The Marketing Cycle And Social Media.

Continuing on from last week’s piece exploring the recording process, this week we move into the realm of marketing ‘the product’.

So, we’ve sweated blood and have in our hands a shiny piece of audio (MP3, WAV), a CD or even a record (if we can afford it). This is another whole process, doing the artwork, imprinting all the ISRC numbers (identification points to enable us to get paid if we get radio/YT/Spotify airplay), and choosing a format for the product. It’s intense and stressful but also a creative buzz.

Once the music has been crafted into this final product, whether independently or with a team, it enters the next phase: reaching an audience. Generating income from music typically requires selling it as a product. For signed artists, this involves ongoing communication between labels, managers, and production teams.

Labels, acting as the primary funders, must feel confident they have a viable product. An A&R (artist and repertoire) representative often bridges the gap between artists and labels, allegedly scouting talent and facilitating deals. Once agreements are in place, the focus shifts to marketing.

The marketing process involves positioning the music with key tastemakers, influencers, radio producers, and ultimately, the fans. Most labels have marketing teams dedicated to targeting the appropriate demographic. These teams collaborate with radio pluggers (people who persuade other people to play the music... ahhhh, the good old days of payola!) and public relations experts (or so they say), leveraging relationships with media outlets to secure radio play, playlist placements, and other forms of exposure.

It’s worth noting that much of the music promoted through these channels is supported by financial investment, a harsh reality that underscores the business aspect of the industry. Also, in an ever-changing industry, social media and ‘influencers’ are of course, becoming increasingly more important. Odd, I still don’t really understand this concept.

All of these platforms offer artists a direct line to their audience, making them an indispensable tool for contemporary promotion. However, from my perspective, the pressure to engage on social media personally can take a toll on our mental health. If we are lucky, we will have a label doing it for us. Most musicians aren’t this lucky though and we are generally pushed to be content creators. On one level social media does facilitate connection and visibility, but an unbalanced approach can lead to adverse effects, a growing issue supported by research.

Therefore, striking a healthy balance in using these platforms is crucial for maintaining mental well-being while navigating the demands of modern music marketing.  I personally try and use it as a broadcast channel, there have been times when the interactions and attention has elevated my ego but with experience, I have also learnt that lurking around the corner is always someone waiting to kick you in the metaphorical nuts and pronounce how they hate your/my music, playing or haircut etc. Over time I have learnt to not be lured into the adoration as it generally follows with a put down. Post and forget is something I advise, ride the wave!

As you can see, it's tough on the marketing carousel. Next week, I’ll be looking at the world of touring which could also be considered part of the marketing cycle.

---

Adam Ficek hosts a monthly show 'Tonic Music' on Totally Wired Radio, where he talks to various guests about music and mental health. You can listen again to any of the previous show on the Tonic Music Mixcloud page.