My Songwriter Press Kit

Matthew Moran's songwriter press kit
Los Angeles songwriter, Matthew Moran

I updated my press kit this week… well, my songwriter press kit. One of the challenges of my scattered..er.. varied pursuits, is whether I should have a single press/information sheet or multiple one-sheets.

I’m scheduling some house concerts and small venue shows over the next few months – plus starting rehearsals with the band for shows in LA and surrounding areas. I felt it was important to have a music-focused press kit.

The fun part about putting the press-kit together was selecting the review quotes. I opted for Tom Laurie’s quote from Music Connection Magazine and Valerie King’s quote. She’s the editor of Rock Revolt – which hasn’t covered me per se.. my music isn’t that angry. Grrrr!! (me trying to be angry) But.. Paul Simon/Hootie comparison’s & being referred to as a “yummy concoction” are pretty cool if you ask me.

Download a printable press kit

I have my press kit as a PDF here. Or click the image to see a larger version.

Management

Judi Bell – Advantage Talent Management
email: judib (at @) advantagetalentmgmt.com  (obscured to avoid spam)

Press Kit Text

The acoustically-driven rock & roll and country crossover sound of Matt Moran is at once reminiscent of rough-hewn classic rock, while simultaneously hearkening to a heart-felt, down-home charm.

Moran’s combination of traditional rock and roll appeal with contemporary country-pop melodies and hook-laden lyrics, grabs the listeners‘ attention and is winning him fans in Southern California and beyond.

Whether performing as a solo artist in the intimacy of an acoustic setting or rocking the stage with his band, Matt’s obvious love for performing translates seamlessly in the delivery of his thought-provoking lyrics with an energy that invites listeners into his heart, mind and soul…and leaves them begging for more!

Visit his website for music, news, and more information.

Songwriters and bands should NOT pay to play in Los Angeles

In Los Angeles and other cities, bands and songwriters often pay venues to play 30-40 minute sets of music. This practice, preying on the hope and desperation of an artist trying to build a following is called pay-to-play.

I’m going to explain pay-to-play, why it happens (the reasons artists do it), and why it is unhelpful & unnecessary. I’m then going to offer a rational alternative to pay-to-play.

Suffice to say, if you are an artist, there is NEVER a reason to get into this situation.

What is pay-to-play?

Most venues book popular acts – those with a following – on Friday and Saturday night. But the venue must still make money the rest of the week. A “promoter” (in quotes for a reason – we’ll get to that) works with the venue and books artists mid-week, with the agreement that the artist must pre-sell an allotment of tickets to their show.

That money DOES NOT go to the artist, it goes to the venue – well, more specifically, the “promoter”.
Note: Those are not just any quotes, those are BIG finger quotes with a healthy degree of sarcasm… and probably a wink wink, too.

If the artist does not sell their allotment of tickets, they must still pay the “promoter” (HUGE EXAGGERATED FINGER QUOTES) for any remaining tickets.

Let’s assume, for round numbers, it is $10.00 per ticket and the artist must agree to sell 10 tickets. That’s $100 in ticket sales that the artist is responsible for. Usually, it is closer to 15-20 tickets depending on the venue.

So, in short, the artist is paying $100 for the “opportunity” to play the venue.

Why do artists agree to pay-to-play?

There are a few reasons. Some of them are:

  • They want to play out. Every true performer/artist does.
  • They believe is how it is done. Repeat a lie often enough and… well… you get the idea.
  • They are trying to build a following. Understandable, but pay-to-play works against that.
  • They believe the hype that X or Y venue is where you play in Los Angeles (or whatever city you are in), and might hope to be “discovered.”
    Note: The Viper Room, The Dakota Lounge, The Mint, Genghis Cohen, The Federal Bar, etc. are NOT going to break you as an act. You don’t need them for that.

I’ll add one more reason here… It came up during a chat with a friend who was playing a pay-to-play gig last night.  When I suggested it is probably not the best idea, they responded with:

It’s a business.

