PART 2 – Bad Music Habits to Break in the New Year

6. Self-Deprecation

Looky here! No one’ s pays money to go to your show and witness you beating yourself up from the stage. Stop tearing yourself down. Stop pointing out your mistakes and apologizing over and over again. Most people didn’t even notice it. And if they did, well then pointing it out is just redundant!
Trust me, I’m talking to myself just as much as I’m talking to you. It’s very tempting to tear yourself down, cause we’re wired that way, but it really doesn’t make anyone feel better – especially not yourself. Just learn from your mistake and use it to get better.

7. Using your fans

You know what I’m talking about. We all do it. We only bug our fans when we want something from them – money to fund the making of the next album, money to buy the album once its out , or votes to win the title of best something-or-other.  Ooor even worse, you become their best friend just so you can get them to come to your show. What would it look like if you “bugged your fans” about other stuff and gave them a reason to not dread reading your status updates? See Making Your Fans Part of the Process for some great ideas.
 Sure, we think its important to ask your fans for stuff. We even wrote a post about it (The Art of Asking Your Fans For Stuff), but like the title suggests, it’s an art. You gotta do it tactfully.

8. Having Unrealistic Expectation

Many years ago, i started to notice a trend. None of my shows ever turned out how I envisioned them to be. I remember leaving one show after another either angry or extremely discouraged. Eventually I realized that, while some shows were actually terrible, most of them weren’t as bad as I had made them out to be in my head. They had just turned out differently than expected. It was then that I came up with these words:

Hope for the best: prepare for the worst. 

These 8 words will be your best friend if you let them. They’ll prepare you for the most unexpected situations and help you cope when a good night goes downhill. They’ll also help you stay in the game longer.

9. Acting Without Planning

In addition to #1, this is the other thing that will kill your music career. Failing to create goals, timetables, or action plans will really mess you up. Finishing an album and releasing it the next week is career suicide. Yet, artist do stuff like this all the time. We’ve written so many post about the importance of planning, so we’ll save our breath and direct you to these two:  A Breakdown on How to Make “IT” Happen and How to Get From “Local Artist” to “Touring Musician.

10. Doing Too Little/Doing Too Much

You ever meet that person who’s in a new band every year. They know all the musicians in their local music scene and hit up as many open mics as possible. They play every show that comes to them, BUT they’re not getting anywhere? It’s like a hamster in its wheel – it keep running but it’s only getting tired.
Take a step back before the new year starts. What have you been doing and why isn’t it working? What can you do differently? What things have been working? What should you do more of/less of? Think about your long term goals (see #9) and decide what habits are helping or keeping you from getting there. If you feel like you’re in a holding pattern, begin to do things different. After all, they say insanity is doing the same thing over and over again in the hopes of getting different results. 
We wish you the very best as you plan for the new year! Good luck and let us know how it goes!


The Most Influential Music Cities In The World

By Bobby Owsinski
Atlanta At Night image from Bobby Owsinski's Music 3.0 blog
Atlanta – The most influential music city
When we think of music cities, the ones that most often come to mind are 
Los Angeles, New York, Nashville and London, but it turns out that there are 
smaller cities that actually have more influence on the music of today and 
tomorrow. A study called the Geographic Flow of Music shows that 
sometimes our perceptions don’t always match reality. Here are the top 20 
music cities in the US according to the study.

United States Most Influential Music Cities
1. Atlanta
2. Chicago
3. Montreal
4. Pittsburg
5. Houston
6. Toronto
7. Philadelphia
8. Richmond
9. Columbus
10. Los Angeles
11. San Diego
12. Austin
13. Minneapolis
14. New York
15. Vancouver
16. Boston
17. Denver, San Francisco, Seattle/Portland (tie)

When it comes to indie music only, Montreal, Toronto and Los Angeles are the top 3 with Denver and Seattle 

(surprisingly) at the bottom. For hip hop only, Atlanta, Toronto and Chicago are the top 3 with New York, Portland 
and Austin coming in last.

In Europe, the differences are even more stark. Here are the top 20 most influential European cities, according to 

the study.

Europe Most Influential Music Cities
1. Oslo
2. Stockholm
3. Hamburg
4. Dublin
5. Birmingham
6. Leeds
7. Paris
8. Berlin
9. Brighton
10. London
11. Madrid
12. Bristol
13. Vienna
14. Barcelona
15. Manchester
16. Milan
17. Munich
18. Istanbul
19. Cracow
20. Warsaw

What’s interesting is that 7 of these cities are in the United Kingdom, and 3 are in Germany, but who would’ve 

thought that Oslo would be the most influential of all?

Follow Bobby Owsinski on Forbes for some insights on the new music business.

PART 1 – Bad #Music Habits to Break in the New Year

We’re writing this post a few weeks before the new year so that you have some time to think about which of the following apply to you, and which ones you need to do something about.

