016: Your Questions Answered. Music Marketing, Touring & The Music Modernization Act

016: Your Questions Answered. Music Marketing, Touring & The Music Modernization Act

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You are now listening to the music business dreams podcast, brought, to you by KTM our music, hey. Guys thank, you for tuning back into, the music business dreams podcast. Where, we teach you how to make your music business dreams come, true I'm, your host Brandon, Jackson and I'm super, excited about, today's. Episode so. If you listened last week it was our first ever solo. Episode, and, I was just talking to you guys about scams. That I've seen in the music business both. Over the years and some that have been ramping up here, lately, so. If that's something you're interested in you should definitely, go back and check it out but. I wanted, to come to you guys today with another solo episode, because. Some, interesting things have been happening in the last week so, last. Week the, music Modernization. Act was signed into law by President Trump. And I. Posted, a breakdown, of that bill, just. After it passed the Senate about two weeks ago and, so. The video that I did on that subject ended. Up trending, when, President Trump signed the bill so, our audience has nearly doubled was, more, than doubled on YouTube the, podcast has grown all of, that as a result of this video kind of going viral and, getting. I think it's at like 6,000. Plays, right now, so. With, that said we've had a lot more people join the Indy club in the last week we've, had a lot more people asking, questions on, social media so, today, I wanted, to do a Q&A, episode just. To address some, of the questions you guys have been asking some, of the questions I've been seeing a lot over the years of, course if you guys have been following us for any period of time then. You know we're all over social media, we're, on Instagram, or, on Twitter, we're on Facebook, we're. On YouTube of course and then, we're also in, a private community called the Indy Club so. Between, all those different mediums I get questions, all the time and. I try to respond, to them all no, matter where they pop up but, I'm. Only human we're only human here, so, some. Of them do get missed so today I wanted, to take, a look at some of the. More pressing, questions, some. Of the more common questions things that I think are going to affect the majority of you guys as. You go on with your music careers, so. We're. Gonna start off with questions. About the music Modernization, Act that, came in the comments of that video we've. Got some questions about marketing, and branding, we've, got some questions about touring. And live shows and then, just other kind of general questions, as well so now. Again I do try to respond to every single question, that I get without, fail but, again I'm. Only human so, if you. Guys want, your questions answered on a more regular basis there are two ways to do that you can, join the Indy Club on Facebook and again the, Indy Club is our private networking. Community of artists. Managers, basically. All sorts of aspiring music, industry professionals, so, you can join that on Facebook, it's at KDM r dot us slash, Indy Club and of course I will leave the link in the show notes and. Then, if you, want one-on-one advice, I've. Got a new option for you you can actually book. A coaching, call so, if you go to Katy mr dot u s slash. Coach me, then. You, can schedule a one hour long call with me because. Take place on Saturdays, because I don't want you to be distracted, with. Your job or your family, I want you to be able to go into a room sit. Down for an hour and really think about your. Career and your strategy, moving, forward so. The, calls do take place there either over the phone or on skype or zoom and I do record, the session no matter what so that you can keep, it for your records and, look back on it and make sure you have a record of all the advice that I gave you in that hour so, that's something you want to do again, KDM. R dot u s slash, coach me and I will leave the link in the, description, below so. Without. Further ado, let's. Get into some of these questions again it's been a wild week since. That video went viral and, you guys had a lot of questions. About the music Modernization. Act, so. We. Are going to start with a question from, Mike now, I guess I should give a broad strokes, overview, basically. The muse Modernization, Act is something that has been in the works for about, seven years now and, without. Going too deep into the weeds it's, basically, updating, u.s. copyright law to make. Sure that streaming. And tech companies are, paying, songwriters. And publishers, their. Mechanical, royalties on, time.