Reading between the lines, what they are saying is that, as with most businesses, you must spend money to make money. They view pay-to-play as a type of promotional fee.

I could almost buy this – but I don’t. I’ll explain why below. But first, why is pay-to-play unnecessary?

Why pay-to-play is unhelpful and unnecessary

Here is what really happens when artists do pay-to-play. It may not look exactly the same, but it is always a variation of this theme.

First, they start inviting friends. Sometimes, maybe the first gig or two, they may even meet their necessary ticket sales. Let’s use the numbers above. Let’s say they manage to get 12 people to the gig. $120 dollars in ticket sales. They get $20 and the “promoter” gets $100.

Mostly, it was friends and maybe a few other artists. Those people are being supportive and that’s nice.

But by the 2nd or 3rd show, their friends are done paying $10 to support them. Also, they just don’t want to go out on a weeknight. No one does really. As I’ve told pay-to-play “promoters” who contacted me, “I can’t get myself to show up to my own gig on a Tuesday night. You can’t expect me to get fans there, too?”

More importantly, the prior shows gave a false sense of accomplishment. In the end, the artist needs to build a following by gaining new listeners. That is rarely (read: never) accomplished through inviting friends to pay-to-play shows.

Also, the venues rarely have a built-in crowd… certainly not mid-week. The only benefit to playing those venues mid-week is to, perhaps, improve your craft and learn how to perform well, even when nobody is watching. And by the way, that is important. Your performance should always be top-notch – amazing – balls out – all in, etc. even if you are only performing for the bartender and a guy sweeping the floor. Of course, I’d contend that you can perfect your craft to no audience at some other venue that isn’t pay-to-play. Better yet, take that $100 and pay a performance coach if you are hell-bent on spending it.

After a few more shows, with no new listeners, a dwindling crowd, and paying out $100-$200 for the “opportunity” to play, the artist is done! Their soul sucked dry. They bemoan the dead music scene, friends that don’t support them, and simply stop playing out!

Let’s talk about that “promoter”….

He’s not really a promoter. He’s a scheduler. He’s charged with getting bodies in the door to the venue so they buy food and drinks. He is NOT promoting the artists.

A true promoter, creates marketing materials, has a mailing list, connections, news outlets, industry contacts, a street-team, etc. A promoter has a vested interest in the success of the show. A promoter should make money because they are successful at promotion. Catch that last line… re-read it.

Successful promoters are successful at promoting.

In short, a promoter promotes. See how that works? The noun is wrapped up in the verb.

Someone who books a songwriter, makes money off the songwriter being booked, but has no true vested interest in the success of the show or the artist is NOT a promoter.

A scheduler maybe? A clerk? But it is insulting to real promoters to call those people promoters.

They are bottom-feeders and desperate artists give them the scraps they need.

But what is an artist to do? Let’s talk about that for a bit.

An alternative approach to pay-to-play

First, let’s deal with the “It’s a business” business. This is trotted out by the promoter clerk when they are weaseling the artist out of their cash. It is then repeated by the artist – mostly to themselves.

Again, it was the answer I got from my friend last night.

It is a business, treat it like one

First, I agree. It is a business. Yes… if you wish to be a professional performer, you are in business for yourself. Good job. I love entrepreneurship. Now… treat it like a business.

In business, you have to distinguish good ideas and actions from bad ideas and actions. Pay-to-play is a bad business decision. However, pay-to-promote is probably necessary and wise – when done properly.

Pay-to-promote, not pay-to-play

I’m all for paying to promote your business. In fact, I’ve written and spoken about this extensively. It explains why I don’t agree with the common complaint by artists that venues who don’t pay them are taking advantage of them. They might be, but they might not be.

Read: Songwriters, the New Music Business, and Myths Musicians Believe. I discuss this idea at length.