1. Making music that nobody hears

Stop it! If you’re making music for yourself, there’s no shame in that. But if you’re making music and you’re afraid to share it with people, therein lies the problem. Or maybe you’re afraid of all the hard work it takes to get your stuff out there. Stop making music that nobody hears…especially if your stuff is good! But there’s more…
I once had a friend who, once he finish putting out an album, he would head into the studio a few months later and start recording the next one. Stop doing this! This is the worst idea ever and it will literally kill your music career! At the very least, give yourself 1 year to heavily tour, promote, or share you album with fans. After all you spent so much time making it. By right, you should put 2-3 years between each album to really give it the breathing room it needs.

2. Living vicariously through other people

Are you one of those people who sits back, watches other people’s success and wishes it were you. This happens to everyone…literally. The first thing you should know is that the grass always looks greener on the other side. Often what you’re seeing is the product of alot of hard work. Alot. In addition, living vicariously through others doesn’t help you one bit. On occasion, it can motivate you to actually do something, but most times it just makes you jealous.  And there’s more…
Stop living vicariously through your daydreams. Any time you get stuck in “what could be” instead of “what is”, you’re getting yourself into major trouble. Dream, but don’t daydream. 

3. Cluelessness

Ok, this one sounds a bit harsh, but you have no excuse for not knowing how to do stuff. We’re not saying you should do everything, but we are saying that you should be aware. Stuff like creating Facebook events, pitching yourself to a venue (See: Writing the Perfect Email Pitch), booking and promoting a show, and all those other annoying things we wish we didn’t have to do. If you really don’t know what you’re doing, spend some time (extensively) on this site, and you’ll be better for it!

4. Trying to get your friends to come to your shows

Look Open mic is great, and you’ll make some great friends, but you can’t keep asking your music buddies to come to your gigs. You can’t keep asking your family and other friends either. You need fans – real fans. We’ve talked about this one before, but it still happens all the time. And we’d be lying if we didn’t give our friends at Indie on the Move credit for point #4. Read their latest post and you’ll see what we mean: Dear Indie Band, Your Friends Are Not Your Fans.

5. Ignoring your website

While hanging with another friend this week, he decided to pull out his laptop and stick his show on his website’s calendar. The only problem is that the show was the following day. I bit my tongue but I wanted to punch him and say, “that should have been on your website 4 weeks ago”!
Stop ignoring your website…or your Facebook page, or your band’s Twitter account. If you have fans, that’s where they’ll go. If you want fans, that’s where they’ll go. Check out: The 3 Biggest Mistakes Artists Make on Their Website and How To Measure Your Website’s Success.

Stay tuned for Part 2

What you need to know about monetizing your music on YouTube

youtube banner What you need to know about monetizing your music on YouTube[Click HERE for all the details about how CD Baby can help you earn money from the usage of your music on YouTube today.]
YouTube has become the most popular music-discovery tool in the world and the most popular listening platform for people under the age of 18. Now the video streaming giant is also one of the best ways for independent artists to earn money from their music.
That’s right: with our Sync Licensing Program (FREE for all CD Baby artists), you can get paid for the usage of your music in ANY video across the YouTube universe that uses your songs.
CD Baby has already paid out over $1,000,000 to independent artists for their music on YouTube, and that figure is growing fast. 
So, how does monetizing music on YouTube work?

YouTube’s content ID system

Once you’ve opted in for CD Baby’s Sync Licensing Program, your music will be delivered to YouTube’s content ID system. This means that YouTube will scan your tracks with their magical high-tech machinery and register an exact sonic “fingerprint” for each and every one of your songs in their database.
From that point on, any time someone out there in the YouTube universe uploads a video which uses one of your songs, YouTube will place an ad on that video and you will earn a share of any ad revenue generated. Remember: this includes placing ads on the videos you have already uploaded to your own YouTube channel — but more on that later!

When will I earn ad revenue from YouTube? And how much money will I make?

