Tag Archive for: Sam Hunt

Prove Your Worth

We are constantly hearing comments from up and coming indie artists like “I just need to get my deal [and then I’ll be successful]” or “If I could just get in front of the right person, I know I could be successful.” I got news for you, the record business doesn’t work like that anymore. These days it’s simply not enough to have talent, you have to PROVE that you’re worth it.

You have to PROVE that your art has value in the marketplace.Prove Show you are valuable small

 

In other words you have to create success for yourself before anyone of value or power will believe that you can generate revenue for them.

Do you see the naïveté in those comments?

You cannot intelligently approach this dream of yours thinking that someone else is going to make you a star.

Record labels are no longer developing artists, they are now buying small business and turning them into big businesses.

Prove Daredevil Production

The Daredevil Production, LLC business model is built around this fact. Kelly and I develop artists artistically and in the marketplace to help them become small profitable businesses so they will be more attractive to the big money players.

You can’t build your business model around a 20 year old music business model.  Yes, there are exceptions to the rule.

  • What intelligent business model is built around exceptions to the rule (A.K.A. winning the lottery)?
  • If you did win you would actually lose because your deal would suck so bad you might end up being a broke country star.

Prove National LotteryFYI, there were plenty of broke rock stars in the 80’s and it wasn’t because they were bad with money, it’s because they were rock stars making $400/week.

 

Pretty sad, huh?

 

Do you want your deal to look like this?

 

 

 

I got more news for you, even in the heyday of the record business, the “easiest” record deals came to the derivative acts.  The acts that were signed simply because the labels saw some quick money to be made with an artist that could capture a little Prove Iconicmarket overflow from a lane forged by an iconic trailblazer.

 

The game-changers, the icons we know today HAD TO PROVE THEIR VALUE IN THE MARKETPLACE because they were so different.

The story hasn’t changed much.

This statement is relative to every decade in the music business.Prove High Risk

No one wants to sign something that is different from what is happening right now on terrestrial radio because it’s too risky.

How do they know if the market will like it?

If a genre or artistic lane is getting a lot of love on terrestrial radio (like “bro-country” for instance) there is proof that the style is popular in the marketplace and therefore money to be made.

If you are different or new, in any decade, YOU would need to provide evidence that even though terrestrial radio is currently not playing your style, your music has VALUE in the marketplace.

 

Prove DIY

You are going to have to do this yourself.

 

 

 

 

Here are 20 artists who had to prove their music had value to get their record deals.

 

