The history of A&R can be traced back to the early days of the recording industry when companies such as Columbia and Victor were signing acts to contracts. In those days, there was no such thing as independent record companies. The artists signed to labels like Columbia or Victor all came through the same talent scout system, which was referred to as artist and repertoire.
The first record company that used this system was Columbia Records in 1917. The company’s founder, Eraklai V. Phonograph Company, hired a young man named Frank Walker to find new talent for his label. Walker did this by going around New York City and visiting theatres where musical acts were performed. He would watch these acts perform and then sign them if he liked their sound.
This system continued until 1928 when Victor Talking Machine Company started its talent search department under the direction of Arthur Judson and Harry Jolson (father of Al Jolson). This department was known as the Artists’ Bureau; it continued until 1931 when it became known as Artists Records Incorporated (ARI).
ARA continued through World War II, but by 1947 it had been replaced by a new company called Artist Management Association (AMA).
The term “A&R” was coined by Jerry Wexler, who was then a talent scout for the Atlantic Records label. He coined the term “A&R” to refer to his duties at Atlantic, which included both artist and repertoire.
Wexler later became famous as the vice president of A&R at Atlantic Records. He had been hired by founder Ahmet Ertegun in 1947 after having worked with Ertegun at Billboard magazine.
In 1963, Wexler described his role at Atlantic Records: “I was doing all right by myself, but then I got into work with artists such as Ray Charles, Bobby Darin, and others. They were also responsible for discovering major talents such as Aretha Franklin, Wilson Pickett, and Otis Redding.
Wexler claims that he turned down numerous artists including Elvis Presley, James Brown, and Bob Dylan because they did not fit the image that he wanted for the company: “Blues singers were beginning to be heard on what we called rhythm-and-blues stations on their local radio stations” (p. 12). However, he also states that “we didn’t get into the rock until we found out that it paid
A&R – BACK TO THE beginning over a hundred years ago the music industry consisted of the live industry and the music publishing business. The public could listen to popular songs by either going to see a live concert or by listening to someone playing the piano at home or by mechanical means via the Piano Roll. Before the invention of phonographic records (the 7 and 12-inch vinyl records as they came to be known), the music business was dominated by sheet music sales. Music publishers would discover a songwriter and print their music on sheet music to sell in music stores to the public.
The emergence of popular entertainment and the success of Vaudeville variety shows across America gave a huge boost to the publishing business. With Vaudeville and Broadway shows in New York, music publishers and instrument stores started to congregate around an area that would become, famously, known as Tin Pan Alley. These publishers would hire pluggers to promote their sheet music in stores and to Vaudeville and Broadway performers.
PHONOGRAPHnRecords were invented by Thomas Edison in 1877 and were originally called Phonographs – the ‘P’ in the copyright symbol ℗ stands for Phonograph. The development of Phonographs over the next few decades ushered in the first record companies that saw commercial value and market potential.
Record companies, in the form we know them today, came to the market soon after the invention of the Phonograph by Edison, and the further development and innovations made by Emile Berliner shortly afterward. With the advent of record labels at the turn of the 20th-century records became the main sound-carrier format that people purchased to enjoy music. Music publishers needed artists to record their songwriter’s songs, whereas Record companies needed publisher’s songs for their artists to record. For the first half of the century, the recording industry’s business model was founded on the hit singles market – it was all about the ‘Song’. In the early 1900s, there were three major record companies: Victor, Edison, and Columbia. Today, just over 100 years on and after many mergers and buy-outs, there remain three major record companies: Universal, Sony (that owns Columbia records), and Warner – and the business, once again, is all about the song.
Although phonograph records existed since the 1880s, for the first 50 years the album and Long Playing record format (LP) did not exist commercially. The technology not arrived at the mass market which could produce over 45 minutes of music in one sound-carrier format. The phonographic record was the disruptive technology of the time and the record industry replaced sheet music as the main form and structure of music consumption.
Artists such as Frank Sinatra, Peggy Lee, Ella Fitzgerald, Louis Armstrong, Nat King Cole, and Bing Cosby were amazing performers, personalities, and vocalists who could capture a great song’s emotional essence and vocal performance. However, they didn’t write the songs so the artist & Repertoire representative would marry the artist to the song (or the artist with the songwriter, composer & arranger). Song standards such as ‘Come Fly with Me’, ‘Summertime’, ‘Stardust’, ‘Mack the Knife’, and ‘My way’ were written by famous songwriters such as Cole Porter, Hoagy Carmichael, Leiber & Stoller, and George & Ira Gershwin who wrote for Broadway Musicals and the popular artists of the time.
The 1950s saw the continued success of the phonograph record. This was thanks to technological advancements in recording and sound reproduction; the growth of national radio broadcasting, Broadway musicals, and the Hollywood film industry; the popularity of jukeboxes as well as the increased economic conditions after the great depression and World War II. The 1950s saw the record business boom with success from global superstar artists such as Frank Sinatra, Dean Martin, Tony Bennett, Peggy Lee, Bobby Darrin, and Andy Williams. It also saw the post-war growth of the youth market with the birth of Rock n Roll and exciting new artists such as Chuck Berry, Little Richard, and Elvis Presley.
A&R was most evident during this period which saw the number of artist signings increase significantly to the major record labels. It was the decade that ushered in the 45” EP, the popular format for releasing singles, and the 12” vinyl record which was soon to become the significant format and game changer to the traditional business model. Originally best suited to classical music’s longer pieces, the 12” became an art form in itself with concept albums such as Frank Sinatra’s ‘The voice of Frank Sinatra’.