Why Indie Musicians Need To Be Performing Online

Jordan Reyne
If you are reading this you are doubtless someone who makes music. You might be a professional, a beginner, or somewhere in between. Whichever the case, you doubtless love making music, but are probably aware of the increasing difficulty of securing live shows in todays quick-profit-only focussed industry. You are probably aware of the various websites you can upload recorded music to – even the places where you can release an album via the good guys who are music focuseed: bandcamp, CD Baby and the like. But it’s not the same as getting to play your music live – it’s not the same for listeners either, and statistics show that they only bother to listen to the first 10 – 15 seconds with recorded music1. Live performace is the key to connection. It’s also one of the true pleasures of being a musician.
There is a global audience already engaged with viewing live online performance. It’s accessible, it’s almost entirely free, and last but certainly not least, the usual gatekeepers and entertainment giants have not yet cottoned on to the power of it – which is why it shall remain, almost free, accessible and open to you making what you want from it. The playing field of online perforamce is still about as level as you can get. The price of “competing” has not been raised by the need to garner the interest of “the right people”, nor to invest hundreds of thousands in advertising, videos and production to keep up with the majors. In fact, those things are all completely within your grasp. Your audience is out there, and you probably have the tools to reach them aleady.
This article is about why your budget, your location, and your life situation don’t matter anymore when it comes to becoming a professional, full time, performing musician. It’s about the fact that, that regardless of your level, income, and lifestage, you can play shows to international audiences from the comfort of your own home, and with a bit of dedication and savvy, possibly even quit your dayjob to do so.
Beginner, or hardened professional, online performace is a new, open territory, available to everyone with a net connection, a computer, and a love of community. It is new territory populated by lovers of music and makers of music, untouched by the claws of major music corporations. It is a brand new world that the powers that be, have zero power over. It is run, maintained, and populated by communities – people who are dying to see what the commercial world has held us back from for so long: music in all its colours and forms.
The era of online communication has altered a few more things than people even imagine. The average man on the street (or A&R guy behind a desk) has not changed their ideas about how a musician gets their music out there, but that is part of why this new territory can become what we, indie musicians, make of it. The fact of the matter is: we now live in a day and age where it is very easy, and cheaper than chips, to play to an international audience from home. This new fact only seems like a secret because not everyone has cottoned on to it yet, and not every musician knows how to do it, or even where to go. This article is part of a series of articles and webinars from a book I am releasing called “Gigs In Space”. They are designed to help you setup and perform online, and get your music out there. They will give you the tools and know-how to be the one who has the influence over your musicial future.

 Why Play Music Online?