And It, also makes sure that they actually get them. Basically. The big problem, with the way the Copyright, Act had. Been written and of course some of these laws have been on the books since back, in 1909. But, they, didn't have a way to accurately identify. The. Songwriters, and publishers of each song and so, the trade-off for that, was well. Just follow a notice of intent with the Copyright, Office and, if, they don't claim it after a certain amount of time oh well. Whatever. Collection, agency just gets to keep that money, but. The, streaming, services weren't really doing their due diligence to, find those artists, and they were being, opened up to a lot of lawsuits so. The, music Modernization, Act kind of shields, the streaming services, from, getting those lawsuits while. Also creating a bunch of programs to help the, artists, and the songwriters, get, the royalties, so, they're going to be creating a database with. All songwriter. Information, and publisher information that. Is going to be kept up to date and paid, for by the streaming, services, and then. They, are also. Creating. What's called the mechanical licensing. Collective, and basically. That is going to be like a new Performing Rights organization. That, just distributes. Mechanical, royalties and, basically. It's going to be their job to, track down the songwriters, instead, of the streaming companies, so, all. Of those things are gonna help songwriters, get paid more there are other aspects, to the bill and if you want to learn more I did, a full breakdown on, our YouTube channel youtube.com. Slash. KBM our music, so, with, that said there, are some questions that you guys had about the bill I'm, gonna start with a question we got on YouTube from Mike, Mike. Said will we lose streaming, from YouTube, the. Answer is No. There's been a scare that okay if these tech company is gonna be paying more does, that mean we're gonna all of a sudden have a shortage, of music, and. The answer is no but, tech companies were supposedly, paying, these royalties already, they, just weren't making it to the final destination but another, thing to realize. Is that the. Music. Modernization, Act really. Deals with mechanical. Royalties and, what. A mechanical, royalty is is the. Payment, or the royalty that is generated, whenever, a song is physically, sold now. I know what streaming that's kind of weird because, the copyright law has recently been updated to count an interactive. Stream, as a. Form. Of a sale it's, much less valuable than an actual download, but. It does generate a mechanical, royalty albeit. A small one, with. YouTube. They, kind of have a way around that, because, they're not the ones that put the content, on the platform it's, all user-generated content, and so.

With. The exception of the YouTube, Music app, YouTube. Isn't paying out those mechanical, royalties because. They're not really tracking who's being getting paid so that's why you have services like VEVO, and Oddie, em and things like that to, kind of track down whose. Music, is being used and just kind of generates. Some money with ad revenue, so. The. Long story short the. Royalties. That YouTube. Would owe are. Separate. From the royalties that are defined in the music Modernization. Act so. To. Answer your question Mike, no. You're. Not losing streaming from YouTube. Daggum. Says, is this gonna be bad for streaming companies and, again it's, not gonna be bad for streaming companies because. They were already paying this money out anyway, again. This, is just going to help all those funds reach, their final destination which. Should, be the, artist. Now. Let's. See, wkz. Works, asked. How, does this apply to artists, or publishers, outside, of the United States great. Question, now, most, of the Global music industry, is based. In the, United States especially. If you're affiliated with a major publisher. Or record, label so, for, the most part the. You. Guys, whoever's. In another country, you're. Going to be partnering, with the United States to, get your royalties from any songs that are played in the United States now, obviously if, your songs are streamed outside, of the United States then. That's a separate thing between you know you guys's collection agencies. What. This is is something called neighboring, rights right. And basically. Neighboring, rights are the, same as your. Performance royalties your mechanical, royalties you, know for us who are who called the United States home those, are just royalties, but. To collect those same royalties, overseas. In other countries, those. Are called neighboring, rights they're the rights that you have to, give music. To our neighbors, in other countries, is, the best way I can explain that to you, so.

