Social Networking Your Songs
In this three-part series, we’ll take a look at each of the major social networks, explain how they work and what they can offer in terms of building a songwriting career.
By Kevin Zimmerman
One of the cardinal rules of breaking into the songwriting business is: network, network, network. But for struggling tunesmiths who live outside the country’s three main music biz hubs - New York, Nashville, and Los Angeles - following that rule can be daunting, as well as expensive, should they choose to make multiple visits or even move to those cities and start knocking on doors.
But an additional tool worth exploring is social networking websites. Facebook, Twitter, MySpace, and others have been all the rage for the past couple of years, but what they can offer to a budding composer goes well beyond simply updating your circle of friends on what you had for dinner last night.
No longer “just for college kids,” today two-thirds of all global Internet users visit social network sites more than they use e-mail, according to a March 2009 report by Nielsen. Over one-third (35 percent) of all U.S. web users over the age of 18 have a social networking profile, compared to 8 percent just four years ago. Memberships on such services are exploding, with Facebook - whose press department claims over 300 million active users worldwide - the clear frontrunner.
Although social networks have existed for about four years, they are still very much in a state of flux. Despite Facebook’s commanding lead, it’s not even the most talked-about social networking site out there; Twitter is, having grown from 500,000 users at the beginning of 2008 to a reported 70 million currently. (Twitter does not provide membership figures.) And one should bear in mind that another social networking site, MySpace, was all the rage before Facebook overtook it “way back” in late 2008.
Yes, things change quickly on the Internet.
Expecting immediate - or even not-so-immediate - inquiries from music publishers and record labels from having a Facebook page is the wrong approach. As the name implies, “social networking” goes beyond simply throwing one’s name up on a site and seeing what happens. The best business use of such a service is to engage with others, show off your talents, perhaps even brag a little.
In this three-part series, we’ll take a look at each of the major social networks, explain how they work and what they can offer in terms of building a songwriting career.
As a social networking site, the Cambridge, Mass.-based Facebook (http://www.facebook.com; free membership) has earned its popularity by helping people keep in touch with their friends, hook up with old college roommates and the like. Information about upcoming social events like weddings, reunions, and even concerts can be easily disseminated, and simple-to-use search functions can help people locate others whom they’ve never met but who share similar interests or hobbies. Creating a Facebook profile includes an “update” section, where people can discuss practically anything (basic rules of language and etiquette apply).
Facebook is all about “friending” people, which in this case means sending an invitation to become one’s friend to ? well, one’s friends and associates. Once those people have accepted your invitation, not only will you both be listed as the other’s friend, but you will also be able to access who the other person’s friends are.
And a database is born! Well, not necessarily. Flooding a friend’s friends with promotional messages and invitations can be just as annoying as sending out blind ads via email and circulars. And as Facebook can giveth, so can it taketh away; irritate someone enough, and they can “un-friend” you, thus cutting you off from that particular group (and, probably, your original friend as well).
Another attractive component of Facebook are its “groups,” which range far and wide in interests and goals. Currently there are over 500 groups listed under “Songwriting,” with brief descriptions of each; some offer potential collaborators, lyric-writing competitions and so on, while others exist simply as a place to exchange ideas and war stories. One should choose a group carefully, of course; if you’re hoping to be the next Stravinsky, then a group specializing in children’s music is probably not for you.
Joining a group is a great way of getting a list of contacts quickly, since all group members can see your updates on your Facebook profile. You can also start your own group and send out invites.
Next: Twitter and MySpace
Posted Nov 23, 2009
Member Comments
I havent had much luck on those sites…granted I do need to put up some better material…but out of all the people ive networked with only a few have really genuinely responded…I even got an interview from a music magazine in southern cali…but that was it…so I dont really see the upside of those sights unless you are touring or what not…cause then people can go to your site and become a fan…
Yes, Facebook is a tool. But it takes diligence, persistence and dedication to make it function as a promotional vehicle for tunesmiths.
I have contacts in Australia now.
Which would not have happened without it.
Expectations should ALWAYS be kept low to avoid frustration and burn out.
I’ve given up. I tend to write classical music that just isn’t big hit material. Although I might have a one-hit wonder or so in the bunch, that is, a rock song or two, and the blues as well, even those are “undiscovered”, at least in the financial aspect of it all. All the music I posted at soundclick did well on their charts, even without paying anything for special placement, but that’s it so far…...
Anyone that expects overnight success on these social websites should think again.
There are always exceptions, but nothing replaces hard work, doing your home work and being in the right place at the right time with the right tune.
i link my myspace from my facebook. i have to admit after a long break from writing/playing (12 years) I’ve posted new songs (about 1 a month) and I’m pretty floored…in 9 months I have over 24000 plays. Sounds great and makes me think about getting published, as for any benefit? not sure. people are listening, but it remains to be seen if it ever actually advances a songwriting career for me….I’m all for it if so, as I can write pretty prolific.