jordanreyne-studiosetup1) Because the potential audience is massive, and already engaged in listening to online performers.
You probably had a rough idea already, but there are 6 billion internet users, according to at the time of writing. That’s 6 billion people who log on to the net to watch, read, socialize, download, listen, and otherwise engage with content. We all know the interest in sharing music online has been massive enough to terrify entertainment companies. It’s also been massive enough to make or skyrocket artists like Lilly Allen into fame via her use of an online platform (myspace). She saw the opportunities to be heard that it created, and got in there quick. There are, in fact, far more people spending time viewing music online than there are attending live music festivals in the UK – which has an estimated 3 to 4 million music festival goers annually2 compared to 51 million interenet users3. That’s a lot of people who would rather NOT have to brave the maddening crowd, sleep in a tent or sit in trafic jams in order to see music they like. There are a lot of people who are looking for their entertainment or experiences of the arts from the comfort of a home.
To cite specific platforms, the virtual reality website, “Second Life” has 6 million registered users. In the last 90 days, 1.8 million of them logged on. The place is full of venues, performing musicians, and listeners looking for gigs to attend (there are dozens of shows every hour). I play to them 4 – 8 times a week. For a fee, tips, and album sales.
2) You don’t have to camp in a field, or drive for hours to reach this massive audience.
Gigging, in the traditional world, is expensive. From vehichle hire and promotion through to accomodation. It’s also sometimes uncomfortable – long drives, dodgy food, lack of sleep, venue owners who decide not to pay you at the last minute. It is also sometimes financially disasterous – small turnouts due to bad advertising or unknown clashes, damaged or lost stock and gear.
With cyber performance, there are no overnight stays on couches, in fleapits or in the back of your van. There is no taking a wrong exit that costs you a gig. No months-long planing to co-ordinate radio, newspaper coverage and gig listings. In fact the time investment for planning and promotion for each gig is minimal because there is no travel time at all, and lead in is a week or less. You basically pick up your intrument and log onto the net.
3) The advertising is FREE.
Not cheap or “comparitively low”. It’s FREE. In the online world, you combine social networking with the established infrastructures of the communities you are playing in for sending free advertising. In fact, the infrastructure also ensures a certain kind of advertising quite different to old school ways of doing things – one focussed on information, rather than pure hype. Posters and flyers need not be glossy, photoshopped pictures – though pictures of most kinds do get more shares and likes on social media – they have to convey where to go, what time (in several timezones) and how to attend. There are no tree-deaths, printing costs, or paying out for someone to stick them up all over town either. Advertising your shows on the various platforms you perform on, generally costs nothing. I say generally, as some of the webcam based cyber performance platforms will charge to get your show placed on their “coming up” or “highlights” image changer. This is where money-focus is begging to override the idea of a level playing field, so this book focuses on the platforms and online venues that offer advertising in an informative way and are fully free of charge. There are plenty of them, with being my favorite for its accessibility, community mindedness and quality.
4) You can do it in your pajamas.
The Look. Image. “Cool”. All these things are staples of the old school music world. In an aural medium, you may be as frustrated as I am with the focus on looks and image – with the cult of narcissism and musician-on-a-pedastal advertising that permiates our culture.
In the online word, you’ll be happy to know, it’s not necessary. Sonic artforms can, in fact, be decoupled from the selling of a physcial and somewhat mythical character. For those of you who like or don’t mind all that, or see it as your strong point, you can still indulge to your hearts content, but for those of us who find it a tad tiresome/ shallow/ beside the point, you can shirk it entirely.
No one has to see you unless you want them to. This is especially true of VR (virtual reality) platforms, but it can also be easily done in webcam based shows. In V.Rs, you decide how you want look via something called an Avatar. You can shape and make your avatar look any way you want. You can do branding in the traditional way if you like, but you could also be a pink dragon, a blue cube, a battle dwarf, a necromancer. If you want to stick to the traditional ways of branding the possibilities are endless to. You can be a guy with a 6 pack. A woman with ridiculously large breasts. In short, you can look any way you want from your own cultural/societal ideal to the bizarre and crazy – you can also be yourself. The choice is entirely yours.
Of course, my own politics are shining through here, but I’m letting them. Being yourself, or something unexpected isn’t something to underestimate, and we will go more into why later. One of the key differences between online performance and old school models is the fact of connection and community. You aren’t a rock band on a far away stage, or some untouchable beauty who has been photoshopped out of attainability. You are on a level with your audience. You are a real person rather than a rock-star-on-a-pedastal because onine performance is about creating community. This might sound dissapointing for those that crave that kind of fame – and daunting for those who may feel like they don’t measure up. The music industry has been dominated by looks-driven judgement for so long that it can be easy to feel like you just can’t compete. Those feelings can stop you enjoying playing, contribute to nervousness when you are starting out, or make you feel inadequate even if you are a great musician. That’s why it’s important to know this – online, you can chose how to present yourself. For marketing minded musos out there, you can brand yourself to match the kind of style you think matches the music. For those with contempt for branding and all it stands for, you can look as ecclectic and non genre-pigeonholed as you like. Online, any and all of that is ok. It’s what you say and play that counts most. 
5) You can make money.
Having just disparaged money-focussed record companies, you may wonder why I think this is such a big deal. It’s a big deal because it is a side effect or doing something creative and that you love. It is not the primary focus, but it is something that enables you. It enables you to carry on creating.
The fact of an income based on doing what you love sounded too good to be true when I first heard about it, but being paid to play online is no urban legend. There is already an audience out there that actually wants to hear music – for more than ten seconds too – and they will pay for the privelidge once they know they enjoy you, just like they would in the venue and festival scenarios of old. The pay varies, of course, and even on the best paying platform (Second Life) it will take you a while to build up to the sort of level of income where you can actually quit your job (and it’s easier to get there if you live in a country with a weak currency than the US dollar), but there are nuerous musicians who have done just that. I currently earn my living by integrating the venue and festival gigs with playing shows online. The pay from touring and gigging in traditional venues and festivals varies from great to terrible, as is generally the case for most musicians. The stable mainstay of my income is the online shows, because there are few risks, no overheads, and the per hour return is far, far higher in the long run.
6) Because you CAN.
At the pinnacle of it’s profit making days, the old school music business was very good at ensuring inaccessibility for most indie musicians. From elevating the costs of album and video production to million dollar levels, through to attempts to ban CD drives on home computers that could created copies of CDs (the Mellenium Copyright Act, which fortunately failed thanks to groups like the Electronic Frontier Foundation). To this day, the old school means of distribution (eg record stores and radio) are syndicated and dependent on budgeted backing. Even live music events suffer from this plight, with festivals like Amphi (German gothic music festival) only chosing acts from their member-labels to perform. Grim stuff. And many of us got pretty dispondent. Even listeners themselves – those who relied on radio and television as their sources of hearing about new music – went about saying “there are no new ideas. All the music sounds like stuff we’ve heard before.” Which it did. The reason was simple – most record companies are cowards. They know they can sell things that sound a certain way: ie exactly like something they have managed to sell before. They will stick to their genres, styles and formulas rather than taking a risk on a new sound. As the entertainment industry became more and more focussed on increasing profit margins, they stuck even more rigorously to what they knew in advance should sell. In other words, they stifled innovation. But there were and still are innovators out there. The difference is, now, in the world of cyber performance and internet distribution, those innovtors can be heard once more. You, as an indie musician doing this without a record company, a booking agent, or a promotor, can be heard. So be heard! Because you can, and because people actually do want to hear something new.