  1. Mötley Crüe – Nobody wanted to sign Mötley Crüe. They were too weird.  They created their own record label Prove Motley Crue Too Fast For LoveLeathür Records and self-released Too Fast for Love.  Mötley’s local popularity was so huge in 1981 that they sold 40,000 copies in Los Angeles alone.  FYI the wiki link says 20k but I’m pretty sure my sources are more accurate. ;)  These sales led to an Elektra Records deal in late 1982 where they remixed the Crüe’s debut record and re-released it. Mötley Crüe incarnated the glam-metal-hair-band genre of the 80’s.  Thank you fellas!
  2. Ratt – Since 1976 many self-financed singles, records, and live show recordings were being distributed to galvanize Ratt’s (previously Mickey Ratt) LA club following. This led to a Prove Ratt Out of the Cellarmeager indie record deal where they released the Ratt EP in 1983.  After 20,000 units sold that was enough to convince Atlantic Records that they had value. Atlantic released their debut full length record entitled Out of the Cellar in 1984.
  3. Bon Jovi – Jon worked at a shoe store while mopping floors at The Power Station Studios in NYC where he was granted access to the storied recording facility after hours. When did he sleep?  He recorded 50 + demos of Prove Jon Bon Jovi“Runaway”(one was produced by Billy Squier) and shopped them to the labels.  Nobody cared. At the time, Jon was also WORKING for WAPP “The Apple” writing and singing jingles.  DJ Chip Hobart asked Jon to include “Runaway” on a compilation record for the station (a move Jon was very apprehensive about) and that single became a huge “local” hit.  Local was NYC which was the #1 market in the country and that was enough proof to entice A&R rep Derek Shulman to sign Jon to Mercury Records.
  4. Skid Row – The first Skid Row record was written by Jon Bon Jovi, Richie Sambora, and Prove Skid RowJack Ponti. Skid Row band members Dave Sabo and Rachel Bolan were listed as writers for the purposes of street cred which was mission critical to hair metal bands of the 80’s. This record was entirely created and funded by Jon Bon Jovi after the Slippery When Wet album tour was finished. He had proven his skills had value in the marketplace. Even with all that power behind him (Bon Jovi was probably one of the top 3 acts in the country at that time), and the record completed, Jason Flom from Atlantic Records wouldn’t give Skid Row a deal until Bon Jovi agreed in writing to allow Skid Row to open every date on the upcoming New Jersey World Tour.  After that contract was signed guaranteeing massive exposure for the band, Flom gave them a $1,000,000 cash advance.
  5. Florida Georgia Line – FGL was developed by one of the most powerful and successful Nashville songwriters, Craig Wiseman. They were produced by multi-platinum engineer/producer Joey Moi.  All this power and marquis Prove FGL Cruisevalue and every label still said “NO”; they were too different.  They STILL had to prove they had value.  They exercised a relationship on satellite radio where “Cruise” became a smash hit.  Then they orchestrated an 8 month tour to support the single (privately financed) where they succeeded in selling 100,000 downloads of the single. The record didn’t change, the songs didn’t change, and the production didn’t change. The only thing that changed was the perception.  Every label then said “YES” and they signed with Scott Borchetta’s Republic Nashville label under the Big Machine umbrella.
  6. Zac Brown Band – Zac had been touring over 200 dates a year with an acoustic trio Prove Zac Brownsince 2002. Constantly writing and recording and shopping to record labels. They were “too pop” for all the country labels and “too country” for all the pop labels. While Zac was touring they were selling records, tickets and merch. They managed a small profitable ZBB business for 10 years which was enough proof to garner one of the sweetest deals in town which is really a Joint Venture between Zac’s own Southern Ground (formerly Home Grown) label imprint Prove Luke Bryanand Atlantic Records.
  7. Luke Bryan – reached success as a songwriter to prove his music had value. He penned the title track to Travis Tritt’s 2004 release My Honky Tonk History. Which helped him get a deal with Capitol Records.  Here’s the thing, while he was working on his debut album he managed to co-write Billy Currington’s #1 single “Good Directions” which certainly helped when it came time for the label to allocate promotional funds for Bryan’s debut record.