Rather than pay a clerk $100 to add your name to a list (the schedule), hire someone to promote you. Pay for posters. Pay for an EP of 4 songs that you give away like a drug dealer. Trade music online free for email addresses. Promote your business and be in control of that promotion.

Pay-to-play gives away your money and your leverage. And if you are responsible for getting bodies in the door anyway, you are better off using the money you are paying the clerk and spend it on true promotion.

Playing shows to the same few people is not promotion. Pay-to-play is NOT promotion. Promotion is promotion.

There may be a time, with the right following, that you rent a facility and you put together a show. You are in charge of the door. You are in charge of promotion. In that scenario, you are becoming a promoter. You’ll discover how much work a true promoter does.

However, that is probably unnecessary until you develop a following.

And that is the real thing that artists want… listeners. My god! Please listen to our music!

So… if you want to develop a following, here are some ideas that avoid pay-to-play and keep you in control.

  • Team up with 2 or 3 artists and put together a night of music. Approach less well-known venues, restaurants, coffee houses, libraries, community centers, etc. Create a professional pitch that you are bringing a show… and then deliver a show.
  • Play small listening venues without any concern for inviting friends. Kill it! Be fucking amazing! Wow!! the 4 people in attendance and get them some music, other merch, and get their email addresses. Have a 2nd show planned so you can ask THEM to come out and bring a friend or two each! Maybe, you’ll have 8-10 people at the next show. None of them are your friends. They’ll be fans… that’s better.
  • Have a scheduled YouTube show. Talk about your songwriting. Tell your story. Be funny! Be engaging. And share songs.
  • When doing a show, pay to promote it. Make posters. Create CD’s and provide them to the venue to give away for FREE the week or so prior to the show. Kunaki.com is a good place to get professional CD’s in low quantity digital runs.
  • Pay a street team – a couple cute guys/girls handing out YOUR CDs at the venue 1 week prior and the day prior and the day of your show. $10/hr cash might get it done. And who knows, eventually a fan might do it. Slave labor driven by passion is a good thing!

Please note: I’m all for treating your business like a business. Put money behind it. Don’t worry about making money to start. Worry about new ears. New listeners. True fans! Stop asking friends and other musicians to be fans.

Those other musicians, they’re trying to figure this out, too. Team up with them. Think Willie Nelson and his family – but less pot – or as much pot – that’s up to you.

There are people who disagree with me. They’re nice. We like them. But they’re wrong. Smile at them, be kind, but don’t listen to them.

For the sake of your music, your pocketbook, your future fans, your art, and your soul, DO NOT PAY-TO-PLAY!

One Night – the story behind the song… or using Google Maps for inspiration

A short-narrative about writing my song, One Night. The song is available as an individual download or as part of “Where I Belong” – a collection of songs you can get here.

I explain writing the song here or you can read about it. The song itself and the lyrics can be found below.

Continue reading “One Night – the story behind the song… or using Google Maps for inspiration”

Music for you to listen to and pirate.. er.. download with permission

Permission to Pirate

“If you like what you hear, copy it
and give it to a friend.

If you don’t like it, give it to an enemy!”

Follow the links below to download all 12 songs for FREE! No, I don’t ask for your email – although I believe my newsletter is a good idea. I do have a request though. You can read about it on the download page but basically, share what you like. Share this blog post (see buttons below). Connect on twitter, YouTube, and elsewhere.. you know the deal.
 – Thanks, Matt

Listen & Stories  | Download

matthew-moran-music-download-wib

 

Songwriters, the New Music Business, and Myths Musicians Believe

Abstract:

Should venues be paying you for your talent? Are they taking advantage of you when they ask you to play for exposure? Maybe… but maybe not. At least give these ideas some thought.

2014-12-04 - mmonline-songwriters-and-myths
Image: Mickey Yeh  (yes, it’s me.. I liked the photo and I know I’m allowed to use it!)
Continue reading “Songwriters, the New Music Business, and Myths Musicians Believe”

How to Use Google Drive to Record With Musicians Across The Internet

SUMMARY/ABSTRACT:
This article explains how to use Google Drive (cloud computing baby) to coordinate and organize recordings (musical collaboration) with other musician across the Internet.