For, Those who are outside, of the United States you. Would be technically. Exercising. Your neighboring rights by. Collecting, royalties, from the United States but. Your, files will be kept in that database as well as an. Independent songwriters, it's gonna be important, for you to make sure that. You register all of your works with the Copyright, Office and, that you, submit, all of the, required documentation. To, that, mechanical, licensing collective, once, it is up and running which, will be in about two, years. So. Let's move on to the next question. Moneta. Says will remakes, and tributes, count yes. Remakes. And tributes do generate, a mechanical, royalty, and I think I should kind of take a step back and. Explain a little bit more about what mechanical, royalties are, so again mechanical. Royalty, is a royalty that is generated, for. The songwriter, and the, publisher, so, basically, it protects, the people who owned the rights to the. Actual musical, composition. So. The, if I decided, I was going to write a song and I, put it down on sheet music, my, creation, that's on the sheet music the composition, the sound. That you hear, if. Rihanna decides, to cover my song that, is the sound recording, or the master, recording, and that is owned by the record label if. You're an independent artist you own that master, as well so, we're talking about two different royalties. And. Now let's get back to this question so the, remakes, or tributes, while. You do have a separate, master that, is that remake in that tribute the, underlying, composition. Belongs, to someone else it's a cover song so, yes you do generate a mechanical, royalty to, the original, song writer and publisher. Of that work, so. If you ever see like, a. Luther. Vandross album, Luther Vandross was famous, for, doing covers, of other people's songs especially. Like Christmas, songs stuff like that the. Record label is making money from the CD being sold, and of, course Luther Vandross is making a little bit of that too but, whoever wrote have, yourself a merry little Christmas is also. Getting paid even, though they're not the one singing on the album, so. There's, an example of, that. And, so. Those remakes will count in the music Modernization, Act and it's, gonna help the, people who use that music, or that, composition to, find the rightful owner, get the license, and pay them. And. Let's. See another question. Composer. Lady one, asked. Do. You know the breakdown, of the unclaimed, money that will be absorbed by the musicians, that are registered, so. I do have to admit I misspoke, a little bit as. It. Stands in the music Modernization, Act, well. Just in general there. Are a lot, of royalties, that go unclaimed, because again songwriters. Can't be found they've, changed addresses, they, didn't know that they were generating, those royalties so. There's. A lot of royalty, payments that don't make it to the rightful, owner, and. As a matter of fact a study, that was done in 2015, by. Berklee, College of Music found. That anywhere between 20. And 50. Percent of music. Royalty payments. Do not make it to, their final respective. Destinations and. Before. The law was passed what. Would happen with those extra, royalties, is that, they were absorbed, by the, collection, agencies, or no. Harry Fox the. ASCAP. BMI you, know the performing rights organizations, after. A while if no one claimed that they'd be able to absorb those and that. Same, rule kind, of still applies in the music Modernization, Act, except. The. Collection. Agency which is called the mechanical licensing. Collective, does. Not have, to or. Does not get to keep those royalties, instead. They're, going to distribute them to the, top music, publishers, based, on market share so there's a little bit of an uproar, right now because, basically, if someone. Has unclaimed, royalties then, they're technically an independent, songwriter so. What's happening is those royalties after, three years if, they haven't been claimed are gonna be distributed to someone, who, had nothing to do with creating that song so. That's, why some people are upset about I still. Think even, with all that said it's, a win for songwriters. And publishers. Because. There's. No hidden incentive. For, the mechanical, licensing, collective to just not look for someone either. Way, at the end of three years they're gonna turn that money over to. Someone. So. It doesn't matter to them if it's the publisher, or if it's the actual songwriter, so, there's, still a benefit, for.

