The music industry is still changing, and the same can be said of marketing in all areas. Therefore, the practice of marketing music is in fact anything that is constantly evolving: at such fast speeds, it is difficult for maximum seasoned professionals to adhere to new platforms, practices and technologies. It turns out that, like a business or a user, it gets used to the way in which anything works, anything else is produced and bothers what everyone in business is doing again.
Knowing what will adhere is incredibly valuable for those who paint in marketing in music music. They will have to be aware of what is happening around them while hunting impatiently, see the exit to jump on the following trend or make sure that the musicians who paint review anything new to succeed in the general public in the general maximum.
With this new year that just begins, five mavens in the musical marketing box weighed on the following question:
“What is your prediction to know where musical marketing is going this year?”
Jesse Kirshbaum, CEO, Nue Agency
It is the year of Tiktok in many ways. I think Tiktok will not end up being banished. I think many other people make messages and static images of themselves, food and everyone in the results . . . and is not resonant. The emotion of the virality that Tiktok can supply and the way in which Trfinish begins and lights is probably the maximum vital way of breaking artists, breaking the products, breaking the intersection, compared to everything else at this time.
I think more and more people are gonna learn how to make TikToks, and I think it’s gonna become more accessible. And I think it’s going to age up and it’s going to survive the ban because it’s too big to fail, so to speak. I think it’ll become more of a place for executives and for the industry to flourish and not just [be] a Gen Z/Gen Alpha platform. I think it becomes the most important communication tool for product launches and brands.
Cassie Petrey, co -founder, crowd surfing
We will continue to see that more marketing projects look more in direct messages and real -life strategies. If you think about it, the maximum of your time on social networks occurs regularly in the scenes in DMS instead of publicly in publications and comments. I have noticed that many more artists see the price of making a time for the participation of fans of investments outside the doors to publish in their main feeds, and I am excited that these marketing tactics continue to evolve.
Tim Gerst, CEO, Thinkswell
Musical marketing will be more intimate. With that I mean, we will see that more artists have to locate tactics to attach with enthusiasts on one level one. This can take place through more Tiktoks as responses to comments, direct individual messages with applications such as the community, or through fans inspired content. When an artist can locate tactics to personally attach problems for consumers, they buy more.
Jennifer Frommer, SVP Partnerships & Commercial Sync, Columbia Records
I hope that musical marketing becomes more original and biological for artists.
Sean Treacy, CEO/Co-Founder, D.O.M.
Music is an attractive position at the moment. Turning album sales into streaming equivalents has been anything the music industry has just triumphed in the last half. Now it turns out that the focus is on what’s going to take position next, outside the gates of streaming numbers on Spotify and DSPs [digital service providers].
I heard that YouTube was going on to throw YouTube shorts. Basically, if you launch a YouTube short film, even though everything will happen to the product you announce. So, if it is a clip for a new single for post Malone, they can make video content of this BTS matrix [behind the scene] . . . and in spite of everything, those will upload numbers to the net outcome of the views. So I think youtube opposite the DSP will be something wonderful.
I don’t know how Tiktok can continue to be a factor, because we have noticed several examples of this type of dump. An example is Arizona Zervas. He had an album called “Roxanne” that exploded from Tiktok. It was independent. He had a transmission story. All his songs had more than one million flows. There were no indications of the social or nothing that could be up to the media at all after “Roxanne”. And that resulted in a bidding war for more than $ 10 million as another progress.
So I think the labels need to get away from relying on data from TikTok. And the same thing that just happened with Spotify. I can absolutely see record companies purging the staff that they have, like A&R and people who have been working on the marketing campaigns. I think they’re in trouble because the traditional methods aren’t going to work moving forward. I think there’s gonna be more third party outsourcing for sure. I think a lot of the record companies lack vision. Most of these companies aren’t doing anything experimental with new acts, but they’ll do it for the new Ed Sheeran single. I think we need to break the mold moving forward and get away from what’s happening on TikTok.
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