Remote Collaboration For Musicians

Do you have an interest in collaborating with other musicians? I talk to a lot of artist who want to do just that. This tutorial explains the collaboration process and provides instructions on how to effectively accomplish this with Google Drive. Continue reading “How to Use Google Drive to Record With Musicians Across The Internet”

Is Reverbnation a good social networking site for musicians?

NOTE: This post got a little lengthy. However, it covers some important ground so grab a coffee, tea, beer, wine, or water and cozy up..

reverbnation logoThe quick answer, No! It’s primarily a waste of time.

But there is more to the story and it involves the why’s and what’s of social media, making music, and gaining listeners. The truth is, you could insert a blank where I have Reverbnation above and get almost the same answer.

For instance: “Is Twitter/Facebook/Tumblr/YouTube a good social networking site for musicians?”

The answer would be “no” for all of the above but let’s look at Reverbnation for a moment because it is uniquely positioned as a tool to help musicians grow their career.

What do musicians want from social networking?

The first question is what musicians want from a social network. The answer is new and engaged listeners. Oh.. they might say a place to network with other musicians and get support for their craft. The problem is, that answer is either a) a lie or b) ignorance.

It really isn’t difficult to “network” with other musicians. If you are a musician, you likely know several musicians already. And they know musicians, so in a couple clicks of the mouse, you can be “networked” with other musicians.

As it turns out, generally, when someone says they want support, what they mean is they want someone to “like” their Facebook page or follow them on twitter and, if the stars align, they want them to come out to a gig and support their music.

The problem is, other musicians make lousy fans. The reason is simple… we are narcissistic jerks who want our music featured. We aren’t primarily engaged in networking with other musicians in order to support their music and find new music to listen to.

FYI: This really doesn’t make you a narcissistic jerk by the way. It makes you an entrepreneur/musician.

You see, I network with other business owners to, primarily, help me grow my business. If, along the way, I find a business that I find useful and that I can believe in, over the course of my days, I will refer them to my network. But, I don’t, just because I am connected to another business, necessarily support them.

This is why, I rarely (NEVER) respond to the “Like my Facebook page and I’ll like yours” request. It is also why LinkedIn Endorsements are a waste of time.

MUSICIANS/SONGWRITERS I AM A FAN OF:

That doesn’t mean I don’t listen to new music and become a fan. In fact, here are 4 musicians I enjoy! None of them asked me to “like their page.” I liked their page because I like their music. And by the way, that is because I heard them play live!

Jim Pipkin: I met Jim at the first acoustic showcase I ever played. Inza Coffee in Scottsdale. It’s closed down but it was a cool place. Jim played before me and I became very frightened. He can play and flat out write a song! The first song he played was Tommyknockers. Listen to it.. it’s a scary tune. He gave me great encouragement that night.

Bill Wickham: Bill’s an outlaw cowboy poet. No really.. I met him at the Glendale Folk Festival in Glendale AZ. I was in a songwriter’s circle – everyone just trying to impress the other songwriters in the group. He impressed me! Song after song! One of the prettiest songs I’ve ever heard, “Here I Go Again”.
FYI: Yes.. Bill doesn’t have his website up and so I pointed you at Reverbnation. 😉

Bill Dutcher: He writes some songs and is one of the most entertaining and talented guitar players I’ve ever seen live. His looping, one-person harp-guitar rendition of Baba O’Riley is crazy! He was gracious and played on several of my songs back in 2009.

Julie Lindemuth: I met Julie at an open mic. She was too scared to climb on stage. We encouraged her to go for it. An open mic should be a safe place. She took the stage and beautiful voice, simple songs that are almost children’s songs but aren’t… and inspirational tunes! I told her I was a fan that night.. and I still am!

