Are Instagrams the Next Iconic Album Covers?

Soundcloud_Intragram_Krewella_Overview_Cinema_V01-1024x552
Bandcamp is releasing an app while competitor Soundcloud connects to other apps…

Soundcloud has added Instagram integration.

Users can now connect to Instagram from their Soundcloud account, allowing Instagram photos to be imported. These photos can be used as album art or avatars on tracks, sets, groups, and profiles. This can be done during upload or at a later date.
Soundcloud asks:
“Your Instagrams: the next generation of iconic album covers?”
Background images for individual tracks exist, but are not yet publicly available. The same goes for profile cover photos.
Thankfully this doesn’t go the other way; you won’t be seeing Soundcloud tracks on your Instagram feed. Imagine what a nightmare that would be…
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Lessons for Improving Your Music Career

By George Howard
Spring has sprung, and with it comes thoughts of renewal. It’s hard to move forward, however, when you’re either still connected to the past, or unsure of the road ahead (or both). This, for many in the music industry, is precisely where they find themselves: clinging to outmoded habits, not because they work (they don’t), but because they’re unclear on how to move forward.
Here are a handful of thoughts not necessarily meant to be taken as doctrine, but more to give you some inspiration with respect to how you might change some habits.
1. Apply the Lean Startup Method
Applying Lean Startup thinking to the music business is more crucial than ever. I wrote an article on this, but to summarize: I don’t know what music will succeed, you don’t either, nor do any of the so-called A&R legends (the Ehrteguns, Blackwells, Davises, or anyone else). The only one who knows what the market wants is the market. Therefore, get something out there, measure it, refine, repeat. The music business lends itself to a Minimum Viable Product better than any business I can think of.
2. The Best Middleman Is No Middleman
In all businesses there must be a willing buyer and a willing seller. The sellers tend to derive their materials from some third party (be that the person who delivers the beans to a restaurant, the guy who sells the builder her wood, Intel who sells computers chips, etc.). The music business doesn’t quite work this way. The “suppliers” in the music business are the artists. These artists have their own desires that go far beyond what price they can get from some label. This is why the artist/label relationship is almost always adverse. Artists can’t “just” be the supplier of goods to some re-seller (labels). It doesn’t work. Nor does it work if artists are just suppliers of goods to any other type of reseller; Spotify, et al., use artists’ songs to get customers to use their services. The only buyers of their goods that artists should concern themselves with are their fans. Work on pleasing them.

Secrets of the successful indie artist

Behind the indie artist curtain
Gone are the days when being an indie artist meant boldly throwing off the corporate structure and shaking your fist at “The Man.” While there is a certain freedom obtained in independence, being an independent artist is no longer the anomaly – even for larger acts. Going independent is the new reality for many successful music artists across the globe.
What does being an indie artist mean, exactly? For one thing, a new game requires a new set of skills. Those who got into this gig because they can master melodies and craft thoughtful lyrics now find themselves facing the world of social media, marketing engagement, Facebook fans, Twitter followers, pings, tweets, adds, and more.
But independent musicians are taking on the challenge, and some are doing better on their own than they ever could have imagined with traditional label backing. What’s their secret? It starts with great music, but when it comes to relating to your fans, here are five secrets to having success as an indie artist.

1. Have a compelling story and share it

If you write music or perform or breathe in and out on a regular basis, you have a story. The key is identifying it and effectively sharing it with your fans because, regardless of what you may think, they actually do want to hear it.
To find your story, ask yourself strategic questions: What drives me to create? How did I come to love writing music? What inspired the lyrics to the last song I wrote? What themes or issues in life really resonate with me or push me to be creative? What are some of my quirks? What hobbies do I have that might surprise my fans? The list goes on, but the point remains that you have a story and music fans in this day and age don’t just want to listen to your music – they want to know you as well.
How do you go about sharing that story? At PledgeMusic, this is the driving force behind everything we do. We see music artists sharing their stories with fans every day. Whether it’s an update giving special access to their Pledgers to listen to new demos, sharing photos from the studio, or giving an exclusive video tour of their bus (“Yes, I sleep in that tiny little bunk”), indie artists are sharing the details of their everyday experiences, and fans are responding.