This one word makes all the difference: COMMUNITIES

The most successful online platforms are based on community. The community itself is generally already there – and it’s a love and enjoyment of music that made them arise in the first place. Of course, not all internet platforms have communities because they dont enable that kind of interation. Later on, when we compare some of the webcam based performance platforms, you will notice that those with an existing community of their own – where people interact, socialize and gravitate to each other – offer much more opportunity and rewarding experiences. Communities like the Second Life music scene, the social networking side of NuMuBu and google hangouts support the coming together of people interested in the makers of music. They do not simply support select individuals with a lot of money to invest. Where this community is lacking, the cash as a weapon tactic can be used, and generally is by the site makers to gain extra revenue. Sites with no closeknit community use this paid advertising to generate revenue – but at the cost of the level playing field.
The idea of online communities is crucially different to the models used by entertainment companies, which essentially ensure ownership of infrastructure by throwing money around, so that you, the indie musician, are shut out. In an online community, these tactics don’t actually work well, if at all. For many, throwing money at an advertising campaign is simply not part of the infrastructure. For those where it is, you can advertise until the cows come home, but it won’t ensure anything other than a good first turnout. If you dont connect with those there, they won’t return. Their returning is vital to your making it work. The idea is actually to buid a community of your own, around what you do. The fact that your liseners come to see you repeatedly means that they develop a real connection to your music and eventually, you as a person. Your humour, moods, and whether or not you value their being there all come into play in online performance. This means that being a person (rather than a shiney music-dispensing product) is very important again.
Having read all that, you may already see why playing online is far more accessible and potentially rewarding than both traditional gigging, or focussing on static music delivery sites. In which case, tune in next month for more, or head over to and try it out as you may be able to take it from here on your own (their site is very user friendly and there is a very good how-to on setting up).
Next month we will be looking deeper into the comparison between offline and online gigs – for those still skeptical about how the two compare we will be talking about how the connection with the listeners, the atmosphere and more compare in ways more positive than you probably imagined. From there on we will look at the different platforms available and go into detail about how you can set up to play in them.
Until then, have a great month!
1J L Frank, Future Hits DNA
3Source: on July 22 2011

Jordan Reyne:
Hailed by Radio New Zealand as the author of a new sound, Jordan is a 3 time Tui Award (New Zealand Grammy) nominee, and has lent her voice to projects from Cafe Del Mar through to Lord of the Rings. A prolific writer and performer, she has seven internationaly acclaimed albums to her credit and has and toured the UK, Poland, Germany and New Zealand. You can hear more of her music here and follow her videos on online performance at
If you read this far I really hope that you got some value out of it. And if you liked it I hope that you’ll use one of the hand-dandy social media sharing buttons on the page to share this post with anyone that might find it useful.

I include links to resources mentioned in this article and anywhere else on the website on the Toolbox page.

7 Steps To Developing Your 2014 Music Marketing Plan

Music Marketing image
By Bobby Owsinki

We’re just about at Christmas, and most of the serious 
music business for the year is over. That means it’s a 
great time to start planning your 2014 marketing 
campaign so you can hit the ground running on January 
2nd. Here are 7 things to consider.

1. Does your website need an update in its look and feel? Do you have a press page or a easy to find contact 
page? Do you have a page with info just for promoters and club owners? Does your site have an easy to find mailing 
list subscription section?
2. Do you have a music release schedule for next year? Do you know when you’ll have new music available? 
Do you have a production schedule? Do you know when you’re going on the road? Now’s the time to plan.

3. Do you have a video release schedule? Do you know what videos you’ll need to create in order to support your 

music? Do you have a schedule for production? Make sure you plan for lyric videos as well as produced music videos, 
as they get viewed almost as much.

4. Do you have a mailing list schedule? Do you know when you’ll be sending out emails to support your music and 

video releases? Do you know what you’ll be sending out when you don’t have products to announce? Now’s the time 
to work up those ideas and create an editorial calendar so you’ll always have something useful to send in order to 
keep in touch with your fans or clients.

5. Do plan on supporting your releases or gigs with paid advertising on Facebook, Twitter, Google Adwords, 

or bookmarking sites? If not, it’s time to look into it as you can get a big return from a relatively small investment.

6. Do you Tweet? If not, nows the time to learn how. If you do, do you have a list of hashtags that you normally 

use? If not, go to and create one. Do you know the best times in the day for you to tweet in 
order to garner the highest engagement?

7. Have you monetized your videos? You do have a YouTube channel, right? If not, create one right now. If you 

have one, be sure to set it up to monetize your videos. Do you get over a million views a month? Now’s the time to 
look into a Multichannel Network like Omnia or Full Screen for a larger cut of the revenue.

Social Media Promotion For Musicians cover image

If you’re confused by any of the above, you can find out everything you need to know 

about promoting yourself, your music or your band by reading 
Social Media Promotion For Musicians. It’s a guide that shows you how to use your 
website, mailing list, Facebook, YouTube, Twitter, Google+ and bookmarking sites to 
your best advantage when it comes to making your music more visible, and growing 
your audience. It makes a great Christmas gift for yourself or an engineer or musician 
in your life.


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

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

Check out my Big Picture blog for discussion on common music, engineering and production tips and tricks.