Back to our topic at hand.. Reverbnation…

Reverbnation – cool tools, confusing interface, no true engagement

Reverbnation has some neat tools. And for a time, I was really interested in them. The best of all tools was that you could upload songs and create a flash based player widget to embed on your website. People could show up to your site and listen to your music with a pretty effective player. They could join your mailing list. They could share your music.

And if that is what you use your Reverbnation profile for – to get access to those widgets – then cool! That can be effective.

However, their backend interface is confusing at best, too many unnecessary tools and you are subject to a LOT of spam in the form of “opportunities”. I don’t really need to cover those but the opportunities are ways for Reverbnation to monetize their site and you don’t have enough fans or a high-enough profile for those opportunities to be truly meaningful to you. Sorry!

By the way, I know this because, if you did have enough fans and a high-enough profile for those opportunities, the opportunities will be contacting you directly. It’s that phenomenon where professional athletes get free (actually are paid) to wear a product when, in fact, they clearly have enough money to buy the product. And the rest of us, who “need” the product must pay for the product…

I’m not complaining.. I’m just pointing out the law of popularity. Popular, money-making artists, are NOT using Reverbnation to build their popularity.

Reverbnation Charts

This is the big carrot that I find most amusing. Reverbnation has their own charts broken down by music categories. I’ll see artist touting that they are the #3 artist in their zipcode for the sub-genre, “polka folk acoustic punk”.

I’m always interested in knowing who the #1 artist in that category and zipcode is

I see performers posting this on Facebook. “I’m the #8 artist in my zicode for’alt-grunge trance’ – help me get to #7.” And this is the problem.. they believe getting to #7 or #6 or #1 is going to help them sell CD’s and get new fans to performances.

I had a fellow artist who was always publishing this stuff. I asked them about their performances and CD sales. They were discouraged because they weren’t getting anyone out to performances.

There are NO new fans on Reverbnation

That is probably a stretch. I think there are a few fans who do, in fact, sign up as fans on Reverbnation. However, I’ll bet, if you are an artist, most of your “activity” on Reverbnation is other artist. Some become fans without any comment. Others become fans and send a message like, “I’ve signed up as a fan. Sign up as a fan on my page.”

This is the Reverbnation equivalent of “Like my page and I’ll like yours.” To which I always respond, “but what if I don’t like your page?” (remember, I’m a narcissistic jerk).

I’ve even had someone sign up as a “fan” and leave a comment like, “Cool tunes! Check out my songs.” – with a link.

I always send a message, “Which of my songs did you like the best?”

In 2 years I’ve received 1 response that I felt indicated they had listened to the songs.

Bottom line on Reverbnation

Reverbnation is a great idea and has some cool tools. Most of those tools I have no real need for. I semi-maintain a profile (meaning, I login every 2 or 3 months) because.. well.. I feel like I should. I’m considered an “expert” on this social media stuff.

But for the most part, it really doesn’t do anything special for me. I no longer use the widget/players and I run my mailing list with mailchimp at the moment. I can add video and music to my website – built on WordPress – using built-in WordPress plug-ins.

Secondly, it diffuses my effort. This may be the most dangerous part of any social networking site. We all have limited hours in our day. The danger for musicians and entrepreneurs alike (I really view them all the same) is the desire or need or fear of being left out by NOT signing up for the “next” social network.

So.. everyone signs up for everything and all your same contacts follow you and you follow them. It is like a big roving band of gypsies or an incestuous tribe. Everyone is scrapping and clawing and grabbing at the few unpicked morsels and even reducing themselves to a sort of social media cannibalism.

There is a more rational way.

How do I find new fans/listeners?

And there we go.. let’s be honest. You want new fans! You want listeners. You want people to hear your music and to like your music. That’s okay! And it doesn’t make you a narcissistic jerk. You are a narcissistic jerk for other reasons but not because you want people to hear your music.