Although during the 1950s the 45” format was the biggest selling format, it soon became apparent that there was more profitability in selling the more expensive LP format and so record companies started using singles as promotional tools to sell albums. They also started making hit songs only available to buy on LPs to increase profits.
Singles have always been treated as a non-profit making promotional tool (i.e. a loss leader) but their purpose was to market and drive album sales. Of course, if you sell millions of singles and can license the song to compilation albums and synchronize it to a movie or television program then there is a very healthy income stream. However, the traditional business model and main income stream were in selling albums. Today with the fast-changing market conditions and the move to online digital download and streaming services the model is changing, although albums still account for half of the recording industry’s revenue streams.
By the mid-1950s and the explosion of rock n’ roll to the youth market, artists started writing their songs. Artists such as Chuck Berry, The Beatles, The Beach Boys, The Kinks, and Rolling Stones wanted to express the feelings of their generation and started writing their songs for creative and financial reasons.
with the advances in recording technology and technical complexities of the recording process the role of record producer developed and adapted as artists sought more sophisticated arrangements, experimentation, and artistic expression in their music.
During this period it was often the case that A&R managers were also recorded producers, composers, and arrangers for the artist such as in the case of Lieber and Stoller for Elvis Presley and George Martin for The Beatles and either worked or were hired by Record labels to work with their artists on composing, arranging, recording and producing their music.
Throughout the 1960s A&R executives became more focused on signing artists that could write their songs, rather than seeking songs for their performers. Those artists that didn’t write their songs started to form long-standing relationships with songwriters such as Elvis Presley with Leiber & Stoller, Elton John with David Taupin, and still happens today with collaborations between Robbie Williams with Guy Chambers or Adele with Paul Epworth.
This era was the domain of only 5 major labels that started acquiring other labels in buy-outs and mergers. It was a Singles driven market and the 12” was the new disruptive technology of the time.
Are sounds familiar doesn’t it? These days most people download singles, cherry-picking their favorite tunes rather than buying full albums. The business consisted of 5 major labels in the early 2000s but with the de-merger of Sony/BMG and the recent acquisition of EMI by Universal Music Group, the market is left with only 3 major record companies. Napster and iTunes are the recent disruptive technology. And all of this happened 50 years after the launch of the 12” record.
From its early days under Ahmet Ertegun and Herb Abramson to its maturation as an industry segment in the 1990s, A&R has seen it all. It’s gone from a job title to an entire department of execs and artisanal record-makers. From its 1960s dominance to its struggles in the ’90s, A&R may never be quite what it once was (or in some cases, was again), but it has always influenced popular music.
Think of building a fanbase as the final stage in a funnel. You have to get people into that funnel, but once they are there you have to keep them in it. That’s why so much attention has been paid over the years to things like fan clubs and street teams (read: groupies). But these days, it’s not hard to find ways to build your online presence and engage with fans directly through platforms like Twitter, Facebook, and YouTube. In this article, we’ll look at 15 ways to build an online fanbase by engaging with potential fans on social media or other online platforms.
One of the most effective ways to build a fan base is by engaging with people on social media. That means posting regularly and responding to comments, as well as using hashtags and other tools to get your content in front of more people.
But engaging on social media isn’t just about driving traffic back to your website or YouTube channel; it’s also about building relationships with your audience and sometimes that means taking a step back from direct promotion so you can focus on being human.
Branding is the first step to building a fanbase.
You have to know who your target audience is and what kind of person you’re trying to reach. You need to consider your music, image, mission, values, and message. What do you stand for? What are you trying to say with your music?
The more specific you can be about these things, the better off you’ll be when it’s time for marketing efforts later on in this guide!
While playing live shows is a great way to grow your fanbase, you need to make sure that you are also doing other things on this list. This is not the only thing that will help you grow your fan base, but it is extremely important. If you look at the top musicians and bands in the world today, many of them have built their careers by performing live shows and building their fan base organically.
You should perform at local venues and events as well as festivals and free shows. You don’t want all of your content being paid because while some fans can afford it, others might not be able to afford it or won’t buy tickets just because they like one song or video. If there are multiple people involved in putting together an event (such as putting on a concert), try asking around for advice about how best to promote themselves before making plans for things like posters so that they know how much money needs to be spent upfront versus later down the road when advertising starts happening even more aggressively after initial marketing efforts have ended successfully!
Uploading content to YouTube is a great way to get your music in front of new people. YouTube is the second largest search engine in the world, and it’s a great place to build your brand and promote your music. Additionally, uploading videos can help you connect with your fans through comments on your channel or by responding to their comments.
Submitting your music to blogs is an effective way to get exposure. Find a list of blogs that cover your genre, and read the submission guidelines carefully. Make sure you have a good relationship with the blogger and that they’ve written about artists similar to yours in the past. Also, make sure you have an excellent song to submit!
A good place to start when building your fanbase is by creating an email list. This is a collection of people who have opted-in to receive emails from you about your content, updates, and offers.
If you have a small brand with a little-to-no budget for marketing, it’s important to know that email marketing can be just as effective as other methods if done well. Email lists give companies the ability to engage with their customers directly and on a deeper level—even after they’ve been sold! They are also relatively easy to manage: once you’ve built up your list and sent out an initial message or two, the rest falls into place almost effortlessly.
