I have a friend who runs a local “listening room” venue. A few months back, he booked in a very popular local singer/songwriter, and looked forward to a standing-room-only crowd, at $15 a head. But come show night, only about 10 people showed up for the performance.
Could it be because the performer had three other shows that week at local bar venues, for free? How many of his fans made the choice to see him that week for free, over a burger and beer, versus for a $15 ticket price?
Another friend completed a recording of his latest original song, and uploaded it to his Web-based audio platform. He posted the link to social media, and looked forward to growing his “viewed” and “liked” count. But after a week’s time, only a handful of people had listened to the cut.
Could it be because within a half-hour’s time, he posted the link to 15 different singer/songwriter groups on FaceBook? I saw them all in my news feed – how many times do you suppose I listened to the track?
The truth is, our music is a commodity. And whether we’re looking for a monetary payout for consumption of your product; or streams, views, likes and shares, flooding the market and overwhelming our fan base can be a poor strategy.
Let’s take the listening room example. The singer/songwriter has a large local fan base, and is popular on the local bar circuit. So, the marketing strategy for the listening room gig should be different from his normal bar show. Maybe he bills it as an, “all original,” night; or promises to debut some of his latest stuff; or works up a special merchandising tie-in for the event. He needs to give fans a reason to attend THIS show as a special event, even if they just saw him in a free bar gig – otherwise, he risks fans skipping the pay-to-attend event, in favor of the next night’s bar gig.
An alternative would be to branch out a bit locally – if he does a lot of bar gigs in one local town, forego the listening room gig in the same town – find a venue a town or so over, where he can attract some fans from town “A” as well as some from town “B.”
In the audio release/social media example, the singer/songwriter could stagger his social media posts to 2-3 a day. He still reaches the same audience, but at a more measured pace – and, for those fans who are members of multiple groups, there comes a better likelihood that they’ll give multiple listens to the track as it appears in their news feeds over successive days. In fact, given the way that FaceBook news feeds work, if I belong to, say, 10 groups, and my singer/songwriter friend posts to all 10 groups within a few minutes of each other, there’s a fair likelihood that the posts will become “buried” in my news feed, and I may not see them at all!
I have a third friend who is a prolific songwriter – he’ll record and post 3-4 new songs every day. I’d love to listen to them all – but the truth is, when 4 songs by this guy appear one after another in my news feed, I might listen to one or two, and then I’m a bit burned out on him for the moment. Will I circle back later and listen to the remaining tracks? Most likely not – particularly since tomorrow, there’ll be another 3-4 new tracks in my news feed (how in the world he has time to do all this is beyond me). Far more effective to post one, or at most two, a day, and then not every day – I’m far more likely to listen to all of them as they cross my virtual “desk.”
You see the point. Over-saturation of your fan base works to your detriment – folks will skip your live show if they know they can catch you a night or two later, and particularly if they can do it for free versus a ticket price for admission. On-line fans will listen to a song once if they see it posted on multiple sites on the same day, but perhaps give it multiple listens if “prompted” to do so every couple of days in different groups they subscribe to. And they’ll listen to more of your songs if they’re not bombarded with them hour after hour and day after day.
There’s an old saying in the theater – “Leave them wanting more.” That’s good advice when it comes to strategizing how you roll out your on-line and live performances.
Because remember – you can die from over-exposure.