Read more:
Under Creative Commons License: Attribution Non-Commercial Share Alike

75 Songs Eligible For Oscar 2014 – The Full List

The Academy of Motion Picture Arts and Sciences has named the 75 songs eligible for an Oscar in 2014. The list includes Beyonce (“Epic”), Lana Del Rey (“The Great Gatsby”), Jay-Z (“The Great Gatsby”), Ed Sheeran (“The Hobbit”), Taylor Swift (“One Chance”), U2 (“Mandela”) and Pharrell Williams (“Despicable Me 2″).  The full list of the 75 songs eliglble for an Oscar in 2014 and the films they come from:

  • “Amen” from “All Is Lost”
  • “Alone Yet Not Alone” from “Alone Yet Not Alone”
  • “Doby” from “Anchorman 2: The Legend Continues”
  • “Last Mile Home” from “August: Osage County”
  • image from“Austenland” from “Austenland”
  • “Comic Books” from “Austenland”
  • “L.O.V.E.D.A.R.C.Y” from “Austenland”
  • “What Up” from “Austenland”
  • “He Loves Me Still” from “Black Nativity”
  • “Hush Child (Get You Through This Silent Night)” from “Black Nativity”
  • “Test Of Faith” from “Black Nativity”
  • “Forgiveness” from “Brave Miss World”
  • “Lullaby Song” from “Cleaver’s Destiny”
  • “Shine Your Way” from “The Croods”
  • “Happy” from “Despicable Me 2″
  • “Gonna Be Alright” from “Epic”
  • “Rise Up” from “Epic”
  • “What Matters Most” from “Escape from Planet Earth”
  • “Bones” from “For No Good Reason”
  • “Going Nowhere” from “For No Good Reason”
  • “Gonzo” from “For No Good Reason”
  • “The Courage To Believe” from “Free China: The Courage to Believe”
  • “Let It Go” from “Frozen”
  • “100$ Bill” from “The Great Gatsby”
  • “A Little Party Never Killed Nobody (All We Got)” from “The Great Gatsby”
  • “Over The Love” from “The Great Gatsby”
  • “Together” from “The Great Gatsby”
  • “Young and Beautiful” from “The Great Gatsby”
  • “The Moon Song” from “Her”
  • “I See Fire” from “The Hobbit: The Desolation of Smaug”
  • “Bite Of Our Lives” from “How Sweet It Is”
  • “Try” from “How Sweet It Is”
  • “Atlas” from “The Hunger Games: Catching Fire”
  • “Better You, Better Me” from “The Inevitable Defeat of Mister & Pete”
  • “Bring It On” from “Jewtopia”
  • “Aygiri Nadani” from “Kamasutra 3D”
  • “Har Har Mahadeva” from “Kamasutra 3D”
  • “I Felt” from “Kamasutra 3D”
  • “Of The Soil” from “Kamasutra 3D”
  • “Sawariya” from “Kamasutra 3D”
  • “In The Middle Of The Night” from “Lee Daniels’ The Butler”
  • “You And I Ain’t Nothin’ No More” from “Lee Daniels’ The Butler”
  • “Let’s Take A Trip” from “Live at the Foxes Den”
  • “Pour Me Another Dream” from “Live at the Foxes Den”
  • “The Time Of My Life” from “Live at the Foxes Den”
  • “Ordinary Love” from “Mandela: Long Walk to Freedom”
  • “Monsters University” from “Monsters University”
  • “When The Darkness Comes” from “The Mortal Instruments: City of Bones”
  • “Sacrifice (I Am Here)” from “Murph: The Protector”
  • “The Muslims Are Coming” from “The Muslims Are Coming!”
  • “Oblivion” from “Oblivion”
  • “Sweeter Than Fiction” from “One Chance”
  • “Nothing Can Stop Me Now” from “Planes”
  • “We Both Know” from “Safe Haven”
  • “Get Used To Me” from “The Sapphires”
  • “Stay Alive” from “The Secret Life of Walter Mitty”
  • “So You Know What It’s Like” from “Short Term 12″
  • “There’s No Black Or White” from “Somm”
  • “Cut Me Some Slack” from “Sound City”
  • “You Can’t Fix This” from “Sound City”
  • “Let It Go” from “Spark: A Burning Man Story”
  • “We Ride” from “Spark: A Burning Man Story”
  • “Becomes The Color” from “Stoker”
  • “Younger Every Day” from “3 Geezers!”
  • “Here It Comes” from “Trance”
  • “Let The Bass Go” from “Turbo”
  • “The Snail Is Fast” from “Turbo”
  • “Speedin’” from “Turbo”
  • “My Lord Sunshine (Sunrise)” from “12 Years a Slave”
  • “Make It Love” from “Two: The Story of Roman & Nyro”
  • “One Life” from “The Ultimate Life”
  • “Unfinished Songs” from “Unfinished Song”
  • “For The Time Being” from “The Way, Way Back”
  • “Go Where The Love Is” from “The Way, Way Back”
  • “Bleed For Love” from “Winnie Mandela”

SXSW 2014 Announces Music Conference Sessions: Trends and Making Money


The current count of accepted music conference sessions for SXSW 2014 is over 120 with more news on the way. It’s a pretty interesting mix that reflects an industry undergoing great change with some established practices adapting well, new approaches emerging and making money the order of the day. Here’s the complete list to date. Given that many of these are panels, the presenters alone could gather for a rich music conference.

