how do you attract an audience and then keep them engaged? Both are very good questions, the first answer has to do with image and sound. If you look like every other typical Pop star ever to touch the music industry, you have to work to create an image that sets you a part. Focus on the things that are unique to you. How many brunette Pop stars have you ever seen? Not many because the tradition has always been blonde is better. Create an image that goes against the grain of what people are used to seeing. Now that your image is created, define a sound that challenges the conventions of Pop music. Will the lyrical content be the force that drives your brand of Pop music or will it be the production? Madonna, throughout her career, has been a master of keeping her image and sound fresh. She was able to keep her audience’s attention by constantly changing. I know what you’re thinking, but shouldn’t an artist’s brand be consistent? Yes, but there is such a thing as consistent spontaneity. For instance, Lil’ Kim’s brand was outrageous and sexy. Every time you saw her at an event, she may have looked differently but her outrageous sexiness remained. Same with Lady Gaga, she’s consistently eccentric with her image and you hardly ever see her look the same.

Keeping an audience’s attention is simple: create music that reflects their lifestyle. If the music is relevant to their life, they’ll keep listening. Mary J. Blige’s audience has grown with her and her music reflects this growth. Her lyrical ideas are more mature and therefore appeal to her core audience. She may appear on records with new artists just to keep her brand in the minds of the younger generation, but she’s not making music that appeals to a younger generation specifically. To make music that your audience will relate to you have to know your audience.

 

Brand Simplicity

 

Your core musical brand idea should be simple. The entire idea should be able to be expressed in a single tweet. Quickly, think of your favorite singer right now (doesn’t matter the genre) and describe their musical brand in less than 140 characters. If you can, then this artist has accomplished brand simplicity but there’s something even more important than simplicity, brand profundity. The commonly used expression A bird in the hand is worth two in the bush is simple yet profound. This one profound statement can be used for various scenarios. Now think of your own musical brand and ask yourself if it’s simple and profound? It should be both, but doesn’t necessarily have to be both in order to be successful. Simple is good enough but if you want to be the type of artist that stands the test of time, your music brand should also be profound. Think about this simple yet profound statement People only remember what you give. What will people remember most about your music?

 

How to Make People Care About Your Music?

 

The longer I’m in this business, the more I realize how much hard work really goes into it. So what if you’re an artist with a brand of music so unique it can change the world. So what, if you manage, do publicity for, or market an artist with a brand so unique it can change the world. Who cares? Of course you do, and the artist you work with does, but how do you make others care about your music brand?

First, as an artist you have to believe your music is good enough. The official term for this concept in marketing communication is called self-efficacy or do you believe you can do it? If you honestly believe you can be successful in this business, the next step involves identifying the resources that can help you achieve success.

As an artist, there are two groups you appeal to: consumers and music executives. These are the people you need to persuade. The executives or industry folk have the ability to create opportunities for you. You don’t have to think in terms of record label executives but more along the lines of personnel at music publishing houses, booking agents, and DJs. Consumers are your target audience. These are the people that stamp your musical product as something they want. If you can effectively persuade both these groups, your chances for success greatly increase.

Coincidentally, an artist can take a singular approach to appeal to both groups. There is a general approach which consists of three things 1) Being a person of your word 2) Creating good music consistently and 3) Making your presence felt. The more people see you, the more they remember your face. When they remember your face they’re more likely to engage you in conversation and during this conversation when you tell them you’re going to do something and you do actually do it, you become more memorable. Their now more inclined to oblige a simple request like listening to your music or even better without you even asking they spread the word about your music. This is networking 101.

There is another more specified approach you can take when appealing only to your consumers. I spent a whole year of my life and tens of thousands of dollars learning these techniques and it would be impossible to list them all in this entry. However, over the next few entries I’ll be able to explain the general workings of many common persuasive communication techniques. If you’re interested in specific techniques for your brand, I would like to offer you the opportunity to have your brand assessed by me. Send your info to askmeaboutmusic@gmail.com. Until then stay tuned for your tips to S.U.C.C.E.S.S.

 

Social Network Assumptions

As a new artist, using social networks to promote your music is essential. Creating a Facebook fan site, MySpace music page, ReverbNation profile, Twitter account, Sonicbids, LastFM, and YouTube channel all help to spread the message of your music. These music promotional tools are free, fairly easy to use, provide you (the artist) the chance to network with other musicians and actually connect to your fans. It’s almost impossible for you not to find some success if you use social networks. However, there are a few assumptions that artists make about social networking.