Them For, looking for the regular or the actual songwriter, and, I. Think we've, got one more question about the music, Modernization. Act and it comes from Ty Ty. Says as a producer, and an engineer, does this mean I'll be paid for every stream, so. The music Modernization, Act or the MMA I'm going to start calling it. Basically. Added. A section or, a bill that's called the amp Act and, what. That bill says is that. Songwriters. Or artists. Can, actually, assign, a certain, percentage, of their. Master. Recording. Royalty, to. Go to the production to producer, or the engineer, so. Obviously. This is something that a producer or the engineer has to. Negotiate. As, part of their agreement to work for that artist. But. What, was happening before was, artists. Were filing these notices to sound exchange to, say hey I want, my engineer to have a take of this and because. They're not the artist and they're, not the record label it's like okay well who is this third person and why, do they get a percentage so. They. Were accepting. Those letters, as okay. This is a designation, and, you, know we'll, give that 2%. Or that 3% to, this engineer, the. Amp act or the. Mme, just, made that the, law or legal, to do so it's. An accepted, practice and, it's now legal, for them to do it, so. If. You, negotiate. Those. Royalties then yes you'll start to get some money when, those songs are streamed by places like Pandora, if. You don't think, you won't and if, you did not before, you're, not gonna start getting back royalties for other things that you've done so. I hope, I answered all of you guys's questions about the music Modernization, Act and. I hope it was helpful, now. We've got some other questions here, about. Touring. And live shows, so. I'm, gonna go ahead and. Lala. Asked. How, do you start getting gigs and. My. Answer to that is if. You're, gonna if you're just starting out let's say you've just recorded, your first few. Songs then. The best way to get started getting, gigs is to, just go out and play open mikes or different. Artist showcases, in your local area. Now. I did a video on this a while back called how. To break into your local music scene and. It's. So important. For you to be active. In your scene like. If you live in New York. And there are hundreds, and hundreds of small bars and clubs and places to. Play, music, find. One and play. There and the, reason you want to do that is because the, live show is the most powerful way, to win, over a fan, and. I know most. Of us you know who make music also, love music you know I'm sure you've been at a bar to, see one of your friends perform, and someone. Else who's on the bill just, kind of takes you by surprise and, you're like wow I really like that guy I really like that group and all. Of a sudden you're a fan because. The power of live music is that not only do you hear the music but, you get to see the person's personality you, get to see how they carry. Themselves on stage and. You. Really can, be won over as a, whole, just. From seeing them at one time, so. Making. Your presence, known in your local scene it's, gonna be important, and again it starts with just going out there and performing. Go, out to an open mic go to a showcase make. Sure you stay to the end if, it's like one of those rap, showcases. Or one of those things like 100 opening acts you, want to make sure the people that are throwing those events know.

Who You are and they know you're not just trying to leech off of them of. Course anyone will take notice of you if you have talent but, what will shine even more than your talent, is the way you carry yourself and, if you're respectful, of their time and, their, their. Presence, so, you. Know it's a lot of politics, especially depending, on the area where you live but. The short answer is just go out there and play and the. More you out there in play the more people recognize, you the more you build a fanbase the. More there will be a demand, for. You to play shows of your own and before. You know it you'll start to see performed. Or promoters. Reaching, out to you or. What you'll see is you've, got this huge list of fans if you're building your email lists and things like that and, you start, to do polls just go on Facebook and say hey I want to play some shows where would you guys want to see me perform and, all, of a sudden you'll see you, know 55, people said oh come to Boston so, then you can take that to the motor and say hey, I've, got 50 people that want to see me in Boston if your venue holds 45, I'll pack it out right. Obviously. Those are small numbers but it's. A start so. That is how you go about getting shows. And. Kind. Of along those same lines, someone. Asked how do you book shows for, an artist if you're. A manager, who doesn't live in the same country the, same town or the same area and. Funny. Enough that's, actually, a part of my story. Part. Of me for a second I. Had. To take a sip of water but. The. Way I got started in artist management was. I was actually, interning. For a record label and we. Went to a festival, in Atlanta and. That's, where I met my first artist, she. Was living in Toronto, Canada, at the time she, still lives in Canada but not in the same area and I, was living in North Carolina, so, we were literally in two different countries we. Hit it off and she said hey I'd, like you to be my manager I didn't. Really know what a manager did at the time but I was like sure I'll do that and so. A, big. Part of the reason that we ended up kind, of parting ways years, later was, that it was very difficult for me to help get her opportunities. In her, home country and that. Was something that was important, to her now. Knowing. What I know now. There. Are definitely, ways around then the. Easiest, way for, you to help someone get shows in an area that you're not familiar with is to, hire a booking, agent right, the famous, ones are like CAA, and, APA. But. Those are for like you know bigger, stars but. You can find a booking agent that's willing to work with you especially. If you're putting into practice a lot of those, do-it-yourself. Or DIY, strategies. That I teach in my book and in my courses. You. Have an email list you. Have social. Media accounts you have this, proof, that, you have a following, wherever. You're going. Right. Fans. Are the key that will unlock any. Door, in the music business and I say that until. I'm blue in the face but it's, true if, you, have a hundred fans in Amsterdam, you, can find someone to pay you to, fly to Amsterdam and.

