Self Promote Your Music

Unless you have major label money behind you, the ability to self promote your music is one of the most important skills you can have. When you don’t have money to hire PR people to run media campaigns for you, it is up to you to make sure people know about the music you are making. Getting started can be a little overwhelming, however. These steps will help you start out on the right foot, to make sure all of the right people are standing up and taking notice of you.

Time Required: Ongoing

Here’s How:

Identify Your Goals – When you set out to promote your music, don’t try to cover too much ground at once. Look at the way larger artists are promoted – they have specific campaigns that promote specific things, like a new album or a tour. Choose one thing to promote, like:

• A single
• A show
• A website
Once you know what to promote, you will be able to make clear goals for yourself, i.e. if you want to promote your website, then your goal is to bring traffic to the site. With these goals in mind, you’ll find it easier to come up with promotion ideas, and you’ll be better able to judge the success of your promotions.

Target the Right Audience – With your promotional goal in mind, figure out who the right audience for your campaign is. If you have a gig coming up, then the right audience for your promotion are the local print publications and radio stations in the town in which your show is happening. If you have a limited edition single coming out, your primary audience is your band mailing list, plus the media. Going for the right audience is especially important if you’re on a budget. Don’t waste time and money letting town X knowing about an upcoming show in town Y or a folk magazine about your new hip hop album.

Have a Promo Package – Just like when you send a demo to a label , to self promote your music, you need a good promo package. Your package should have:

• A press release detailing your news
• A short (one page) band bio
• A CD (a demo recording is ok, or an advance copy of an upcoming release)
• A package of any press coverage you have had so far – press coverage begets press coverage
• Your contact information (make sure to include an email address – people may hesitate to call you)
• A color photo, or a link to a site where a photo can be downloaded. The press is more likely to run a photo if they don’t have to chase it.

Find Your Niche – The sad truth is, every writer, radio station, website, or fan for that matter, you are trying to reach is likely being bombarded with info from other music hopefuls. You a reason to stand out. Try to find something that will make people more curious about you – give them a reason to want to know more. Being elusive worked wonders for Belle & Sebastian at the start of their career and people write about Marilyn Manson for being, well, Marilyn Manson. You don’t have to devise a huge, calculated persona, but giving people a reason to check out your show or your CD before the others can only help.

Bribe ‘Em – Another way to stand out from the crowd is plain old free stuff. Even press people and label bosses love getting something for nothing, and you’ll whip your fans into a frenzy (and get new fans) by giving stuff away. Some ideas:

• Put some money behind the bar at a show and give free drink passes to all the industry people who come to check you out.
• Give people on your mailing list an exclusive download once a month (be it a new song or an alternate version of a song)
• At gigs, raffle (for free) mix CDs made by the band – everyone who signs up to your mailing list at the show gets entered in the drawing.

Branding – Get your name out there. Make up some stickers, badges, posters, lighters or anything else you can think of that include your band’s name. Then, leave the stuff anywhere you can. Pass them out at your favorite clubs, leave them on the record shop counter, poster the light posts – go for it. Soon, your name will be familiar to people even if they don’t know why, and when they see your name in the paper advertising an upcoming show, they’ll think “hey…I know that name, I wonder what that’s all about..”

Keep Track of Your Contacts – As you go through all of these steps, chances are that you are going to pick up a lot of new contacts along the way. Some of these contacts will be industry people and some will be fans. Never lose track of a contact. Keep a database on your computer for the industry people you have met and another database of fan contacts. These databases should be your first port of call for your next promotional campaign – and these databases should always be growing. Don’t write anyone off, even if you don’t get much feedback from them. You never know who is going to give you the break you need.

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  • Iyos

    When I started redniag this book, I felt a little displaced, I was not completely aware of some of the names or events being introduced. But being a fan of music, I was anxious to find out how and where rap/hip-hop launched its presence. Rap music was initially to be a tool, which would give voice to inner-city youth. But as rap evolved, the original goals were sacrificed to embrace a form of expression with more of a street culture. It created space, if you will, for crass commercialism in the form of sex and violence with little sense of concern for the community. As a result, pimps, hos and four letter words have engulfed the lyrical content of mainstream rap music for over a decade. With the advent of a more visual society, videos with overtly-masculine young men, fast cars, pseudo naked girls, and bling-bling’ have added fuel to the negative connotations by fans across the globe. WHEN RAP MUSIC HAD A CONSCIENCE is a look back at how a group of talented, educated, and idealistic youth viewed their surroundings and explored why things were the way they were. Ms. McQuillar takes a look at certain political events, movies, and literature that emancipated some of the original rap artists. With her extensive research, she hopes this abstract history will do several positive things: remind fans of a time when black communities were captivated by the original mic’ rappers, when rappers had a message worth hearing, and when revolution, not impudence, was the cry. With a well-rounded list of artists, suggested things to read, listen to, and view, this is an engaging book. I hope this book will ignite interest in and create dialogue about this part of rap music history. Tayannah Lee McQuillar Reviewed by aNN of The RAWSISTAZ Reviewers

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