First, they assume all they have to do is upload their material (photos, music, bio, etc.) and that’s it. The minute you decide to use social networks to promote your music, it becomes your responsibility to maintain your site. Also, you should not use a social site you don’t know how to work. Pick one site to maintain, once you’re able to master MySpace, for example, then move on to Twitter and Facebook. You would be surprised how many people don’t know how to properly set up and maintain a social site. My suggestion is once you establish your new social site, spend about an hour three to four times a week noticing who is visiting your site, what songs their listening to, what area your fans are concentrated in, what they’re saying about your music, and spend some time reaching out to your fans and other musicians you would like to work with. Always approach people with sincerity. Whenever you do this, people are more likely to respond to you positively. On a side note, there are companies that maintain social sites on behalf of an artist but they do charge handsomely. Only consider this option once you become so popular that you literally do not have time to keep up with all your social sites.

Second, a lot of artists assume that because people are following them on Twitter, befriend them on MySpace, or are fans of their Facebook page that they will actually support them. There are two different types of “fans.” There are active fans and passive ones. Active fans listen to your songs, download them, and attend shows. Passive fans follow you on Twitter and are fans to your Facebook page, they may even listen to your music (through internet streaming) but do not contribute to discussion about your music or feel compelled to download your latest project. These two groups are very different but both contribute to your overall success. Active fans can actually encourage passive ones to become more active. Passive fans may only stay passive in the beginning and eventually become active on their own. As an artist, you don’t have to promote yourself differently to appeal to each group but you should be able to spot which fans are what type.

Third and most importantly, your promotional journey may begin on the internet but eventually you’ll find yourself in the real world interacting with real people. Let’s say you’ve gained enough buzz to tour locally and you anticipate around 50 people at your first venue, if your live performance is not as captivating as your recorded music, you’re dead. Even if only 10 people go to their social networks to talk badly about your performance it can destroy everything you’ve built virally. That’s one thing to be aware of. Now, let’s say you’re a great performer and you’ve landed the opportunity to meet with an industry executive and they start talking about a publishing and distribution deal. You have absolutely no idea what they’re talking about but you’re so excited to be meeting with this person that you pretend you do. This could present a big problem. A new artist should know damn near everything about the business side of music. If you don’t, go to your local bookstore or library and educate yourself. You never want to get yourself into a bad business situation because you don’t know something. Do you remember The Lox? They were a rap group on Bad Boy Records that ended up completely screwed out of their publishing because they didn’t take the time to try and fully understand the deal that was being presented to them. Don’t put yourself in that situation.

 

Brand Communication

 

As a new artist, it is your job to promote your music to as many people as possible. Why? Because you figure that promoting your music will either gain more professional opportunities or generate sales. If your promotion is able to do both, that’s even better. So how do you introduce a new musical product to the world? There’s no simple answer. No two artists are, or should be, marketed the same way. First, because it confuses the audience. Secondly, it’s unnecessary. Before any artist conceptualizes a general marketing plan, they have to address the following questions: 1) What type of audience does my music speak to? What kind of person do I (the artist) represent? 2) What is this audience’s current beliefs, attitudes, and feelings about music? How are they typically introduced to music (through social networking, through mixtape sites, etc.)? The first question deals with developing an artist’s brand, to find the answers to the second question you have to conduct some research. (Google is the best place to start researching anything.) The answers you develop to these two questions are the foundation to your entire marketing plan. What comes next in your marketing plan is the elaboration of these two questions. Once you determine what your core audience’s beliefs, attitudes, and feelings are then you subvert them. [Quick side note: branding, in the general sense, deals with positioning. What brands do you think of first when you think of detergent, car insurance, or cosmetics? Those brands you named are positioned in your mind as important or more important than their competitors that's why you remember them.] Music branding, especially for a new artist, deals with positioning your music as better than or more attractive than your competition to your consumer. You (the artist) are taking their (the consumer’s) current musical positioning roster and inserting your music. The ultimate goal is to become positioned within the top 3-5 recalls of an individual from your core audience.  You have to change the consumer’s belief and attitude toward your music, that’s where the hard work starts. Why should a consumer listen to your music? What makes your music good enough? This answer is your unique selling proposition (USP) and is the core of your brand.

Let’s look at this concept in a real life example. One of the artists I currently listen to is Nipsey Hussle. He is a Los Angeles based rapper who also happens to be from one of the largest Crip gangs in the city. His unique selling proposition (USP) is that he’s a real nigga from the streets that raps about his real life struggles, triumphs, and setbacks. His core audience are those he represents, people who similarly find themselves in precarious social, financial, and sometimes legal situations. What makes his music good enough? The way in which Nipsey approaches his artistry and the mastery of balance between production and content makes for good music. He is successful and will continue to be successful as long as he speaks to his core audience.

There are plenty of other examples to highlight, but the core message is the same: Who are you as an artist? Who do you represent? If you can clearly answer these two questions, you are a million steps ahead of your competition and on your way to your own success.