2. Offer fans an experience

Once you understand that your fans want to know your story and the stories surrounding your music, it kind of goes without saying that they want to be invited in. Successful indie artists offer up something even greater than just their new music: they offer a new and personal experience not available anywhere else.
If you’re performing live, give your fans a way to respond immediately. Instead of offering a quick handshake and a “Get my new album next spring” (which may as well be, “I hope you remember this feeling in four months”), offer something immediate like “Pre-order my upcoming album on your phone right now, and you’ll get to be in on the process of making it.” Offering these personal and exclusive experiences can be a tremendous win/win.

3. Invite fans behind the curtain

Speaking of exclusive experiences, once you’ve decided to offer fans something beyond an opportunity to simply listen to your album when it releases, what are you going to do? Where do you start? Well, the only thing better than an “experience” is an exclusive experience – one only a limited number of people are in on. Who doesn’t love a little VIP access?
This is what we see working so well at PledgeMusic. An indie artist will invite fans into the making of a new project and keeps them in the loop with exclusive updates, merchandise, and experiences fans simply can’t get anywhere else. And what we’re seeing time and time again is that this is something that gets fans extremely excited.
For example, if you were to go to PledgeMusic right now and pre-order Lissie’s new albumBack To Forever, you could choose to spend a little more money to have that album come with a T-shirt and signed vinyl from Lissie herself. Or, you could Pledge to have Kate Miller-Heidke perform at your wedding, all while you support the making of her next album.
Fans want to be more than just listeners, they want to be involved, and the artists who have figured this out are rising to the top. And not only will fans get excited about these kind of experiences – they’ll pay for it, and they’ll pay significantly more than they would for a CD at Target.
To pull this out of the theoretical and down to statistics, here’s what we’re seeing on a regular basis at PledgeMusic:

  • 37% of Pledgers spend more than $250 per Pledge!
  • The average pledge is around $55
  • 17% of all platform traffic is driven through Pledgers-only updates via Facebook and Twitter
  • Another 12% is driven via email, which is also generated through these Pledgers-only updates
  • 22% of all site traffic comes from social referrals – fan-shared links of Pledgers-only updates and milestones

Notice what’s happening here: The average fan spends $55, roughly the price of four CDs, and almost 40% of Pledgers spend the price of something like 17 CDs per Pledge. The reason fans come back to PledgeMusic on a regular basis is to see the exclusive updates, and then as they share links to these updates, they bring even more fans to the campaign, and those fans become Pledgers. If you’re an indie artist, these statistics should excite you as much as they excite us because they mean that fans do care and they are willing to spend money when you offer them exclusive experiences.

4. Don’t be afraid of “new”

New can be intimidating, but new also ushers in a realm of possibilities and opportunities you never dreamed of before. You may have come into this business with a set understanding of how things should work – something like “write, record, release, tour, repeat” – but it’s vital not to let initial expectations keep you from adapting to current realities. It might not be enough to release an album on iTunes and hope for the best, but that doesn’t mean it’s impossible to be a successful indie artist.
Music artists who are making it in the new landscape are those who are able to look ahead and see where the future of music lies. The industry is changing, but some great things are cropping up as a result – fans are getting more involved in the release process, artists are experiencing a new freedom to do what they love, and new music is being released by the second, which is truly no small deal. The fan-artist dialogue is an extremely positive thing, and that conversation has flourished in the past few years.