[url=http://www.myspace.com/alascar11]http://www.myspace.com/alascar11[/url]
In my age bracket, a baby boomer, free -lance saxophonist (woodwind doubler, recently focusing on compositions, I’ve found the social networking sites to be just what they are - social networks. Facebook ad MySpace have somewhat enhanced my reputation among my private students and reconnected me with many musicians in other cities with whom I had worked and lost touch with over the years. None of this has translated into bank deposits so far. I still maintain a positive outlook because I believe that is fundamentally a good thing. In every communication there is a potential fan and every fan potentially leads to another.
So long as we understand the limitations of social networking websites, and keep our expectations realistic, it still is better than the pre-web days.
I’ll second that emotion, Lem G. Pre-web days have faded to black and there’s no going back
I’m a Singer/Songwriter and networking is a strong point of mine physically but over the internet i’ve had a hard time linking up with people that are serious about what songwriters/Artist do.
Social Networking your music is about as easy and knocking on doors in Nashville. Because there are so many artists out there doing the same thing you are, you’re songs are in a mile wide pool of music. It might get you listeners that you otherwise wouldn’t have, but listeners get hit by so many “self-proclaimed” artists everyday. By the time you come along with something they might like, they are burned out from the thousands of invites they got. That’s just the reality of it y’all. The best way to get your music out there to the people is the old fashioned way…GIGS!
Its finding the right venues, developing the best interactive website you are able to afford, recording quality CDs/MP3s/downloads/ & performance videos you can and still be able to pay all the bills that go with modern life here in the USA.
The more research and hard work you put into all of these endeavors, the easier it becomes to figure out what produces success and what is a waste of time and money.
As a performing songwriter with a less than “tree hugging” introverted traditional approach to genres and DECADES of writing, recording and performing, sites like SonicBids turned out to be a case of throwing good money after bad for me.
Figuring out which approaches work best for you is an ever changing process and songwriters/bands & acts need to adjust their interests accordingly.
Take Annette’s old school approach to gigs with a grain of salt. A tree falling in the forest DOES make a sound, but if its in the WRONG neck of the woods no one
of any import may hear it. For about three decades I took that “play anywhere, you never know who’s out there listening approach” and eventually found out the hard way, the finding the RIGHT venue for your style of music is CRUCIAL.
Bars with drunks or cafes with disinterested business and college types that consider live music as WHITE NOISE is not the best avenue for your performance
development after several years worth of gigs like that.
No don’t take my old fashioned ideas with a grain of salt. If every gig you performed at was fueled by the hopes that “someone of importance” was going to be there listening, then I could see how you might find more than a few disinterested people in the crowd. Everyone there is important. You have to earn their ear and their time. You’re audience isn’t stupid. If you’re not singing to them directly than you’re not connecting with them and they won’t care what the point of your song is. Who’s to say that just because you thought they weren’t interested means they weren’t. In my experience, if the audience doesn’t like what they hear…they will either get up and leave or they’ll give you a hard time. If they stay and have a good time while you’re performing than that speaks volumes especially in a café filled with college kids who’ve been badgered all day long in class by boring professors. Trust me, I know. Performing at local festivals may seem like a waste of time if you’re looking for a successful recording contract, but it does help to drum up some CD sales and meet people who might enjoy listening to you play. I actually was stopped in between songs by a man who reached up on stage to shake my hand and tell me I was awesome. He didn’t buy a CD but it meant a lot to know he liked what he heard. That’s what venues are about. Building your fan base. Even if you don’t think they care about what you’re doing…you’d be surprised just how much they do care. If you want to shoot straight past the long hours playing at local venues for “nobody’s” and go straight to playing at the blue bird café infront of publishers then do it, but just remember that the nobody’s at road side dives and rural festivals matter in the end. That’s where you make fans and test your music. People have the power. The one of the stage is a nobody until the audience sees it otherwise.
Annette:
You go girl ! I’m 60, a retired Army vet of Vietnam & Desert Storm. My frame of reference is WAY different than a lot of the folks on this website. I have performed with NAME acts, at big colleges, played some festivals and did two consecutive weekly hoot nights at the Troubadour in LA.Where if you sucked, you’re not asked back.
I still enjoy performing and I bust my butt to connect with the audience.
When its not working, its not always the performer’s problem. Local fests in my area of Wisconsin don’t like my material, not enough tree hugging and “sensitive guy stuff’. Building a fan base is easier when your under 50 years of age, trust me. The demographics for old geezers isn’t pretty. I wish you and the rest of the
aspiring songwriters all the best. Sometimes the love of the music just isn’t enough to sustain a so-called career. You can google the website and check out
where I’m coming from.