SXSW has a dedicated page for their Music Conference Sessions. Note that the descriptive text stating that there are 85 sessions was taken from their first announcement and hasn’t been updated. The second announcement added over 40 to the list and promised “more Featured Speaker, mentors, meetups, and panels announcements in the coming weeks.”
SXSW 2014 Music Conference Accepted Sessions
Hypebot Senior Contributor Clyde Smith (Twitter/Facebook) is building a writing hub at Flux Research. To suggest topics about music tech, DIY music biz or music marketing for Hypebot, contact: clyde(at)fluxresearch(dot)com.

#Sonicbids: Helpful information about the new sign-up process


We now ask for a little more information during the sign up process. Some of you have asked why this information is needed. Here are some of the changes we made and the reasons why.


We ask for a couple of reasons. Primarily, because the Children’s Online Privacy Protection Actrequires it. Our terms of service require our users to be over 13 years of age.
The other reason is really to benefit you. Certain venues can’t accept acts under 18 or under 21 because they serve alcohol. Some contests and opportunities also have age restrictions. We need to be able to tell promoters that you meet their requirements. We will NEVER share your age with promoters or venues—that’s just not cool.


Some employers are seeking musicians, bands, or groups fronted by a specific gender. When you’re looking for gigs, we do our best to show you what is most relevant to you. This keeps the search a bit less cluttered.

Facebook Band URL

For the modern day musician, Facebook is one of the most essential marketing tools you’ve got in your toolbox. We ask that you provide a Facebook URL because most promoters are looking for it.  Facebook does a great job authenticating users and pages, so there will be less spam in Sonicbids. Also, fans and promoters will be able to like your facebook page directly from your EPK.


If you want to get your music out there, your face—or your image (à la Daft Punk)—should be attached to your art. Many promoters immediately disregard submissions that don’t include a photo. That’s why we’ve made photos mandatory. It really will benefit you and your career in the long run. And just an FYI: photos have individual file limits of 250x250px and must be at least 1kb in size.
What other questions do you have about the sign-up process? We’re trying to make this as easy and clear as possible.

Common Promo Tactics, Bad Habits & Why They Don’t Work

First impressions are lasting impressions. Your actions on a daily basis reflect how you are perceived as an artist. Often you are seen before your music is heard.
There are common tactics that are perceived as ‘amateur’… in other words, the artists that are really out there killing it and making a living from their music (whether on an indie or major level) aren’t going about promo in this way – yet these tactics are so common, that most artists mimic what they see others doing instead of learning how to do it themselves, the right way.
The difference between bad marketing and good marketing is, bad marketing talks AT people, good marketing talks with them. Everyday I watch artists, that might potentially have good music, throw their dreams down the drain little by little with every unsolicited link they send out in hopes that someone will listen to their song and ‘put them on’. Understand that you need more than just a listen. I repeat: YOU NEED MORE THAN JUST A LISTEN! You need people to engage with you. You need people to share your music with their friends. You need them to want to buy your merch and come to your shows. There is no official blueprint to how to accomplish that, however there are definite ways that DO NOT WORK but yet these tactics are so very common. It’s time to put a stop to this now.
I’ve had numerous discussions about this on Twitter, through email etc. but I’ve decided to write an article on the subject to really make things clear. Once you are done reading this article, I hope that you are either giving yourself a pat on the back because you do not make these mistakes, or if you do, I hope that you change your ways and come up with an actual plan that will really help you reach your goals (because these tactics surely aren’t going to cut it!).
Here are a list of common promo tactics and the reasons why they aren’t effective:

Promo Tactic: Sending out unsolicited links via twitter.
Why It Doesn’t work: Twitter is a social networking site. SOCIAL NETWORKING. Understand what that means. Twitter is a place where things can get spread very quickly, however in order for that to happen, the content must be engaging and ‘retweetable’… Twitter is not to be used strictly for promotion, it doesn’t work that way. You can spend hours sending out your link to individual people, it will not do anything but waste your time and annoy people before they even listen to your music. You must take a step back and realize what you are doing. If you have to @ people with a link to your music, that just means that you’re not interesting enough for people to actually pay attention to your tweets.
Twitter can be great for building and promoting your brand, but not if you use it strictly as a promo service. You must build your clout by engaging with others, releasing quality content and building a following that looks for you and pays attention to your tweets.
Promo Tactic: Sending out unsolicited emails.
Why It Doesn’t work: There goes that unsolicited word again! That’s why it doesn’t work. Do YOU open random spam emails? Do you realize how many emails people get everyday? Do you really think that your email stands out with the title ‘Check Out My Music’ or ‘Music Submission’ when sending to a random person that you have never spoken to before? Come on now, you must think before you do. Email marketing is an amazing way to promote yourself, however you should be building your own subscriber list, filled with people that know who you are and want to hear from you. Emailing random people that you have never spoken to before is a waste of your precious time that can be spent being more productive. Also, how do you even know if that person accepts submissions? Most artists send out emails to people without doing any research on that person. They don’t even know why they are approaching that person, I guess it’s just to see if they can get someone to listen.