Play A concert, it's. Possible, it's been done, people, like the, rapper Odyssey, have, made a career out, of touring, internationally and. He started, just by emailing, every, booking agent he could or, every club promoter he could like hey I have, fans that live where you are I'll, sleep on your floor just, pay me a little bit and I'll come out and he's. Been bringing out more and more fans every year and he's. Made, his career out of it it's been really cool to watch so. That. Is how you that's. The easiest, way to get. The. Shows outside, of your home town, or state, but, I'm gonna tell you again as a, former, artists manager, it, was, very. Difficult, because. The. The. Biggest. Job of an, artist manager, is to. Be an advocate for, your artists right. Artists. Are kind of sensitive, types or don't. Mean to lump anyone into, a certain category they don't want to be in but, generally, speaking artists. Can be introverted, they're, not really fans, of talking, to people a lot they, tend to talk through their music and that's it so. If you're an artist manager, your, job is to kind of be that hype, man for the, artists and to, be that advocate, to be that person that's shouting, from the rooftops hey, I've, got this artist, and they are the greatest act in the world, so. If, you're. Not living in an area where it's easy for you to bump, into certain, people, then. The only way to really advocate for those people, is to. Do it online and. You know, you can search, for email addresses, and things like that, but. There's really not gonna be any substitute. For speaking, with people on, the, phone or in person, so. It's. Gonna be tough but you're gonna have to go out there and hit the pavement. Take a listen to our episode, our podcast episode, with Sam Fisher, I believe, those episode 14. He, talked about how, he went about building connections. How. He cold called ANR's, at record labels how he one-by-one. Built, the relationship, that allowed him to now. Shop, artists to record labels all the time it, is possible, the, music business is not as closed off as you think, so, it's possible but, it is gonna take a lot, of hard work. So. Those are our questions about, touring, and we're. Going to end this with my favorite subject, marketing. How, to market your music, how to find more fans and, how to make more money that's that's. What I love to talk about so. We. Have a question from Mary ami and she says you. Know I'm great at creating content, like, you know I'm. Great creating. Songs and videos and things like that but. I don't know how to establish a brand voice and make, that consistent, and make. It so that people want to keep coming back and. The. Answer to this is I mean if you don't know what a brand voice is it's basically like if you let's. Say you go to Coca Cola's Twitter feed you, expect to see a certain, type of post you expect to see upbeat lots. Of smiles, and things like that and so. I did a video about what. A brand, is and. I'll link that in the show, notes as well but. Your brand is kind of the persona, that you put on for, the public, you. Know how people view. You how, people see you is your. Brand so, we talked about Eminem Eminem's like the underdog, that's his brand he's, always wearing like sweatpants, and stuff not, because he can't afford regular clothes but because they make him look more unassuming. And like, he's still trying to get in fighting shape he's, that underdog, character, so. A. Lot. Of times you know because. We're artists and we talk about branding. And entrepreneurship. And things like that we, forget that.

The Product, that US musicians, so is a, very, emotional, product. It's, not something, that we sell because. You, know it looks good or it, tastes good or it's a commodity right. If you get hungry you're gonna go buy some food, you're, never gonna buy music because you're hungry you're, gonna buy music because something, about it appeals, to you it connects, to a memory, that you may have or it. Elicits. A certain emotion, in you that's, why people buy music, and, you. Know when you're selling such an emotional, product it's important, to be a real person, because. Brands don't sell music people. Sell music, right. That's why you love your favorite artists because you can relate to them so. The, answer to the question is just be yourself, you. Don't have to put on some persona. You don't have to be some. Character. You, can just be you and what. You'll find is the more you decide to be yourself the more people will relate to you because they're like wow she's. Just like me or he's, just like, me and you. Know that's. What's gonna connect those people to you and that. Is how you're gonna keep people coming back to your content so don't overthink it just be yourself, now if you want to talk about aesthetics, and things like that we. Can talk about that but, as, far as your voice what. Comes out of your mouth how, you speak, what your tone is in your Instagram. Captions, and things like that just. Let that be from the heart. So. The next question comes from Russell. Russell. Says I'm, a singer, songwriter producer. Multi-instrumentalist. An audio, engineer but. For some reason I have a real problem promoting. And marketing all. My skills to, create a constant, flow of work and. My. Answer to that is well. To, borrow, a phrase from my wife you're. Doing too much man, so. My. Advice and this, is kind of the advice you'll get from a lot of people who are, entrepreneurs. Is to, just pick one. Area of expertise, and stick with it that's. Not to say that you can't show off your skills but.