You’re right on that. Loving the music isn’t always enough. Sometimes when you’re standing on a stage under 1000 degrees of sun over you and you look out and see maybe five people sitting under a shake tree listening to you…you feel like it’s a thankless experience…LMAO But YOU have performed with successful acts? Played on big college campuses and performed in L.A.? My friend you have become my hero! I have opened for the Indigo Girls but never got to meet them. I had my son with me and it was way to hot to keep him out there any longer than he had been. You may not have become all famous…but look what you did do! I’d say that’s more then some have…may not be a career but it’s something to be proud of.
Thank you for serving our country big guy.
My memoirs are getting written. Blame some of the contributors to this website for that one. Being a “celebrity” was never on this particular radar screen. RESPECT is a delicate thing in the music business. Performing on behalf of military families and trying to be a musical bridge for their advocacy was and still is my priority.
My last CD is finally getting competed after over a decade of delays and sporadic recording sessions. Its a four decade compilation of original material. Because my music is just different enough that the average festival, college or acoustic orientated venue around the upper midwest usually pass on it, I suffer no delusions of grandeur.
Most of the time I wonder if all those years of touring, writing, recording and performing were really worth all that effort, time and money. It has been said that you can’t put a price tag on happiness. I’d appreciate a few more people saying
“YES” to bookings these days, but the reality is that unless the Good Lord decides
to do a 180, my appearances will get fewer and further between these days out of their lack of support / interest. Its not the competition, its the people with the contracts and what they deem “worthy”.
Well I’m a not a gig hound as much as I use to be. I’ve got a handful of a events for this season, but not like I use to have. It’s my doing mostly. Having a son reminded me that I need to make sure my priorities are intact. I have a friend who’s been “chasing the dream” for decades and he’s no closer to it then he ever was. He’s obsessed with music and performing. I don’t feel sorry for him though. I feel sorry for his children who suffered for his obsession. His daughter has very little to do with him. She moved out of the house much to young, but she’s a great kid with a solid head on her shoulders. Just tired of being woke up at 1 in the morning because dad’s practicing again and him not giving her any decent time. The only reason he and his son is close is because his son likes to play music. I’m not going to make my kid suffer.
So I wait for e-mails from Event’s Coordinators in the area who would like me to show up and I take those festivals I like to play at and nothing more.
Annette:
Kids with absent parents… As a military guy, there are some trade offs about
raising a family that go with that particular territory. For musicians, its a whole other ball park. PRIORITIES should change as we mature. Its the choices we make in life that define us and shape the future around those we love and care about that makes all the difference sometimes.
For every Taylor Swift, there are thousands out there with the same amount of talent and experience that never hear the “YES” they deserve. I still believe that entertainment law is the best way to get a decent paying job in the music biz where you can still be close and have a regular family life as well.
Sometimes when he gets all depressed because he thinks no body cares about him..I just want to slap him upside his bald head and say, “Why don’t you go hang out with you kids and enjoy being a father for once?” Me personally, I find just as much fun in a “tickle rally” with my two year old as I do on stage.
Annette:
Exposure to Dioxin in the Mekong Delta has kept my ability to have kids at zero.
My wife and I dote on our godchildren and my sense is that you are a great Mom that remembers these little people are gifts and time capsules and should be regarded as such. They are little for such a short time. The impact we have on their future is priceless. Once lost, ignored or discarded, it can never be recovered.
Success in the music business is just that. The ability to ply your skills and passion to entertain on a scale that allows the bills to be paid. Having said that, the drug abuse, spouse abuse, infidelity, alimony, child support, motor vehicle accidents that involve other lives from immature types who’ve taken the privilege of their craft for granted, should be a stern reality check for those seeking their
name in lights and a big paycheck.
Facebook, Twitter, MySpace etc have WAY too much mention of day to day
events and photos with not that much substance behind it. For musicians its only another tool for public relations. Whether it increases the genuine fan base is dependent on many factors:
1.) Are you a genuine article ? Do you support worthy causes by performing at
benefits and fund raisers ? If not, re-evaluate your priorities.
2.) Do you care more about how many hits you get on your website and how many
people sign up as friends on your social web network site than you do how many
actually show up at a performance you’ve announced ?
3.) Do you sell more merchandise online or at a gig ?
4.) Have you developed a working relationship with your online fan base to include
them requesting songs on your set list ? ( Simple, direct & effective )
5.) Have you developed a protocol for recognizing “regulars” who consistently show up for your gigs with a website photo/shout out and onstage public “thank you” ?
6.) Does your e-mail sign up roster include keeping tabs on who traveled the
farthest to see your gig ? They deserve a free T-shirt and an on-stage mention as the shirt is presented to them ?
CRITICAL THINKING: What a concept !
See now that’s awesome. This makes a perfect “check” list for what you ought to think about while trying to deliver your music to the people.