5. Know your fan base

We’ve established the importance of your fans knowing you, but it’s also important to note that you need to reciprocate. After all, you’re writing songs for your fans and connecting with them through your music, so of course you’ll want to know something about who they are.
If you choose to take the direct-to-fan route on an album, you may get the chance to have dinner with a fan or visit a theme park with them or sing them Happy Birthday over the phone, so there’s one avenue for the relationship to develop.
Another very practical, essential, and often overlooked way to know your fans is to have a tangible email list with their names on it. That’s right, this one didn’t fade in importance with the advent of paperless trends. You don’t have to carry a clipboard (though we wouldn’t totally advise against it), but you absolutely must find a way to get your fans’ contact information.
This is another opportunity for you to show off your creative side. We love sharing the story of how Ben Folds approached this during his PledgeMusic campaign. From the stage at a show, he had everyone in the audience pull out their phones and email him at a specified email address in exchange for a free track. Boom. Within seconds he had their contact information so he could keep them updated, they had a previously unreleased track, and everyone was happy. He even snapped a photo from the stage to make it a bit more personal.
This is just one example of an artist thinking outside the box, embracing the new, and letting fans into his world. You absolutely can make it as an independent in today’s music industry, and fans are your most precious resource. Whether you make it or not depends on how well you know your story, share it with your fans, and invite them in.
PledgeMusic is a music company offering artists a new way to take control of their careers by helping artists fund, market, and release whatever music they want to make. PledgeMusic helps and encourages artists to participate with their fans in an exciting and unique way by creating an irresistible customized menu of exclusive content and experiences that integrates email databases, Facebook fans, Twitter followers, and various other social networking sites. Learn more at PledgeMusic.com.
Behind the curtain image via ShutterStock.com.



Read more: 5 Secrets of the Successful Indie Artist – Disc Makers http://blog.discmakers.com/2013/10/5-secrets-of-the-successful-indie-artist/#ixzz2jCTwrwpB

Developing Your Social Strategy

Social Media Promotion image
Social media is a big world and it can easily become 
confusing. Which networks should I be on? Are some 
more important than others? Which one should I 
concentrate on? Here’s an excerpt from the
gives you a different way to look at your online presence,
 and how all the platforms fit together when it comes to 
promotion.
“There are a lot of online elements that every artist, 
band or brand has to be involved in these days in order 
to be an effective online marketer. It’s pretty easy to 
get confused and either not know where to begin, or 
throw yourself scattershot at all of them, which usually 
means that your efforts will be ineffective when it 
comes to promotion. If we just look at the major components, it looks something like this:
Your website
Your email list
Facebook and Google+ posts
Twitter
Music releases
YouTube video posts
Blog posts
Throw in any of the 100+ additional networks available and it’s no wonder why artists, bands and music execs 
become bewildered by it all. We can make things a bit simpler by separating these components so they fall into one
 of three categories; content, interaction and tactics. If we break all this out, it looks like this:
Content: the places online where you place the material that you generate, like information about your band, 
music, videos, or blog posts. Interaction is all the social networks where you might interact with your fans and 
followers. These include:
  • Your website
  • Your mailing list
  • Your blog
  • Your videos on Youtube and other video sites
  • Your music files on Soundcloud or other music hosting sites
Interaction: the places where you regularly communicate with your fans, followers, clients and customers. 
These include:
  • Facebook
  • Twitter
  • Google+
  • Pinterest
  • Bookmarking
  • Any other social network
Tactics: everything required to define and refine who you are and your position in the online world. These include:
  • Branding
  • Strategy
  • Measurement
All this gets more interesting when we put into the form of a Venn chart on the left and watch how the categories 
intersect.
As you can see, where all three category circles cross, a new element pops up – promotion. This isn’t possible 
without all three elements combined, which goes to show just how synergistic they all are. Use only one or two and
you fall short; use all three and new possibilities for promotion arise.”
———————————-



Under Creative Commons License: Attribution Non-Commercial Share Alike

Live Streaming: The Future Of Music Summit Free This Monday and Tuesday

image from futureofmusic.org
It’s not too late to get your tickets to the Future of Music Summit in Washington DC this Monday and Tuesday presented by the Future of Music Coalition. (use Hypebot as a discount code and save 15%).  But if you can’t make it, we’ll be streaming all the action live starting Monday around 9AM ET.  Here is the full schedule. Check back at the top of the Hypebot homepage each day for a link to watch.


After 30 Days, iTunes Radio Has 30 Percent of Pandora’s Audience

Guernica, Ruinen
Because if Pandora executives weren’t so worried about Apple, they wouldn’t keep telling us they weren’t so worried about Apple.  Which brings us to iTunes Radio, which now boasts 20 million users after just  one month of existence.  That builds upon an initial, post-launch surge of 11 million users, which turns out to be more than just a curiosity thing.