It’s not difficult (or expensive) to build an email list these days; all it takes is some basic HTML knowledge or some help from someone who knows what they’re doing (like us). The first step towards setting up your emails is choosing which service provider will host them—we recommend MailChimp because they’re free for up to 2k subscribers and has great features such as A/B testing and automation tools. Once you’ve set up MailChimp, there are plenty of tutorials online that will walk you through how best to utilize its features so we won’t go too deep into this here – but suffice it to say there are lots of cool things about having an active subscriber base!
Collaborating with other artists is a great way to build your fanbase. You can find artists that have similar fan bases to your own, or you can find artists who are in the same genre as you or even artists who are not in the same genre as you.
It would help if you also kept in mind that there are different ways to collaborate:
In addition to creating your content, it’s also a good idea to encourage user-generated content. This can be done by hosting a contest on your social media channels and asking fans to share photos or videos of themselves with your product. You can also get them involved by posting a question that asks fans to submit their best answer with the hashtag #yourbrandname. For example, if you’re running an Instagram campaign for a new pair of sunglasses, ask people why they need shades this summer and share the most popular answers on Twitter. Finally, consider offering prizes in exchange for valuable feedback from customers:
Getting more engagement is only one part of building an audience; another important element is getting fans to become loyal customers who evangelize about your brand when they recommend it to others.
If you want to build an audience, starting a podcast or radio show is a great way to do it. Podcasts are easier than ever to create and distribute because of the many free and low-cost services available. Here are some recommended services:
Music videos are an essential part of building your fanbase. They can be used to promote your music and introduce fans to the personality behind it, while also keeping them engaged through visual content that complements the song.
You should make sure that you’re sticking true to yourself in everything you do as an artist—don’t try and be something or someone different just for the sake of having a music video. If it doesn’t feel authentic, people will notice, and then they’ll probably stop listening.
It’s also important to have quality equipment when shooting a music video; otherwise, likely, your efforts won’t turn out very well!
Performing at events and festivals is another great way to gain exposure, build relationships with other artists, get feedback on your music, meet new fans and make money. While most artists charge a fee for their performances (and rightfully so), there are many opportunities out there where you can perform for free or very little pay. For example, if you’re an up-and-coming artist looking to build a fan base by performing at local venues in your area then consider offering your services as an opening act for bigger acts that are coming through town. Or maybe offer some of your music as part of the background music at parties and events? In these cases, it’s all about doing something for others so that they’ll do something for you later down the line when you’ve got something to offer them.
This can be a great way to get your message out there, and it’s sometimes a lot easier than you think.
Let’s say you’re an up-and-coming rapper who just released his first album. A journalist from the local paper might be interested in interviewing you about your journey from rapping in the subway to becoming a full-time professional musician. This kind of article is usually more fun for them than writing about political issues or even how to fix potholes (the reporter’s typical beat), so they’ll probably jump at the chance to interview someone interesting like yourself! The key here is not only having an interesting story but also being able to tell it well otherwise this could turn into a disaster instead of something awesome that helps promote your brand.
Sharing a quote on social media is one of the easiest and most effective ways to engage with your audience. You can use a quote from an inspirational speaker, or write your own! If you’re feeling especially creative, try putting together some fun memes or infographics that illustrate a point about your subject matter. These types of shareable content are easy for people to spread around online and can be fun and light-hearted, which helps build rapport with potential followers.
Following these steps will help you build your fanbase one person at a time:
A digital distribution company is the best option for an artist to get their music online and into stores. Digital music distributors will help you with everything from formatting your release to managing your distribution sales and royalties. They take care of uploading your music onto major stores like iTunes, Spotify, and Amazon, but you have to make sure that they’re the right fit for you before signing on with them
You should ask your distributor if music distribution is their primary business. If it is, then they should be able to answer this question easily. If not, you should ask why they are distributing your music and what kind of experience they have with digital distribution. They might have a great business model, but if they don’t know much about digital music distribution or they don’t have a large team behind them that does, that might be an issue in the long run.
If you are a new artist, A&R Duty is the best to go with we specialize in digital distribution. We can help you set up your account and get your music on all the major streaming platforms.
One of the most common questions I get from clients is whether or not they can make money from the digital music distributor they distribute with. The answer is yes, but it’s not as simple as a 10% commission on sales revenue. The more important question to ask yourself when choosing a digital distributor is “will they take any portion of the sales revenue my music generates?” The answer should always be no; distribution services are paid for by artists themselves via fees that are based on their level of success and/or popularity to cover costs associated with providing such services (such as royalties and licensing fees).
While some distributors do offer payouts based on the total revenue generated by your catalog (which we’ll discuss below), these are generally reserved for labels who have multiple artists signed under one umbrella company or managers who manage multiple acts. Most individual artists will receive royalty checks once per year, usually paid out over two quarters (i.e., January through March; April through June).
The best digital music distributors have a dedicated team that can answer any questions you may have. If you’ve tried to get in touch with them and they haven’t responded, then that’s not good. You want to be able to talk to someone who knows what they’re talking about whenever something goes wrong with your account or the way your music is being distributed.
You should be able to find answers to your questions quickly and easily. Your digital music distributor should have a helpful tool that’s easy to use and understand, whether you need assistance with uploading or downloading music, or just want an explanation of the terms in their contract.
The most important thing to know about this is that you need to make sure you have the right artwork, metadata, and licensing for the store it will be distributed. Having the wrong artwork or metadata can result in a delay in your release being sent out by your distributor. You also need to ensure that all of your audio files are encoded at the right quality (for example 44100hz 16bit). This is especially important when uploading music directly through stores like Spotify, which may not accept low-quality audio files.
“How transparent and detailed are the sales reporting?”