You want people to hear your music because you are a creator and that is what creators crave! Some type of acceptance of their creation.

Note: drop the B.S., “I only create for myself because it is in my soul.” blah blah blah blah. Then you wouldn’t be performing or on Reverbnation or Facebook or Twitter or even reading this blog.

Now that we are honest, how do we find new fans?

1) Make good music

Yeah.. there is that. That means you need to spend more time making music than you do moving up the “acoustic goth hip hop” charts in Southern Hastings Nebraska.

2) Perform your music… well!!!

Get out and play your music for people. And give them something they can take with them.. your music preferably. At first, it doesn’t matter if they guy a CD. Give it away! 1 or 2 engaging songs. Something! Trade them that for their email. Ask for their feedback. Shake hands with them. Thank them.. profusely! Connect with them.. it’s called “social networking.”

3) Reduce your social media footprint

What? Yes. Be in fewer places, not more places. If you feel compelled to setup an account on every site, do it. But then post information on where they can “really” find you.

My take is that you need no more than the following profiles and places to find you.

  • Your own website. This is where you get to be a true narcissistic jerk. It’s all about you! That’s good. It should have a blog attached. I use WordPress and recommend that. I host at Bluehost and recommend that (although, they’ve lost some luster of late due to some outages). I know some artist who are using Bandcamp and love it. It has great tools for artist and you can blog.But when I say, your own site, I don’t mean, “myname.bandcamp.com” or “myname.wordpress.com”.. I mean, you pay for a domain and you get it hosted. Don’t say you can’t afford it. Go get a job and pay for that.
  • YouTube. I wrote about how my daughter connects with artist and why I should be using YouTube more. I won’t belabor this point. I shouldn’t have to.
  • Facebook. I suppose you should have a Facebook profile and also have a Facebook music/business page. I do. It’s sort of expected. However, I engage with listeners and readers WAY more on my Facebook profile than my “fan page.” This is largely because Facebook continues to remove features that let you connect with “fans” on your “fan page.”Truth is, they haven’t been called “fan pages” for awhile. They don’t let you send messages to your “fans” and  you cannot communicate with them directly via your page. Only through your profile. So guess what, your Facebook profile is probably your real source of engagement.
  • Ummmm… That’s it!

But Matt!! What about Twitter? Tumblr? Soundcloud? You are on them? Shouldn’t I be?

No.. if I can convince you to stay off those networks, I get all those fans!

Or…. It might be that you want to spend enough time and effort on your website, YouTube, and Facebook, to get 4 or 5 or 10, 20, 200 or more people engaged with your music. There are enough potential fans in those areas alone. Oh.. and playing live! That’s a topic for another blog entry.

You don’t get fans by being in “lots of places” online. You get fans by creating music that people like, taking the 2 or 3 or 10 people who like your music and provide them the means and the permission to share that music.

There is also the standard, promotion, PR, etc. And there is a place for that. But you need to first work on those first few passionate fans!

Do you agree? Disagree? Have a specific or general question? Leave a comment below.

Why you and I should be using YouTube more

Los Angeles by day

Subtitled: What my daughter is teaching me about finding and winning fans.

Musicians, songwriters, performers… this is for you.

My daughter loves her music. So much so that she did the research, prompted and pushed, and had me sign her up to attend a performing arts high school in downtown Los Angeles.

We recently moved into the downtown area because she was commuting an hour and 45 minutes ONE WAY to her school. Here are a couple photos of the view from the hill behind out house. It is pretty epic. The dogs are cool too!

Dogs and Los AngelesLos Angeles by day

This works for me too as it brings me closer to both my consulting and opportunities for music.

A Tale of Two Artists

This is sort of an expose of my daughter finding two new artists, how she found them, and how she connects with them. I think it offers some insight into the mind and the method that some people, particularly youth, find and engage with new music.