It also means that Apple now has nearly one-third the entire active listener base of Pandora.  At its latest shareholder meeting, Pandora pointed to 72.7 million active users.

That ratio likely to tip 50 percent – easily – by the end of the year, and may even surpass Pandora’s base in early 2014.  Already, Apple is boasting one billion cumulative streams on iTunes Radio, and that is only within the United States.  Just recently, Appletipped plans to aggressively expand into Australia, New Zealand, Sweden, Norway, Denmark, and surrounding countries early next year.
Currently, Pandora is restricted to the US, Australia, and New Zealand.
But these ripples go far beyond Pandora.  Already, signs of devastation are surfacing for smaller radio competitors, including Slacker.  Just this morning, word of significant layoffs at Slacker emerged, possibly a result of Apple’s entry.  Slacker has yet to comment.
Image: ‘Die Ruinen von Guernica,’ 1937, photographer unknown. 

Have You Turned Your Audience Into Zombies?


Turning your audience into mindless brain eaters?

Photo courtesy of Scott Robinson via Creative Commons on Flickr.

You’re on stage. You stare out into the darkness. Slowly, you see figures shambling toward you.

A small ray of light reflects into the audience. You gasp and step back.
You see nothing but dead eyes staring back at you. The faces are drooling and mindless.
That’s when you realize your audience has turned into zombies.

An audience of zombies


This may sound like a horror story, but it happens all the time. You are boring the shit out of your audience and turning them into zombies.

They won’t eat your brains, but they will leave your show to go get something to drink instead. They will not by merch. They will not add you on Facebook afterwards.

But there are ways you can avoid this.

Practice interaction

Usually, you think your rehearsals are just to get your songs sounding great live. But that’s only half of it.
You should also be rehearsing crowd interaction. You should be practicing talking to the audience between songs.
This is awkward when there isn’t an audience in front of you. You feel silly at first. Your bandmates look at you and laugh a little bit.
But work through that initial awkwardness. Get used to talking to your audience during your rehearsals so it becomes second nature when you play live.
Nothing can kill the mood like awkward silence between songs. Even worse, you spew senseless ramblings between songs that don’t get the crowd worked up.

Song interaction

In addition to talking between songs, make your songs themselves include the audience.
Can any of your songs have the crowd sing along?

Have everything but the drums drop out. Teach the crowd how to sing your chorus. While they are singing along, gradually bring back all the instruments.

This builds excitement and gets the audience into your song.
Go off script during a song. During a quiet part of the song, talk to the audience and let them in on what the song is about. Or just talk to them and get them excited.
The point is to use parts of your songs to have a dramatic moment where you can connect with your audience. You don’t need to do it every song, but every few songs really makes a difference.

Smooth your transitions

Is your guitarist spending one minute tuning between every song? Is your bassist too busy drinking beer?
Empty moments between songs can really kill the buzz with an audience. It’s okay to have the occasional beer, and you know you need to tune every now and then; but those moments should be planned.
Instead of random moments of awkward silence between songs, build transitions so one song flows directly into the next.
Any DJ that’s worth anything knows to beat match and build upon beats. Beat matching keeps the audience dancing from one song to the next. A dramatic new beat will cause the audience to lose their rhythm.
With a band, the concept can still be applied. Your songs need to build off one another to keep the audience going.
Instead of rehearsing one song at a time, try chaining three of your songs together. Rehearse this way so when you play live, you have an awesome flow from one song to the next that keeps the audience engaged.
Yes, you need to learn how to keep your guitar in tune for three songs. You might not be able to drink as much as you wanted on stage. You might get more sweaty than you wanted to be.
But your audience will love it. And that’s the point.
So try these methods out and prevent your audience turning into zombies.