If you want to get as much helpful information from your distributor, you need to ask them this question. The answer will show how much they know about their customers’ needs and how far they are willing to go to provide them with the best service possible.
iTunes trend reports are a great way to see how your music is selling in stores. While it’s not uncommon for digital distributors to offer iTunes trend reports, some only give you the option of viewing your sales data in the form of a spreadsheet. If you want easy-to-understand graphs and charts that make sense at glance, go with a distributor whose system offers them.
There are several things to look for when searching for a digital distributor:
Publishing administration is when a third-party company helps you collect royalties owed to you by the owners of songs that are streamed on platforms like Spotify and Apple Music. Why is this important? Because these owners are often difficult to track down and collect payment from, which can be time-consuming and frustrating. The more time you spend chasing down royalties, the less time you have to write new music or perform live!
Why should I have my publishing administrator?
Ringtones are a special type of sound file that can alert the user of an incoming call or message. It’s a small audio file, usually 30 seconds or less in length, which can be heard when someone calls you.
Ringtone files are typically created from music found on CDs or MP3s, though ringtones can also be composed specifically for your use (such as custom ringtones).
The A&R scout is a record label employee who is responsible for finding and signing new talent to the label. This can be a very exciting job, but it’s also hard work because you’re constantly searching for new music and sometimes the best stuff isn’t easy to find!
An A&R scout is someone who works with artists and their music, helping them create and promote their work. The first part of their title “Artist and Repertoire” is an old term for record labels but still has relevance today.
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The job of the A&R scout is to find new talent, including singers, songwriters, producers, artists in other mediums, etc. An A&R scout might also help sign up existing bands or solo acts that already have a following among fans but need help getting off the ground with record labels.
The A&R scout’s job doesn’t end there! They’ll also be responsible for finding songs that could become hits on radio stations or at clubs across the country and they’ll get paid to do this because they’re so good at what they do!
To become an A&R scout, you should be musically talented and have a good ear for music. In addition, you must possess good communication skills and can work with others. An A&R scout will spend most of their time listening to music and talking about new artists or songs with other people in the industry. They will also need to know how different genres of music fit into the industry as a whole so that they can figure out which artists might be right for different types of projects.
A&R scouts are responsible for identifying, developing, and signing new artists. A&R stands for Artists and Repertoire, which means they work to find new talent and then create that artist so they can be signed to a record label. In addition to finding new talent, an A&R scout may also help manage the careers of established artists after they are signed by a record company. They often act as a sounding board for their artists, offering feedback on song ideas or helping them decide what direction their album should take in terms of sound or theme.
A&R scouts have many duties when it comes to promoting their acts:
An A&R inspector is a person who inspects goods and services to ensure they meet certain standards. They may also be called quality controllers or inspectors. Their job is to make sure that the quality of products or services is accurate and consistent across all manufacturing plants, including food production and processing plants, pharmaceutical companies, clothing manufacturers, laboratories and more.
There are several qualifications you must hold to become an A&R inspector:
An A&R scout is responsible for finding new talent, both in the music and entertainment industry. They are also responsible for discovering new producers, writers, artists, managers, and labels who might have the potential to make it big in a certain genre of music.
A&R scouts are often responsible for scouting talent at live shows or watching them online. They will then submit demos or CDs of their work to the record label’s office where they will be reviewed by other members of staff before being passed onto legal teams who check that all rights are clear so there’s no copyright infringement taking place.
The A&R executive is responsible for finding and developing new talent, as well as the music side of a label. These responsibilities include:
The A&R scout’s duties are very similar to that of an independent music scout, but with one important difference: An independent scout can sign artists who are not signed to any labels at all. When you’re working with a major label like Mavin Records, there’s no need for anyone else’s approval you have complete control over everything related to your job title.
An A&R scout is responsible for finding new talent and signing them to a record label. They also help to develop the talent they find. An A&R scout works with artists to write and record songs, as well as promote their music.
Some of the responsibilities of an A&R scout include:
As an A&R executive, you are responsible for the following:
If you need to find the right music talent for your new album, or mixtape project with A&R DUTY. We have a large pool of talented music artists who can fit into any genre of music.
We take pride in being able to land our clients with top-notch artists/producers and video directors as well as making sure they get paid on time every time. Our track record speaks for itself; we have worked with some of Nigeria’s biggest artists including Cynthia Morgan, G-worldwide ent (Kizz Daniel), Shaydee, Dj Jimmy Jatt, and many more under the roaster of Gidioti Empire.
An A&R scout is a person who works for a record label or publishing company and finds new talent for the company. They look at the music and decide if it is good enough to be recorded on an album or mixtape. There are many different types of scouts out there, but they all have one thing in common: They want to find the next big thing!
When you’re trying to get your music heard by labels, there are plenty of things you can do to stand out from the crowd. You could try sending them a personalized email or even calling the label manager on the phone to introduce yourself. But how do you know what will work best? Well, there’s only one way: trial and error! The good news is that there are a few proven ways of making yourself stand out from the crowd and helping their job easier and they’re all fairly easy once you’ve got used to doing them regularly.
Many labels receive a high volume of submissions, so it may take them a while to respond. It is important to remember that A&R teams are almost always very busy people who have many responsibilities. As such, they may not be able to respond immediately and may not respond at all if they do not think your music fits their label’s needs at the time you submit it.
If you know an A&R representative personally or have worked with them before, then try submitting your song directly via email rather than using our system…
In order to be considered, you will need to send them the link to your music. This can be done by email or through a service like SoundCloud, or Spotify. If you don’t include a link, they won’t know what you’re talking about and they won’t be able to listen to it!