  8. Brantley Gilbert – Proved his music had value in marketplace by writing hit songs first. Prove Brantley GilbertHe had cuts like “The Best of Me” on Jason Aldean’s 2009 release Wide Open. This resulted in an indie record deal where he released his debut record that included “My Kinda Party” which became a #1 after it was re-recorded by Jason Aldean for his 2010 release of the same name.  Brantley’s 2nd #1 was “Dirt Road Anthem” co-written by country rap artist Colt Ford.  This effort led to Brantley’s deal on Scott Borchetta’s Valory label and insured proper attention to Brantley’s releases once he got his shot.
  9. Chase Rice – He co-wrote one of the biggest hits of the last 5 years “Cruise” by Florida Georgia Line. BIG time proof his music has value.  Now he has a deal and a gold single with “Ready, Set, Roll”.
  10. Sam Hunt – He penned Kenny Chesney’s “Come Over”, Keith Urban’s “Cop Car”, and Billy Currington’s “We Are Tonight” before independently releasing his own single. This led to a major label deal with MCA Nashville and his current #1 single “Leave the Night On”.
  11. Cole Swindell – wrote these songs to prove his music had value. Then he independently released “Chillin’ It” and THEN he got his deal with Warner Bros.Prove Cole Swindell
    1. Craig Campbell’s “Outta My Head”
    2. Luke Bryan’s “Just a Sip”, “Beer in the Headlights”, “Roller Coaster”, “Out Like That”, “I’m Hungover”, “I’m in Love with the Girl”, “Love in a College Town”, “Shore Thing”, “Shake the Sand” and “The Sand I Brought to the Beach”
    3. Thomas Rhett’s “Get Me Some of That”
    4. Scotty McCreery’s “Water Tower Town” and “Carolina Eyes”
    5. He also co-wrote Florida Georgia Line’s “This is How We Roll” with Luke Bryan
  12. Lee Brice – Co-wrote Garth Brooks 2007 single “More Than a Memory” which was the first single in the history of the Billboard Hot Country Songs chart to debut at #1. He also signed his artist deal with Curb Records the same year. Coincidence?
  13. Ani DeFranco – Ani has been independent all along. She started her own label Righteous Babe Records at the age ofProve Ani DeFranco 18. She recorded everything on her own with an 8-track reel to reel and toured her ass off.  She put out 5 records from 1990-1994 before partnering with Koch International to distribute her 6th independent release Not a Pretty Girl.  Who knows how many major label deals she has turned down?
  14. Granger Smith / Earl Dibbles Jr. – These are both the same person. By independently writing, recording, and releasing records Granger Smith has utilized social media to create an empire that generates over $1.5 million dollars per year in revenue. This activity created the college football picks on-air position Earl Dibbles Jr. holds every Saturday with CBS.
  15. Jamey Johnson – He co-wrote the huge Trace Adkins hit “Honky Tonk Badonkadonk” which garnered him a deal with BNA Records in 2005.
  16. Randy Houser – Co-wrote “Honky Tonk Badonkadonk” with Jamey Johnson and Dallas Davidson for Trace Adkins in 2005. That proof of value led to a major label deal in 2008.
  17. Karmin – Proved that her talent had value in the marketplace by posting consistent YouTube videos of cover songs. Prove KarminThe breakthrough was her cover of “Look at Me Now” by Chris Brown, Lil’ Wayne, and Busta Rhymes. That video currently has over 93 million views and led to a record deal and a solid fan base.
  18. Macklemore and Ryan Lewis – Are the first duo in the history of the Billboard Hot 100 chart to have their first 2 singles go to #1, both without the support of a major label. The duo accumulated 613 million views of their video for “Thrift Shop” on YouTube. They currently have over 1.3 million subscribers on their YouTube channel.Prove Macklemore
  19. Noah – Posted a cover that he creatively manipulated to his own artistic lane on YouTube for 77 weeks in a row. He built a steadily growing subscribership until the 77th video which was this version of LMFAO’s “Sexy and I Know It”. This video blew up and went viral.  Around 2 million views he started monetizing it.  Around 6 million views, he implemented a pop-up to direct viewers to his IndieGoGo crowdfunding campaign where he was able to procure $100,000 for his first record.  He now has over 22 million views and a solid career.
  20. Thomas Rhett – is the son of hit singer songwriter Rhett Akins. Prove Thomas RhettStill, it took until he wrote “I Ain’t Ready to Quit” which was cut by Jason Aldean for his My Kinda Party album to prove his music had value in the market place which resulted a major label deal.