How NOT to Promote Yourself on Twitter – #Promo

By 

iStock 000019316621XSmall 300x218 How NOT to Promote Yourself on Twitter

Here’s something you should NEVER do on Twitter…

I’m an avid reader of the site IndieHipHop.net, which is a great resource for both DIY hip-hop artists and fans looking to check out the newest in underground rap music.
Last week, they posted an article about one of their pet peeves, and it hit home for me.
It’s something I see artists doing all the time, and while I can appreciate the ambition behind this idea, artists should know how it looks to the people they’re trying to charm.
Indie Hip Hop’s image (literally) illustrates what I’m talking about here: 
Twitter artists promotion 465x1024 How NOT to Promote Yourself on Twitter
Now, of course, reaching out to blogs and other outlets in an effort to promote your music is a great idea. But that isn’t what this is. This is just copying, pasting, tweeting, and hoping something sticks. And if the person you’re aiming this at takes the time to check out your profile (which they will, if they’re considering featuring your music), they’re going to quickly see what you’re doing, label you a Twitter spammer (A Twammer? A Spitter?), and never give you the time of day.

Here are some other reasons why this method of Twitter promotion is dicey:

1. Twitter is public, and everyone can see what you’re doing. Spammy messages like this in email form are also bad, but at least the recipient can’t see a trail of the other identical messages you sent to other outlets.
2. Your message of “Really love your blog” (or whatever) will instantly be rendered disingenuous when the person you’re tweeting at sees that you said that to a ton of other blogs. It will also make it clear that you’re lying, because you can’t possibly be a fan of that many blogs.
3. In this particular case, Indie Hip Hop has set rules for the way in which artists can submit music to their blog, and this is NOT their preferred method. The guidelines for submissions are clearly posted on their blog (as they are with most reputable sites), and if you’re not following those you’re not going to get considered anyway.
Like I said, I respect the DIY, self-promo idea behind this, but the execution is lazy, short-sighted and isn’t bound to accomplish anything but annoying an outlet that might be able to offer you a real promo opportunity if you take the time to connect with them in a more professional, personal way.

1 Easy Way To Stand Out In Your Music Career


This guest post was written by Shaun Letang (@imusicadvice) of Music Industry How To.
What if I told you that changing one aspect of your personality could do wonders for your music career. That it could make people a lot more open to working with you, and that you’d most likely get a good amount more opportunities due to this single characteristic trait. Well, all the above is true, and today we’re going to look at what this trait is and how you can use it to forward your career.
The trait I’m talking about is being reliable.
While this may sound basic and something that everyone should already know (Mumzy did teach you that afterall), if you’ve been working in the music industry for any amount of time, you’ll soon realize you’re surrounded by unreliable people. People that will tell you they’ll do something with no intention of actually following through. People that say they’ll be somewhere, but simply not show up (And ignore your calls when the time is near). I could give more examples, but that’s not the intention of this article.
Now don’t get me wrong, this isn’t a rant or anything. People like this will always be in the music industry, it seems like it’s become the norm and won’t change anytime soon. While not ideal, it does however spell a big opportunity for you.
Due to the lack of reliable people in the music industry, by simply being reliable yourself, you’ll find it’s easier to stand out from the crowd in many situations. And as we know of the music industry, standing out from the crowd for the right reasons can only be a good thing.
As we go on I’ll give specific examples of how the reliability factor can work for you and your music career, but first let’s look at what being reliable actually require you to do.

What Does Being Reliable Entail?

So what exactly do I mean by being reliable? Well, I think in it’s simplest form, I’m basically recommending you to do what you say you’re going to. Don’t let your mouth say one thing but your actions do something else. You need to get your words and actions perfectly in sync, and live up to your word. Make your word mean something to others.
Of course though, we’re all human. And at times, due to circumstances out of our control, we may not be able to follow through with one of our promises. In this instance, be sure to let the other person know as soon as possible. Apologize genuinely, and let them know when you can next do what it is you were supposed to (If applicable).
The key is not to intentionally make promises you can’t keep. If you try and live up to that standard, most likely you’ll come across as a largely reliable person.