You need to be on Spotify and iTunes. If you’re not on those platforms, then it’s unlikely for anyone to hear your music. There are exceptions, but they are extremely rare and require an extreme amount of luck or connections at the label level that most artists don’t have. You also need to have your music on other streaming services as well as stores like Amazon or CD Baby so people can buy it if they want physical copies (physical copies still sell). If someone wants to buy your album from iTunes or Amazon but can’t because your album isn’t there yet, you’ll lose out on more sales than just the ones who would’ve bought digital versions through those stores.
When sending a music submission to a label, it’s important not to simply message the label with your SoundCloud link and hope they listen. You should have a dedicated page for your music, with links to all your social media accounts and all of your releases there as well. If you don’t have a website, you can use Bandcamp or another similar platform that has an embeddable player so people can listen directly from the page.
The best way to submit music is through a custom email address made just for the purpose of submitting tracks from unsigned artists. This email should include all relevant information about yourself (links to previous releases), links to streaming services where fans can listen (Spotify/Apple Music, etc.), and any other places where fans might hear it like YouTube/SoundCloud/etc., and any other relevant information like what genre(s) it falls into or any notable features on albums, etc., as well as anything else they might need in order fully understand what they’re listening too before making a decision on whether or not it’s right for them at this time.”
While you’re submitting your music to labels, it’s important to make sure you have all the important copyright information in place. The first thing a label wants to know about your song is who wrote and recorded it, so make sure that’s clear. Make sure their name is included on every track and that it matches up with their website or social media profile.
Most importantly, make sure there’s no confusion about when you wrote your song or when it was released. Many artists include incorrect dates on their releases because they don’t know better or don’t care enough (or both). This can be confusing for both listeners and labels alike, so be sure not to leave off any crucial details like this one!
You’ve got to have a dedicated page or website for your music, with links to your social media and all your music in one place. Make sure it’s easy to find and link directly back to any kind of social media you want (Instagram, Twitter, Facebook). Also, make sure this is the same URL that people can send out via email when they want other people to hear your track.
The better you can make yourself stand out from the crowd and help their job, the more likely they are to notice you.
Here is a list of things that will help your chances:
Remember, this is your music. You are the one who should be proud of it, not the label. So don’t just submit to a label because they have good feedback on SoundCloud or because they’re huge. Start by sending them only your best tracks and see what happens from there. Don’t forget that most labels want to work with artists who can promote themselves too; if you don’t have any social media profiles set up yet then get started on those today!
It’s never been easier to get your music heard by a wide audience. Thousands of websites and apps can help you share your songs with other musicians, fans, and industry professionals. But the best way to connect with an artist is still through one-on-one communication. If you’re looking for tips on how to make that happen, read on!
The best way to get a song to an artist is by catching them live. They can be performing at a show, festival, gig, awards ceremony, event, or concert. Just be sure that you’re there when they are performing and make sure they notice your song. Here’s how:
The first way to pitch a song to an artist is by playing it for them in a studio. While this is the best method, it’s not always possible because some artists work out of home studios or private studios that don’t allow outsiders to enter. If you’re lucky enough to get invited into the studio while working on new material, make sure you play your song only after they’ve had time to finish their current project.
If you can’t get into their recording space, try playing your music at another location where they usually hang out: bars/clubs (but not if they’re performing), hotels (but not if they’re staying there), parks, and other public places where people might be hanging out listening to live music.
If you have a song you think would be great for an artist, contact them through their social media. In the age of social media, it should be easy to find out how to get in touch with an artist through Instagram or Twitter. You can then send them a link to your song and see if they like it! Don’t be afraid most artists are happy when fans reach out with their music. Some artists even welcome submissions from aspiring producers looking for a chance at working together (I know I did).
Just remember that not everyone is going to respond in fact, most won’t respond at all! That’s okay though; just keep trying until you find someone who loves your music as much as you do!
You’ve heard the saying, “it’s not what you know, it’s who you know.” That’s true in so many respects, but especially when it comes to getting your music recorded by an artist. You need to make sure your song is good and that you’re pitching the right song to the right artist.
For example, I recently wrote a song called “Haunting” which my friend Jayme King wanted to record on her upcoming album. I sent her a copy of the demo (the recording of my voice singing over acoustic guitar) and she liked it! She said she wanted to change some lyrics here and there as well as add some harmonies in certain places. When I asked if she wanted me there when she recorded it, her response was no because she didn’t want any distractions from me being on set; however, if any changes after recording needed input from me then I would be welcome back at Studio B Studios anytime!
If you want to pitch your song to an artist, you need to be creative. This can mean doing things like sending them a demo or playing it live at their shows. Don’t forget that social media is also a great way of getting in touch with the right people!
Congratulations on publishing your music on Spotify. The next step is to make sure the release is successful! That means getting into playlists and being discovered by new listeners. To do this, you’ll need to understand how the Spotify for Artists reporting dashboard works. First off, here’s what happens when your release goes live:
To accept the terms of your agreement, you will need a Spotify account. You will receive an email with a link to accept the terms of the agreement when it is available. You must click on this link to accept the terms of your release. If you do not accept the terms of your release, you will no longer be able to stream music on Spotify.
Within 24 hours of accepting your contract, you will receive a confirmation email that your release has been successfully delivered. This email will also contain an online portal where you can check whether reports are showing numbers for your release. If reports are not present, then your release has not yet been published on Spotify. It can take up to two weeks for finished releases to become available depending on your release date choice.