Artist #1: Echosmith

Echosmith is an alt-rock/indie rock act out of Los Angeles. Young kids – very talented. A few months ago, my friend and music writer, Val King (Rock Revolt Magazine) asked if my daughter and I would like to interview this new act – Echosmith – for her magazine. She is in Georgia and seeks out writers and photographers in various cities.

It is sort of short-notice and we couldn’t make the show that day. But my daughter started listening to them and following them on Tumblr and YouTube. She kept telling me how much she liked them.

Platforms of choice

My daughter spends a LOT of time on Tumblr and YouTube. She’s 15 and I’ve found this to be pretty common. In fact, Facebook, as she describes it, is for 40 year olds. That’s sort of funny considering how it started. I don’t agree with the demographic but I do agree that 15 year olds aren’t connecting on Facebook… why? Their parents are there. We aren’t that cool – even though I know I’m cool.

Tumblr it touted as a blogging platform but it is graphically intensive and easy to post. It is more of a content network than a blog per se. And it’s phone integration works very well.

“YouTubers”

YouTubers are those people who are using YouTube as a primary mechanism for connecting with and engaging their fans. It is easy to post video, has great search tools, can be monetized to earn money, etc.

So, in addition to Tumblr, her primary content network of choice (the place she goes to listen/view content) is YouTube. And she religiously follows quite a few YouTubers. This is where artists and social networks collide.

Echosmith has a new CD. It’s good. Even I like it and I’m old!

We had the opportunity to go see Echosmith for the price of a CD. Good job by the way.. no tickets sold to the event. It was a “buy a CD and get into the show – and we’ll sign the CD as well,” show. That’s smart on Echosmith’s part. You want people to have your music!

But here is the interesting part. While at the show, in a small listening room of a venue called, Amplyfi, my daughter brought up a picture on her phone.

simplyspoons - Jon D

She said, “Dad, is that this guy?” – and she pointed me at a young man who was attending the Echosmith show, talking with his friends. It sure looked like the guy in the photo.

I said, “It could be, who is he?”

“He’s a YouTuber. Rachel’s favorite. I showed you some of his videos.”

So I took her phone, shows the young man the photo, and said, “Is this you?”

He laughed and said that it was. Then he came over and talked to Sara, took a picture with her, and then allowed me to shoot a little video hello to my daughter’s friend Rachel.
[youtube http://www.youtube.com/watch?v=sps3Tp7FRf4]

Jon D aka: Simply Spoons

Jon is a YouTuber. Well-known and obviously engaging enough to garner some notice. In fact, to my daughter and her friends, he is as much a celebrity as any other artist.

And here is the important lesson. Sara makes no distinction between an unsigned YouTuber or a newly signed major label act or a larger mainstream established act. If they are connecting on HER NETWORKS – they are celebrities to her.

This is an important lesson. I’ve always advocated that your content be strong and you make it the central element of your social media strategy.

However, I’ will also emphasize that you find where your demographic connects. A rough breakdown might look like this – though it really isn’t so clear:

  • YouTube: Everyone. All age groups are on there. Some don’t “subscribe” there but most younger people do. This is where I’m failing in my current social media/content strategy.
  • Tumblr: 14-20 year olds. Irreverent and graphically intensive with video.
  • Instagram: 20-40. Graphically mostly images
  • Pinterest: 20’s. Hipsters?
  • Facebook: 25-55
  • Email: Everyone. There is some confusion and mis-representation of this. But even Echosmith asked everyone to sign up on their email list. Why? Well.. lessons from Myspace. If your social network dies, you want a more direct means to re-engage your fans on the “next” social network.

I thought about this a LOT after that show. I spoke at the Independent Music Conference a few weeks after this. One of my topics was Online Presence and Social Media. I covered the basics but I also discussed this specific incident.

At a show for a more traditionally signed act, my daughter also met another celebrity.. one whose total fanbase was built organically on YouTube. I think this is an important lesson for artist and entrepreneurs alike.

What are your thoughts?