Four of the Performers on the Go artists have reached impressive milestones on their
music's streaming activities. Artists Alaina Ray, Maximilian Wentz, Zola and Elliot Wren, all establish personal targets for their streams, and they are needing to keep adjusting them based on their songs successes across the streaming platforms. All artists develop pre and post-release plans for their songs, with special attention to the types of lists they feel their song would align well with. They have main genre categories and sub or speciality categories they research to develop worksheets of playlists to directly target. This is done through Instagram and Facebook messaging, emails and direct uploads to playlist curator websites. They recognize that with 40,000+ weekly songs being released they needed a hyper-focused marketing campaign to elevate their presence and capture the right attention. As the graphic indicates, they have experienced success with these strategies and love the hands on approach to marketing their songs. With each campaign they learn what tactics to take forward to the next release, and what areas they need to provide greater attention to.
Each artist crafts a concise bio and song pitch to attract curators and bloggers attention. They are written to propel the curator to listen to their music and excite them about adding the song to their playlists. With close to seven million playlists to target, it can be an overwhelming process, so each playlist add becomes a new victory.
These artists are always looking for new channels to broaden their exposure and thus far their attention to marketing is paying off.
People ask us what level of streams is considered acceptable, and our response is "the level you are satisfied with." The large majority of artists place their songs on major platforms like Spotify, and cross their fingers the streams will take off. This is an unrealistic expectation given the magnitude of the platform and the intensity of the competition, so incorporating marketing plans and strategies is essential to seeing the streaming numbers turn around the "less than 1,000" it can show forever, if the artist pays no attention to marketing.
We recommend all new tracks released have a well-developed marketing plan with an associated timeline for execution. It is also important to recognize the marketing doesn't end after release day, as many artists are all in on the first days, and then the attention drifts off. There is no time to be complacent and sit with your fingers crossed.
Everyone dreams getting added to a Spotify editorial playlist, but this also requires a specific strategy to position the song for greater visibility. The marketing is all in and doesn't end.
Written by Patty Duffey