As soon as you accept the contract, your release will be sent to Spotify. It takes between 2-3 days for your freedom to appear in the dashboard. The dashboard is updated every 24 hours, so if you don’t see numbers within a few days of accepting the contract then it’s likely that something went wrong with delivery or processing.
Not all members can see reports on their releases. Only artists and producers can access this information, not managers or labels (unless they are also artists). If someone has given you access to their account but doesn’t want people to know where they live, then don’t worry! They’ll still be able to log into their own Spotify account and keep everything private from others using it too (just make sure not everyone knows how many times someone else has listened).
Depending on how many days have passed since your release was published on Spotify, you may or may not see any activity reflected in the reports (listening activity, playlist adds/removals, statistics). To begin viewing listening data, filter by this week’s date. The reporting dashboard will update every 24 hours with new data, so you can return tomorrow to view new information. Please note that streaming data takes approximately 2-3 days to appear in the Spotify for Artists dashboard.
Depending on how many days have passed since your release was published on Spotify, you may or may not see any activity reflected in the reports (listening activity, playlist adds/removals, statistics). To begin viewing listening data, filter by this week’s date. The reporting dashboard will update every 24 hours with new data, so you can return tomorrow to view new information. Please note that streaming data takes approximately 2-3 days to appear in the Spotify for Artists dashboard.
Spotify has a two-week lag in reporting and will not report on the listening activity until two weeks after a release is published. As well as this delay, there is also no way to know if your track got added or removed from playlists at all unless you check them manually or receive an email from the curators of those playlists themselves!
It’s important to read the papers you receive because they contain important information about your release. After you submit a new release through Spotify, you will receive an email with a link to accept the terms of the agreement. Once accepted, within 24 hours of accepting your contract, you will receive a confirmation email from Spotify confirming that they have received it and that it has been added to their platform. If possible (and if it doesn’t violate any terms), try listening to your track on Spotify after submitting it and before signing anything!
If you have any questions about your contract or the process of releasing it on Spotify, please don’t hesitate to contact us at support@spotifyforartists.com We are here to help!
If you’re a musician, producer, or just someone who likes to sing in the shower, then you’ve probably wondered: How do songs get popular? It turns out there’s no single answer. A song can become popular through a combination of factors that include its sound and structure, how it’s presented (via video or audio recording), its popularity among social media influencers, and more. But if you want to know what makes your favorite song tick and maybe even help yours become an international hit—here are some things that matter most.
First of all, there’s the music video.
A music video is a short film that features the artist and their song. It’s usually pretty cool to watch! But it also serves a very important purpose: getting a song popular.
The reason for this is simply a lot of people don’t buy albums anymore, so if you’re an up-and-coming artist who wants to reach your audience as efficiently as possible, you have to make sure that people have heard your songs before they even think about buying them. And how do they hear them? Well…through radio stations! But there are only so many times you can play one song on the radio before everyone gets sick of it. So what do you do? You release an album full of songs (and hope they get played), but more importantly…you release a music video filled with all those same tracks! As long as someone watches one video while they’re scrolling through YouTube or another type of media platform (probably Vevo), then chances are good that they’ll become interested in buying something from that artist’s catalog or at least listening more closely next time around.
This is why music videos are so important to artists they’re a way to connect with your audience, give them something entertaining and interesting to watch (and listen to), and help promote your new release. Whether it’s a simple performance video or something more elaborate with lots of special effects, there are numerous ways that artists have used their music videos as an effective tool for promoting their albums.
But that’s expensive, and clips on YouTube or Facebook make it easy to learn dance moves at home. You can hear the song, and see what the dancer is doing. It’s a good way to get a feel for the song before buying it.
Wizkid, for example, is a Nigerian artist whose songs are known to be simple. He often just sings about love and relationships, but he does so in a way that makes it easy to sing along. His music has been described as “the kind of stuff you can dance to at home on your own or with friends.” And though there’s no denying that Whizkid’s songs are catchy (he averages over 50 million views per video), they’re also well-crafted; they’re not overly complicated in any way. They’re very much “the type of thing where kids can listen to them but also adults.
The same goes for other artists who have achieved success through more straightforward approaches: Drake has been known to avoid overly dense lyricism his raps tend toward being easygoing declarations of love or celebrations of friendship over struggling with mental illness. The point here is that sometimes getting people hooked on your work means making sure it feels accessible from the beginning, even if listeners don’t understand every lyric you’ve written or every reference you’ve made in each song, there’s still enough going on within each piece that keeps them engaged with the material itself and wanting more. That’s why it’s important to keep your audience in mind when writing lyrics; if you’re creating something that will be consumed by people who aren’t professional musicians themselves, then you need to make sure there are no barriers between them and enjoying the music.
If you have a song with lots of “Fs” that are hard to sing, start a little lower. If it’s too high, people will sing the wrong words. If you start too low, people won’t be able to hear the words. Just worry about singing along and don’t worry about your range; just sing the song as you hear it.
If you have trouble singing along with some of the songs, try singing the chorus instead. Usually, a chorus is easy to match your voice to because it repeats over and over again. If you’re still having trouble, just ask someone else to sing along with you.
The simple answer to that question is that people love belting out pop songs in the shower, often when they’re feeling sad. It’s easy to understand why this happens: Showering tends to be a private experience where you can let down your guard and indulge yourself in whatever music you want. The soundproof walls of your bathroom allow for uninhibited singing that doesn’t need to compete with other sounds or worry about getting overheard by others and it’s also an excellent way to relieve stress, as one study found that 80% of people feel better after singing their favorite song in the shower (compared with playing sports).