What It does help you do is focus, and bring all, those skills into. One place. Because. When you try to do so many things at once the. Community. Message. That you communicate, unintentionally. Is that. You know you're not good. At any one thing you, know the whole phrase, you're, a jack, of all trades and a master of none, when. You say okay I'm a singer, a writer a dancer, a sculptor, a painter. Music. The music video person I'm a photographer right and, it's possible. That you're skilled at all of those things, but. You have to find a way to. Tell, people what you do without scaring, them so. My advice to you would. Be, to, just pick one of those things off that list right and so, if you're gonna talk about. Ways. To narrow that down then. You, know there's two ways you can approach it you can approach it by which. Thing do you love to do the most which, would, be ideal or, which. Thing is gonna make you the most money right. Because. Practically, you need money to live so. I'd, say pick from one of those categories, and just pick one, thing to market yourself for. There's. A famous story of how young guru became. Jay-z's, go-to engineer. And it's a similar story for. Derek Ali who works with Kendrick Lamar and the whole TDE camp but. Basically. They were in the studio doing their normal job of, course a recording, engineers job is really just to set up microphones, and make, sure the levels are right and, then the mixing engineer will come in and clean up frequencies. And things like that to make a song sound radio-ready. Young, guru is kind of famous for giving. Feedback to, the artists about their, creative, work right. He started with Memphis Bleek and that, kind of bled over into a relationship, with jay-z, so. You. Can absolutely put your creative skills as a songwriter. As, an artist, on display, you know in your role as an engineer, but, you may not want to just you know - it yourself to death because, people are gonna start thinking okay he doesn't do anything worthwhile because. If he was that good at all those things out I've heard of him already so I.

Hope That helps you Russell. Let's. See we've got a couple more questions and we're almost done, so. Okay, our last question comes from, Adam. Adam. Says I took, a Facebook, Ads course and I've, boosted my artist to over ten thousand likes but. I still lack direction and I don't know how, to convert them to dollar. Signs that's, what he said so. You. Know this. Is a shameless plug by the way I wrote. A book called the music marketing, guidebook, and I released it the same day this. Podcast, launched on the fourth of July and the. Book is you know how to find. Fans convert, listeners, and make, more money with, your music and the. Reason it's titled that way is because there. Is a journey that you have to lead fans on it's, not enough for someone, to listen to your music a couple times it's, not enough for them to just like your page on Facebook, but, at every, point you have to be leading your fans down this journey to. Eventually, becoming customers. And then. Super. Fans at least. If you want to have a financially, successful career, and so. The. Stages. We, can talk about the fan journey we, don't have a ton of time but I want to get into it a little bit for you, so. Basically there are I'd. Say five stages, to. The fan journey the. First isn't, being a stranger right. They. See you on TV or they, hear your song on the radio and they're like huh okay that, guy's cool right. And maybe they follow you on social media, and so. Now they're a casual, listener, they. Followed, you on Twitter they followed you on Facebook, they, see a post they might press play you. Know if they see something, with your name on it they might take, a look but they're not like a die-hard fan or anything. Eventually. You're gonna make an offer to, them they're gonna see something they like and you're. Gonna want to get them on your email list and once. They're on your email list then, I'd, say you can call them an actual, fan. Right. So you. Having, them on your your, face. Look like pages just step 2 in the process your. Next step is try to get them on your email list so. Make an offer of some sort whether, it's a free EP, whether. It's a free, video series breaking, down how, you made your last album something. That's gonna say hey I understand. You want to make a deeper, connection to what we've got going on I want, to give you that I need, something in return though can you give me your email address so that we can stay in contact with each other and that's. The trade off and if they're willing to give you that email address that's, something sacred that's like a girl giving you her phone number for the first time it's, a big deal so, if, she. Gives you that you know that you know it's real and if, they give you your email address then you know they're a real fan. So. Now. Now, that you've got them on your email list and they're, a fan, they're staying updated about, you know your tour schedule and stuff like that because you're emailing them regularly, and then. You, want to make an offer. You. Want to make some sort of an offer so. They go from being a fan to, being a customer there's. So much psychology. Behind, once, you buy something, from someone, you're, so much more likely to buy it again, or to buy something, else from them right, we're, creatures of habit we go to the same gas.