Important: What Being Reliable Isn’t

Now I want to make this clear: You don’t have to be a ‘yes boy’ or ‘yes girl’ to be a reliable person. You don’t have to agree to do anything you wouldn’t normally do, you just have to be straight with people.
For example, let’s say you get asked to play at a very small venue which you know will have a practically non existent crowd. For free. If you’ve already got shows under your belt and have a busy schedule, chances are you’re not going to want to play this gig. So what do you do? Simple, be honest!
Instead of saying yes you’ll do the gig then just not turning up, you can simply turn around and say:
“Thanks for the offer but I won’t be able to make it. I’m currently working on *project name* so am dedicating a lot of time to that. But I hope your night goes well; I’ll have a look out for the pictures once they’re up. Let me know if you’ve ever any paid gigs in future and I’ll see if I can free up some time for them. :) ”
Not only is this better then saying you’ll come then not showing up, but it’s also better than simply ignoring the request. After all, this person has reached out to you as they think you have something to offer; they think you’ve got talent!
By being honest and letting people know what you can and can’t do, and you also keep relationships open instead of killing them off. Who knows, that same person may start running big events a while down the line, and think to get back in contact with you now they can afford to pay you to perform. Yes you couldn’t free up the time to work with them before, but you wasn’t rude, and you still came across as a likeable person. You didn’t burn any bridges.

How Can Being Reliable Benefit You As A Musician?

Now onto the good stuff. How is all this going to help you in your music career? Well there are a number of ways, including:

1. Your Relationships Will Last Longer

When networking, you’ll find that not everyone you get contact details for will be a good match for you. While not the only reason, many business relationships fall through because one of the two sides isn’t as serious about an idea as the other. You may get in contact with a Dj for example, and they tell you to send them your song via a certain means by a certain date. If you say you will but then don’t send it till 2 weeks later (If at all), do you think they’ll take you as seriously next time around?
If on the other hand you was to get the DJ the song that they wanted when they wanted, chances are there would be a possibility to work more with them in future. This could include getting them more songs, possibly exclusives this time. This’ll benefit them as no one else is playing these songs, and it’ll benefit you as the DJ will push you more to their listeners.
Let the DJ down at the first point of contact however, and the relationship between you will more likely fizzle out before anything else.
Multiply this by all your potential contacts, and you’ll have a lot more opportunities on your plate. Some will be long-term relationships in which you can continue to benefit each other over a number of years.

2. People Will More Likely Recommend You

So you’re playing a monthly gig at this local bar. There are two other acts who also play alongside you, and all of you are equally as talented as each other. But one of the other acts has had to pull out last minute a couple of times without a good explanation, and the other regularly turns up later then they say, messing up the show schedule each time.
Now if the event organizer has to recommend one of you to a partner who’s going to be holding a one off festival event in the summer, which one of you do you think they’re going to recommend? That’s right, the person who’s always there when they say they’re going to be; YOU!
No one wants to recommend someone who’s going to let everyone down, that then looks bad on them for making that recommendation. By being easy to work with and reliable however, you make it a lot easier for people to recommend you.

3. People Will Be More Open To Working With You

As well as being recommend more, being reliable will also open your doors in terms of who will actually work with you. Record labels, event organizers and the like will very rarely work with people who don’t carry themselves in a professional manner. For them, it’s a business. It’s how they make their money. It’s because of this that most of them wouldn’t even consider working with you if they feel you’ll affect their business in a negative way. And by not living up to your promises, that’s a negative way.
Don’t let a lack of reliability get in the way of working with the big boys and girls, because that’s exactly what it’ll do!

4. Your Fanbase Will Increase And Your Money Will Grow

The above three points will mean working with more people, working with a higher quality of people, and being exposed to more opportunities. All of these things will have a positive effect on your fanbase and generated income.

Conclusion

So there you have it; why being a reliable musician can help you stand out from the crowd. I hope you can see how this one trait will be beneficial for your music career, hopefully you’ll apply it if you haven’t already. Feel free to share this guide with anyone else you feel could benefit from it as well.
Are there any other ways you can see being reliable can help you in your music career? If so, please let me know how in the comments below or via my Facebook page.
If you want to read more of my guides, your best bet is to check out my music industy blog which has a load of guides covering business, marketing, and all other aspects of the music industry. I’m sure we’ll speak again soon.