On the other hand, some artists are wary about underestimating their audience. “I’m always trying to avoid writing things that are too complex for a general audience,” says singer-songwriter Nan Goldin. “I don’t want people to have to think too much.” Others worry about overthinking: “You can make a song too complicated by thinking about it too much.”
Singer-songwriter Patti Smith does not write songs with standard lyrics like love or heartbreak because she believes that these concepts are overdone and cliche. Instead, she prefers themes such as nature and childlike joy, which she feels offer more depth than typical pop songs. Similarly, John Lennon once said he wanted his music to be both simple enough for children and deep enough for adults; he believed this was the key to popularity among all ages!
This is a common concern among songwriters. The most popular songs, such as “Essence” by Wizkid ft Tems or “Ye” by Burna Boy, are catchy enough to stick in your head and easy to sing along with but still convey deep themes.
One of the biggest challenges for musicians is understanding how listeners process a song. It’s important to realize that people don’t always know what they like and that they are likely to listen to a song many times before deciding whether they like it. It can be especially hard for artists who have only released one or two songs, because listeners may not have enough context to determine if something new is good or bad. Artists should also keep in mind that people process music differently some people might like the lyrics more than the beat, while others might focus more on how catchy a song sounds when they hear it on the radio.
In the early days of commercial radio, listeners had to wait for their favorite songs to come on. Nowadays, with streaming services like Spotify and Apple Music, when you hear a song you like, you can just tap play again. The brain needs time to process music and it’s not just about hearing it once. Most people need around 30 or 40 exposures before they decide whether they like a song enough to add it to their playlist or share it on social media. The more times we hear something (even if we don’t consciously register this repetition), the more familiar we become with it, and familiarity increases liking because our brains prefer things that are familiar over those that are new and different.
The reason we tend to like things more when they’re familiar is because of a psychological phenomenon called the mere-exposure effect. In short, it means that the more times you see or hear something (even if you don’t consciously register this repetition), the more familiar
Sometimes, what listeners say they like isn’t the same thing they listen to. In other words, the preferences of a listener can be a little bit different than his or her actual listening history. This is because humans are creatures of habit and like familiarity the more we hear something, the more comfortable it becomes with us over time. It’s one reason why so many people own multiple versions of the same album by an artist: because we don’t want to have to relearn any new information each time we play an album!
The result is that sometimes random things become popular because people discover them through friends or online communities where everyone agrees on their merits (or lack thereof). Or perhaps there’s just some sort of consensus about what makes a good song so much so that everyone goes along with it despite not liking it themselves
In either case, our listening habits are often more about what other people think is good than what we like ourselves.
The song has to be catchy and easy to remember. If people can’t sing along or repeat the lyrics, it’s unlikely that they will ever think of this song again even if they enjoyed it while they were listening to it at first. The beat needs to be strong and steady so that people can dance along with it whenever they hear the music playing in their head or on a radio station.
And there you have it. A lot of people think that being popular is about luck or talent, but the truth is that it’s more complicated than that. It takes a lot of work and careful consideration to make something that people want to listen to over and over again. But with these tips in mind, you can be sure that your song will reach listeners around the world!
The music industry is full of professionals with different roles and responsibilities. If you’ve been on the road, playing gigs, releasing albums, or even just listening to music, then you’ve probably run into some of these folks:
A&R stands for Artists and Repertoire. A&R is the department of a record label that searches for new talent and signs artists to contracts. A&R people work with artists to develop their sound, style, and image. They also help artists decide which songs will be on their albums and what those songs should sound like; this process is called “song selection” or “songwriting” (as in “I wrote this song with my band).
There are many different kinds of managers, and each fulfills a specific role in your career. First, let’s be clear: a manager is not an accountant or lawyer; he or she does not do taxes for you or help you write a will. A manager is also not typically the publicist who runs around town trying to find press opportunities for you (though some do). A manager doesn’t book shows for your band or act as an agent at booking agencies (though some do). Finally, while some managers have experience publishing music and can help guide writers through that process, they won’t handle any of the paperwork associated with getting your book out there into the world.
In short, managers are businesspeople who specialize in working with artists like yourself, not accountants or lawyers and their job is to ensure that all aspects of your career run smoothly so that you can focus on what matters: making great art!
A marketing firm is a company that provides services to help artists market themselves effectively. The main difference between a marketing firm and other types of service providers like managers, publicists, or booking agents is that they are not involved in the creative process. They can be involved in the creative process, but it’s not their focus. Their focus is on marketing and promotion for artists who already have something created for them (a song or album). They’re usually hired by the artist rather than the other way around, this means if you’re looking for someone to help you grow your career as an artist, start thinking about how to promote yourself rather than planning on finding someone else who will do it for you!
A booking agent is a third party who helps artists find gigs, often with venues that are willing to pay the artist a fee to perform. Booking agents work on behalf of their clients and are responsible for providing those clients with an income by connecting them with opportunities where they can make money through performance.
Booking agents work closely with venue owners and promoters interested in working with artists. They negotiate terms of payment (how much the venue will pay) and other details regarding the performance (time slots, equipment needs, etc.). If you’re an artist trying to get booked at local bars or coffee shops around town, your booking agent will be responsible for organizing those gigs for you!
A publicist is a person who helps you manage your public image, which includes handling your press coverage and social media presence. They can also help you with things like scheduling interviews, writing press releases, and connecting with other influencers in your industry.