 

 

 

All these hit artists had to PROVE that their music was valuable BEFORE they got their deals or continue to prosper independent of major deals.

 

Nobody is going to come to your door and make you a star.

Nobody is going to risk their money on what you plan to do.

Major labels and big private money investors will only invest in your career based on your reputation.

You can only have a reputation based on what you have done, NOT what you are going to do.

Stay in tune.

 

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Promotion rotating promo image

We often hear from artists inquiring about marketing and promotion services for their music project.  They want some guidance on the best way to spend their money.  Today I thought I would share some of the most common mistakes indie artists make for their marketing and promotion budgets.

First, I want to point out that these mistakes are shared equally amongst indie artists with small budgets and indie artists who have investors with big budgets.

It’s mind blowing.

You must be careful to separate the emotion from the event.

You must separate what you think is “cool” i.e. a promotional tactic that serves your ego from strategies that will be far more effective in exposing your artistic effort.Promotion Bang for your Buck n 2

 

 

More bang for your buck.

 

Marketing and Promotion is the act of influencing buying decisions.

 

 

This is where you expose your masterpiece to consumers with the intention of creating a deep enough relationship to inspire them to buy your music.

Promotion should be the largest part of the indie artist budget and yet it is the most overlooked.

The same promotion techniques that made you aware of your #1 most-favorite-album-of-all-time were equally effective in making you aware of your most hated piece of crap from the artist that you can’t believe even got a record deal.

Both of those records created cash flow.Promotion Business Strategy

Think about it.

 

 

By far the #1 promotion mistake I see indie artists make is nonexistent promotion.

  • If you’re doing a crowdfunding project you must add funds into the budget for promotion!
  • Back in the heyday of the record business, labels would spend $250,000 on the recording of an artist’s debut record and $750,000-$2,000,000 in promotion
  • That’s a promotion budget between 75% and 87.5% of the overall funds.
  • How do your recording vs promotion ratios look in your business plan?
  • Do you have a business plan?

The #2 biggest marketing and promotion mistake is spending money on ineffective strategies.

 

Limited Budgets and Radio PromotionIMG_1605Listen, there is nothing cooler that turning on your radio and hearing your song coming through your car speakers.

 

It’s better than sex.

 

While it’s quickly dissipating, terrestrial radio is still, far and away, the most effective way to promote music to a mass audience.

But how much money is required to make it effective?

Radio only works when you have a BIG budget.DSC_5393

The reasoning is the magic number 7.

There is a psychological tipping point where a consumer internalizes a song and their buying decision is influenced.

That number is 7.

It takes an average consumer 7 listens to your song to be compelled to purchase it.

 

 

Here’s the thing, it takes a TON of spins to ensure 7 listens.

You need enough money to ensure that each individual hears your song 7 times which means you need to afford medium to heavy rotation or you have wasted your money.

Let’s not forget that radio promotion is all about relationships as well.  You will need money for a radio tour so you can visit every station.

globe_bw

 

Market Size Matters

Sometimes we see artists try to work the whole country at one time.  If you have a decent budget but not a MASSIVE budget then why not focus on a local market?

If the song is good and you can afford solid, steady spins in 1 or 2 markets then your marketing budget is going to be far more effective in a smaller region than the whole country.

More people will be influenced to purchase your music in 1 or 2 markets with heavy spins than in every market with light spins.

And we’re trying to sell our music right?

If you don’t have a radio budget then your money is far more effective with online marketing and socialPromotion Social Media Logos media marketing.

 

Spending money to appear in an online magazine next to a famous artist makes you look famous and important.

Perception is reality.

Now if you add a free download attached to a squeeze page you are growing your customer list.

Spend money building a customer list and monetizing it.

If you don’t know how, then spend money learning how or paying someone to do it for you.

If you spending $20 per month and you don’t know what you’re doing you are wasting your money.

Every artist is unique so what is the best way to focus on your strengths and minimize the weaknesses?  If you don’t know this about yourself then you need to pay someone who does…think of it as an education.

 

Touring and Tour Promotion

file0002005996090

 

One of the most valuable products you are promoting is your live show.

Spend money wisely on tour promotion.

Spend the budget on infrastructure that will allow you to capture the contact information from everyone that sees you play live. Always be building your fan base FIRST and THEN spend money on getting into new markets.

Trust me, getting your first big tour and going everywhere across the country once is not cost effective. That still stings just thinking about it. Ugh.

Start at home. If you can’t pack your local theater or least a decent sized club then your live show probably sucks.  Spend money finding out what needs to change.

If consumers perceive your show as an event they will come to see it

. darkedinburgh_ghostbus

Once you are packing a venue you are making money.

You have cash flow.

Then dominate a new market and so on.

 

 

Tour Busses Don’t Sell Records

Country artist Sam Hunt released “Leave the Night On” (destined to be #1) in mid-June this year.  This major label artist with major label money Promotion Sam Hunttoured in a van with a trailer from June through mid-October before they could financially justify the cost of leasing a tour bus.

 

 

 

Atco Records recording artist Dream Theater released “Images and Words” in 1992.  They had enough tour support for 6 weeks in a tour bus or 12-14 weeks in a van.  They begrudgingly chose the van at the behest of their tour manager.  The single broke in 10 weeks.  If they chose the bus, they wouldn’t have had the budget to support the single when it broke.

Promotion Dream Theater Images and Words

 

 

 

How are you spending your promotion budget?

 

 

 

 

Spend wisely and stay in tune people.

 

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