Stations, Every day we, buy clothes from the same few stores we. Listen to the same radio stations, if we had a great experience with someone once we're, gonna want to search for that experience again, and again and your, fans are no different, so if you can make an offer and you. Know fulfill, that for them now, they're a customer and they're much more likely to become a customer, for, life so. Your. Next step on that fan journey is becoming. A customer so. You offer them a CD or a t-shirt or something like that right they, buy it and, you. Want to nurture, this relationship, so you want to over deliver when. They buy a t-shirt don't, just stop at the t-shirt maybe write them a handwritten note like hey thank, you so much for, being a fan of mine for supporting, us hey, I just wanted to let you know that I really appreciate you, here's, some stickers, here's, a discount. For our next, concert, in your area whatever, you need just look me up right and then. And this process again is called nurturing. Leading. People down a path to. The, desired outcome, and of course your desired outcome, is to make them a superfan, because. If you can make them a superfan, they can spend a hundred, dollars or more on you every year then. You're. Much more likely to make a real successful. Living, at this because, instead of chasing ten fifteen. Five dollars every now and then you're. Getting a hundred dollars from this person on college from that person and that adds up way, quicker. So. Of course, you. Over deliver you, talk. To these people on social media you, climb in you, respond, to their messages, when they reach, out to you if. You see someone interact, with you a lot and you're coming to their town and DM, them say hey I want to meet up with you because I see you're really into our stuff and I appreciate, what you do for us right. And, those. Type of experience. Experiences. Are what turned people into your superfans the, people that will do anything for you they'll drive any distance, to see you they, love you to, death there's a girl in my facebook, friend page right now and, she. Is a die-hard Lupe. Fiasco, fan we. Live in North Carolina, and she will literally travel to Mississippi if that's, the closest place he's gonna stop at on it on this tour this, year she'll. Find a way to get there no, matter what if Lupe Fiasco's, on tour and he's not stopping in North Carolina that does not stop her from going to see him every. Single year and there. Are people that, are gonna be willing to spend that kind of money and time, and attention for, you, but. You have to make it worth their while you, have to do things to give them these experiences, and I've got a video about superfans as well so, a lot of these questions you can have answered, if you just you know take a look at our YouTube channel take a look at all these resources that, we've created for you, but. Again a lot of the questions that I've been getting up and getting over and over. Again so I, wanted to take time to, answer those for you I hope that, this podcast. Has been, great for you that, you have clarity, that, you have you. Know the strength and the guidance that you need to, move forward and you understand, what your next steps are, again. If you, are looking for more one-on-one, advice from me there are two ways to get, that you. Can join the Indy Club on Facebook, it's, our private group they're about 150, somewhere. Between 150, and 200 people right now but. It's growing. Exponentially. And so. There's me there's other artists, there's managers, there's publicist, there's, all sorts of people in that group and, you can ask your questions, and one of the community members will answer it and if they don't of course, I will, and so. That's a great way to get feedback up. Now if you want time with me one on one again. You can book a coaching, call the, price is $100. For, 60 minutes but. If, you use the promo code, podcast. I'll give you $20, off your first session so. That's. My treat to you for, listening till the end and I'm. Really excited about, having you guys on this, journey with us or for, you allowing me to be a part of your journey in music again, I hope this was helpful and I hope you stay in contact with us you, could follow us on social media please. Subscribe to the show leave. Us a review a, rating.

And Leave. A comment let me know how you found out about us I'd love to get to know you more but. Until next time thanks. For listening peace.

2018-10-19 17:28

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