A publisher, who has presumably acquired your book after you’ve submitted it to them, will pay you an advance. Advances are usually paid in two installments: half upon signing the contract and half upon completion of edits or delivery of the manuscript. The amount of advances varies widely by genre and popularity, but it’s common for first-time authors to receive $10-20K as an advance on their book (this amount can increase with subsequent contracts). The royalty rate is how much money the author receives per unit sold after deducting the cost of printing and other expenses associated with publishing. This rate varies widely between publishers some offer royalties as high as 15% while others offer less than 5%. Royalties are paid once a year in January based on sales during the previous calendar year; if you sell more copies during that period than expected, then your royalty check will be larger too!
As you can see, there is a lot to consider when choosing the right partner for your project. The most important thing to remember is that it’s OK if this process takes time and effort. You need to be sure that the person you choose will help you grow as an artist as well as take care of business in all areas of your career.
When you find someone who fits with your style and vision, they’ll make all the difference in taking your career to new heights!
The music industry is complicated, and it can be difficult to know where to start when you’re trying to break into it. We hope that this blog post has given you a clearer understanding of how these different jobs work together in today’s world of music. If any questions are left unanswered, please feel free to contact us at our website or give us a call so we can help answer them!
The music industry is a cutthroat business. If you’re not on top of your game, you’ll find yourself behind the curve. So what skills do you need to be successful as an A&R? In this post, we’ll look at some of the most important qualities, plus how they relate to your career in music:
Analytical skills are the ability to solve problems and make decisions based on information. These skills can be developed over time through experience and training. Analytical skills can also be used in a variety of situations, such as in business, government, and education. Analytical skills are important because they allow people to make decisions based on facts rather than emotions. They can also help people learn new things by breaking down complex concepts into manageable parts.
You should be able to understand the business and its dynamics, negotiate with artists and their managers, negotiate with music publishers, negotiate with music producers (if you’re at a label), and so on. This is where most people’s minds go blank when considering A&R jobs—they don’t know what it means to be a good negotiator or how to actually do it. For example: how do you negotiate with an artist? Do you tell them what they should get paid? Or maybe let them dictate terms based on market value? The answer is somewhere in between those two extremes. In general, there are three types of negotiation tactics that can help:
The best negotiators use all three of these tactics, but generally focus on soft power in the beginning, hard power for difficult situations, and win-win scenarios to close out deals.
If you’re an A&R person, you’ll need to talk to a lot of people. You’ll be talking about things like how certain songs feel, what your vision is for the album, and how much money the band needs to make it through the recording process (it’s more than they think). The ability to communicate effectively with others is crucial for any job in music but it’s especially important for A&R. When someone tells you that you should sign a band because their new single is “a little bit punk,” you should be able to understand what that means. You also need to be able to convey your own thoughts and ideas clearly so others can act on them appropriately and so everyone knows what’s going on at all times!
So, you want to be an A&R person. Great! You’re about to embark on a journey of excitement and discovery. But before you begin your journey, there are some things you should know:
When people talk about being an A&R person, they’re referring to the job of identifying and developing new talent for a record company. An A&R professional will listen to the music submitted by artists or their managers, then decide whether or not it’s good enough to be released through their label. They’ll also sign producers in order to produce tracks for these acts. In short, they’re responsible for finding the next big thing in music whether that’s an artist who can sing well and write songs or someone who has an amazing studio setup with killer beats (like Max Martin).
But that’s not all: A&R professionals also need to be able to run a business, because they have to make sure their acts are being paid properly and that they’re making enough money for everyone involved. This means having an understanding of contracts, royalties, and licensing and knowing how to use them effectively in order to get what you want.
Let’s face it: you’re not going to be doing much listening if you can’t hear anything. This is where your hearing comes in, and we mean both the literal sense of hearing and the figurative sense as well. So, having good ears is important for an A&R person but so are good eyes.
You’ll need to make quick decisions based on what you see and hear and those decisions must always lead to success. It’s not just about making a record; it’s also about signing talent (or deciding against signing them) so that your label can continue operating smoothly and profitably.
The best A&Rs are able to multitask and switch between projects quickly and efficiently. They know how to stay focused on the task at hand, so they don’t get distracted by emails or calls from other people in their office. They also have a good sense of time management, so they can prioritize tasks effectively. This comes in handy when you’re dealing with multiple artists who all want your attention at the same time which is one reason why being an A&R is such a tough job!
Networking is a skill that can be learned. And it’s a skill that is incredibly important to the A&R job. You need to have the ability to network with people, because depending on your role at the label, you may be in charge of finding new artists or employees for your company.
There are many different ways networking can help you in your day-to-day work as an A&R rep:
Organizational skills are a huge part of being an A&R person. If you don’t understand the importance of organization, then you can’t be successful as an A&R person. The organization is about time management and prioritizing tasks; it’s also about setting goals, which is just as important as prioritizing tasks because without goals, how will you know where to start? And finally, the organization is about being efficient in your work so that when someone comes to ask you what happened to that project they gave you three weeks ago which they haven’t seen yet you don’t have to say “I forgot.”
People management and negotiating skills are a must for every A&R rep. You’re not just in charge of signing new artists you also have to work with them, helping them grow as artists and working together to figure out what songs will be on their albums. And that means working with lots of different personalities without losing your cool or getting frustrated. You may also have to negotiate with labels and other A&R reps about who gets the best songs from an artist, who gets the first chance at signing them, etc., so you need to be able to handle these situations calmly and professionally while still getting what you want out of it.
The bottom line: being an A&R rep is all about people management, whether it comes down to making sure everyone on your team has everything they need (or want) or negotiating with artists over contracts and song choices.
You need good business and analytical skills for A&R in Nigeria.