SXSW Music Announces First Round Of Showcases


image from www.hypebot.com

South by Southwest Music has announced its first round of official showcases for the 28th edition of the SXSW Music Festival taking place March 11 – 16, 2014 in Austin, Texas. Invited acts scheduled to perform at SXSW Music 2014 include:

Aer (Wayland MA)
Kyle Andrews (Nashville TN)
Atlanter (Oslo NORWAY)
Atomix (Mixcoac MEXICO)
The Autumn Defense (Chicago IL)
Avi Buffalo (Los Angeles CA)
Belle Adair (Muscle Shoals AL)
Betunizer (Valencia SPAIN)
The Black and White Years (Austin TX)
Jeff Black (Nashville TN)
Black Taxi (Brooklyn NY)
The Black Watch (Los Angeles CA)
The Blank Tapes (Los Angeles CA)
The Boxing Lesson (Austin TX)
Boyfrndz (Austin TX)
Bring Me The Horizon (Sheffield UK-ENGLAND)
Bugs of Phonon (Tainan TAIWAN)
Burgess Meredith (Austin TX)
Allysen Callery (Bristol RI)
Capsula (Bilbao SPAIN)
Casual Sex (Glasgow UK-SCOTLAND)
[Champagne] (Tokyo JAPAN)
The Chevelles (North Fremantle WA)
CHRISTEENE (Austin TX)
Shawn Chrystopher (Los Angeles CA)
Cinco Doce (Austin TX)
Amy Cook (Austin TX)
Crossfaith (Osaka JAPAN)
Rodney Crowell (Crosby TX)
Current Swell (Victoria CANADA)
David J (Santa Rosa CA)
Deidre and the Dark (Brooklyn NY)
DeLorean (Houston TX)
Dems (London UK-ENGLAND)
Desert (Barcelona SPAIN)
The Devil Makes Three (Santa Cruz CA)
Division Minuscula (Matamoros MEXICO)
Eliza Doolittle (London UK-ENGLAND)
Doughbeezy (Houston TX)
Dråpe (Oslo NORWAY)
Drenge (Castleton UK-ENGLAND)
Dumb Waiter (Richmond VA)
The Dunwells (Leeds UK-ENGLAND)
Lincoln Durham (Austin TX)
Dusty Stray (Amsterdam THE NETHERLANDS)
East Cameron Folkcore (Austin TX)
East Forest (Portland OR)
Andrea Echeverri (Bogota COLOMBIA)
E-Dubble (Baltimore MD)
Robert Ellis (Houston TX)
Sean Falyon (Atlanta GA)
Feathers (Austin, TX)
Folly and the Hunter (Montreal CANADA)
Ghost Loft (Los Angeles CA)
Ariana Gillis (Toronto ON)
Glass Animals (Oxford UK-ENGLAND)
The Great Wilderness (San Jose COSTA RICA)
Gungor (Denver CO)
Hamell On Trial (Ossining NY)
Elias Haslanger (Austin TX)
Hey Ocean! (Vancouver CANADA)
Micah P. Hinson (Denison TX)
Hollow Jan (Seoul SOUTH KOREA)
Hopsin (Panorama City CA)
Hyenaz (Berlin GERMANY)
Il Pan del Diavolo (Palermo ITALY)
INVSN (Umea SWEDEN)
Garland Jeffreys (New York NY)
Jonzieeee (Houston TX)
Vance Joy (Melbourne AUSTRALIA)
June (San Francisco CA)
Jungle (London UK-ENGLAND)
Kaytranada (Montreal CANADA)
K Camp (Atlanta GA)
Killa Kyleon (Houston TX)
Kins (Brighton UK-ENGLAND)
Kira Kira (Mosfellsbær ICELAND)
Kristal and Jonny Boy (Rättvik/Stockholm SWEDEN)
La Orquesta Vulgar (Juarez MEXICO)
Kieran Leonard (London UK-ENGLAND)
Like Swimming (Stockholm SWEDEN)
Lil Ray/Wheels Up (Houston TX)
Lions In The Street (Vancouver CANADA)
Little Daylight (Brooklyn NY)
Little Jesus (Mexico City MEXICO)
Grace London (Austin TX)
London Grammar (London UK-ENGLAND)
Lord Buffalo (Austin TX)
Los Lonely Boys (San Angelo TX)
Lost Tapes (Barcelona SPAIN)
Calvin Love (Edmonton CANADA)
Lovely Bad Things (La Mirada CA)
Love X Stereo (Seoul SOUTH KOREA)
Lene Lovich Band (London UK-ENGLAND) Eleni Mandell (Los Angeles CA)
Marigold (Borlänge SWEDEN)
Jessica Lea Mayfield (Kent OH)
The Men (Brooklyn NY)
Mibbs (of Pac Div) (Beverly Hills CA)
Mighty Oaks (Berlin GERMANY)
 