Promo Tactic: Posting a music video to someone’s Facebook and/or tagging a bunch of people that you don’t know in your status.
Why It Doesn’t work: You are talking AT people instead of engaging with them. Just because you are friends with them, doesn’t give you the right to promote your mixtape or freestyle all day by tagging them. You should be making sure that your posts are attracting viewers, so that when you post something, people look for it without you having to chase them.
If you noticed, there’s one common word that was used in all of those points… the word is UNSOLICITED. If you are unsure of what that means exactly, it basically means ‘not asked for’ – so if you are sending anything unsolicited, that means you are sending it blindly to someone that you do not even know, hoping that you’ll get a response. WRONG!
Promo Tactic: Paying to perform at a local showcase:
Why It Doesn’t work: Way too often a ‘promoter’ will come along and throw a ‘HOTTEST IN YOUR CITY’ showcase or something along those lines. They decided to throw this event because they know they can get 10 clueless artists to pay $100-$250 just to get on stage (because they don’t know any better). Once they accomplish this, they now have a packed room full of other artists and their ‘entourages’ that are only there to support who they came for. So the artist ends up performing in a room full of people who are generally not interested in supporting anyone except for who they came with. How does that benefit an artist? IT DOESNT. It just puts money in the promoters pocket. Money that you could have put towards something more beneficial, like promotion for your album or getting your tracks mastered. Sometimes the ‘promoter’ will even try to ‘woo’ you by telling you that ‘so and so from big named records’ will be in attendance to check out your performance. Damn gets them every time! But artists that learn the biz, understand how these scams work, and they understand that no 1 person is going to come along and magically ‘put you on’, therefore it doesn’t matter if the label rep is half-assed watching your performance, they can’t do much for you anyway! Honestly, you could of gotten more out of an open mic than you did out of that showcase. But it’s ok, now that you made that mistake, you know not to do it again.

Promo Tactic: Paying to get a slot on an unknown DJ’s mixtape:
Why It Doesn’t work: Let me say this, before you pay for any sort of promotion, you must do your own research. There are many unknown radio stations, DJ’s, Promoters, etc that will ask you to pay for a mixtape slot, or a radio interview, or a placement on their website, etc however that does not mean that you will receive any exposure from it. You need to research, find out how many viewers they really get, check out their website, are people really tuning in? Does that DJ get any exposure himself? If not, how do you expect them to get you exposure? If that website only gets 50 views a day, but they are asking you to pay $250 for a spot on their home page, is it really worth it? It seems that artists get so excited that someone wants to interview them or someone is offering to get them a spot on their website, that they forget there are other things that go into it. You have to bring yourself back down to earth and really analyze if things are beneficial to your career.

Promo Tactic: Buying likes, followers, views etc.
Why It Doesn’t work: It’s fake. Fake people and fake numbers don’t get you real support. You need to keep it organic. Having 100 real fans is better than having 2000 fake ones. You need to start small and build out. Those supporters that you already have are a power team. You need to keep them interested and have them help you spread your music.
”Artists tell themselves that if someone sees that they have 100,00 likes that makes it more likely it’ll be viewed. The problem is that they can buy 100,000,000 views – that factor alone won’t gain interaction.” – Tony ‘TheConnect’ Guidry

Promo Tactic: Only promoting online or vice-versa.
Why It Doesn’t work: Both online promotion and in your face street promotion are needed to build a buzz. There are many artists that hide behind a computer but no one on their scene knows who they are. Then there are artists that could care less about social media because ‘they are hot in these streets’ however they don’t realize that Google practically runs the world and even if you do meet someone that can potentially help you, the first thing they are going to do is look you up online. Your ‘but I’m hot in these streets’ attitude must reflect this online as well or else your falling short.
So you’re probably thinking, you told me all of these things not to do, so how do I do it the right way? You have to attract people to you, not chase them. 
It’s pretty simple actually – post extremely good engaging content on a consistent basis. I’ll repeat it. All you need to do to continually grow your fan base is to post good content that is engaging and interesting to your current and potential fans.
Supplying great content is the key to growing your fan base. If your site isn’t getting traffic, if you’re not getting any re-tweets on Twitter, if you’re not getting many likes on your Facebook fan page it’s because your content isn’t important or useful enough to the audience your trying to reach. It’s that simple. You’re not raising the bar, helping people, entertaining them, changing lives, and inspiring your readers to take some form of action. If you were, your audience would grow.
Remember, social networking is exactly that – NETWORKING. You need to show your personality while at the same time providing great content to your followers. Most artists only use social media for promotion, which can actually hurt you more than help your situation. There has to be a mix of both. You should be posting 7-10 tweets a day with content as well as interacting with your followers. Promotion should only take up about 20% of your time while the rest of the time is spent engaging. Nowadays the better content you have, the more fan base you have, it’s that simple.
Founder of Exclusive Public. Twitter @BreezyB215