Fernando Milagros (Santiago CHILE)
The Ben Miller Band (Joplin MO)
Mirror Travel (Austin TX)
Mise en Scene (Winnipeg CANADA)
Money For Rope (Melbourne AUSTRALIA)
Mon Laferte (Escandon MEXICO)
Mono Inc. (Schönberg GERMANY)
Angelo Moore & The Brand New Step (Los Angeles CA)
Mozes And The Firstborn (Eindhoven THE NETHERLANDS)
mr. Gnome (Cleveland OH)
Neulore (Nashville TN)
Nive Nielsen & The Deer Children (Nuuk DENMARK)
Nightmare Air (Los Angeles CA)
Kurt Nilsen (Oslo NORWAY)
NO (Los Angeles CA)
NONONO (Stockholm SWEDEN)
OBN III’s (Austin TX)
Only Real (London UK-ENGLAND)
Palmbomen (Amsterdam THE NETHERLANDS)
Panama Wedding (New York NY)
PapaNegro (Santiago CHILE)
PEDALJETS (Kansas City MO)
Penny & Sparrow (Austin TX)
People of Letters (Melbourne AUSTRALIA)
the Pepper Pots (Girona SPAIN)
Juan Perro (Madrid SPAIN)
Phonalex (Buenos Aires ARGENTINA)
Pompeya (Moscow RUSSIA)
Porter (Guadalajara MEXICO)
Propain (Houston TX)
Pure Love (Hemel Hempstead UK-ENGLAND)
Que (Atlanta GA)
Random (Mega Ran) (Phoenix AZ)
The Rocketboys (Austin TX)
Raina Rose (Austin TX)
ROXY ROCA (Austin TX)
Royal Canoe (Winnipeg CANADA)
Rusty Maples (Las Vegas NV)
Saint Rich (Fredon NJ)
Josef Salvat (Sydney AUSTRALIA)
Saor Patrol (Edinburgh UK-SCOTLAND)
Savoir Adore (Brooklyn NY)
Jack Savoretti (London UK-ENGLAND)
Shakey Graves (Austin TX)
Sigmun (Bandung INDONESIA)
Sisu (Los Angeles CA)
Ski Lodge (New York NY)
Soldout (Bruxelles BELGIUM)
The Sour Notes (Austin TX)
Speak (Austin TX)
The Spring Standards (New York NY)
Starlight Girls (Brooklyn NY)
The Suffers (Houston TX)
Sweet Baboo (Trefriw UK-WALES)
The Swiss (Sydney AUSTRALIA)
SwizZz (Los Angeles CA)
Dudu Tassa (Tel Aviv ISRAEL)
Teengirl Fantasy (New York NY)
Kristian Terzic Band (Rovinj CROATIA)
To Be Frank (Suffolk UK-ENGLAND)
Jonathan Toubin (New York NY)
Truth Universal (New Orleans LA)
Ume (Austin TX)
Urge Overkill (Chicago IL)
Vampillia (Tenjinmachi JAPAN)
Vida Boulevard (Guadalajara MEXICO)
V.I.P (Austin TX)
Vockah Redu (New Orleans LA)
We Butter The Bread With Butter (Berlin GERMANY)
Taj Weekes & Adowa (Castries SAINT LUCIA)
Wes Fif (Orlando FL)
Whiskey Shivers (Austin TX)
Dot Wiggin Band (Brooklyn NY)
Wild Child (Austin TX)
Wild Moccasins (Houston TX)
Wild Ones (Portland OR)
Roosh Williams (Houston TX)
WonFu (Taipei TAIWAN)
Dizzy Wright (Las Vegas NV)
Yip Deceiver (Athens GA)
Gabby Young and Other Animals (London UK-ENGLAND)
Zefirina (João Pessoa BRAZIL)