For quite a few years before all this social media stuff got properly conversational, this site was the home of a burgeoning forum. It was created in PHPBB and was home to many a wonderful discussion about all kinds of things, some of them directly related to what I was up to as a musician, but many of them just driven by the supremely fascinating people who would hang out there.
As web-based conversations moved around, Twitter became a really great place for the kind of link-sharing and funny comment stuff that was often the forum’s stock and trade, and many of the forum regulars moved over. It’s been great, and chatting to those people on a weekly-sometimes-daily basis on twitter is a wonderful thing.
But some things were also lost when the forum traffic slowed right down, namely the essays that some of the contributors would sometimes write, and the threaded conversations that would often happen as a result of a link to a news story or link to a youtube video. [Read more →]
Tags: site updates
February 15th, 2009 · Comments Off on Real Life Touring. A Social Media-Fuelled Tale.
So, we’ve been back in England a few weeks. I’ve even had time to do my busiest week of masterclasses ever! (more on that later, I promise)
For now, it’s time to round up some of the lessons and tips from our house-concert-based, social-media-driven jaunt to the US over christmas/january.
A few salient points to start with:
- most of the gigs were booked by people we know via Twitter.
- all but one of the gigs were house concerts.
- we did 5 masterclasses – 3 in houses, one in a pub, one in a Uni.
- in 7 weeks, we spent 2 nights in hotels, which we didn’t pay for anyway.
- we made more money per gig than we ever have playing clubs/coffee houses (read: we actually MADE money, net, after paying for everything.)
- we met more amazing people on this trip than ever before.
- very few of the people at the gigs could have named a single other solo bassist.
- moreso, very few of the people who came to the shows had heard OF us before, let alone HEARD us. Media exposure was not a prerequisite for attendance.
- we have about 5 hours of video to pick through of the shows.
- we have invites back for twice as many gigs as we played.
- nobody got rich.
- nobody planned to get rich.
Let’s break these down:
Most Of The Gigs Were Booked By People We Know Via Twitter:
the usual method for getting gigs is something like; “google venues and promoters in an area >> email promoter or venue >> send package >> agree to do gig for door money >> minus commission >> with food included if you’re lucky >> book hotel nearby for somewhere to stay”. Add other steps if a) promoter has no idea who you are and wants to put you on a double bill with someone who’s a ‘name’. The upshot is, it can often take 3 or 4 gigs in an area before you make any money. After the show’s booked, you contact local press and radio, send CDs, bios etc, and hope they cover it, so people will hear you and then come to the gig. Sometimes this works. often, it doesn’t.
Method for our tour: “talk to lots of people on twitter >> make friends >> allow them to discover music as they get interested in who we are >> tell them we’re touring >> invite them to host gig >> Book in the dates” – the audience is a shoe-in, cos most people can fairly easily find 15-30 friends who are up for a crazy night of music making in a house. It’s a nuts idea, it’s fun, and it has the added benefit of being validated by a friend of their’s… if Tracy/Linda/Angela/Steve/Gus etc are willing to book this, it MUST be good. The person who books the show then emails the links to what we do around (no need to send out CDs) so people have an idea what to expect. Everyone comes to the gig, eats, listens, buys CDs, and we go home with money and loads of new friends. Win-Win.
All But One Of The Gigs Were House Concerts:
if we get offered non-house-concert gigs, we take them if they’re fantastic. They have to be AT least as good as house concerts to be worth doing. We’re no longer desperate for somewhere to play. The show we did at Grace Presbyterian church in Long Beach was an amazing night. And we got to see Vicki Genfan and Jim Bybee play too. Win-Win.
We Did 5 Masterclasses – 3 In Houses, One In A Pub, One In A Uni:
masterclasses in houses are great fun, and a fab way of a) sharing knowledge on tour and b) making a lil’ more cash. We did classes on looping, bass stuff and ‘social media for musicians’ – again, arranged by the people hosting the house concerts. I usually do a pretty big bass class in Northern California, and it has in the past paid for my entire trip. I didn’t need to this time, so was able to do a much smaller, more focussed class, for people experimenting with solo bass. Win-win.
In 7 Weeks, We Spent 2 Nights In Hotels, Which We Didn’t Pay For Anyway:
at each of the house concerts, we stayed in the house where the gig was. That’s not always the case with house concerts, but on this trip, it worked really well like that. In most places, we also had another day or so to hang out and see the area. The hotel nights were a thank you from Modulus for all the masterclasses and clinics I do using their instruments all over the place.
We Made More Money Per Gig Than We Ever Have Playing Clubs/Coffee Houses:
so much of what happens on tour is built on the promise of imagined success; ‘if you do *** then *** will surely happen’ but rarely is anyone willing to underwrite it to that degree, and so the artist takes a lot of the burden of risk… With house concerts, there’s no chance at all that you’re suddenly going to find yourself making millions of dollars. But there’s also less chance that you’re going to find yourself in debt and unable to pay the bills. The financial arrangements are generally straightforward, friendly, and sensible. Guarantees are kept at a level where they work for everyone.
We Met More Amazing People On This Trip Than Ever Before:
guess that speaks for itself. My music life is full of encounters with incredible, inspiring people. At house concerts we just get way more time to get to know them, to make friendships that will last. Ultimately, I’m WAY more interested in people than ‘success’. If I can combine encounters with magical people with a sustainable touring model, I’m happy. House concerts do just that. Win-win.
Very Few Of The People At The Gigs Could Have Named A Single Other Solo Bassist:
SO often gigs by bassists are largely populated by other bassists ogling their wikkid skillz and monster tech. As much as I love spending time with bassists, it changes the gig if they’re over-represented in an audience. Singers never have to play to entire audiences of singers. It’d be weird. So to play to rooms full of people who have little idea what looping is, don’t know any other solo bassists, and so are listening to what I do as music first and last is REALLY inspiring. I love it. It makes me a better musician.
Very Few Of The People Who Came To The Shows Had Heard OF Us Before, Let Alone HEARD Us. Media Exposure Was Not A Prerequisite For Attendance:
we had precisely ZERO mainstream media coverage for these gigs. No radio, no TV, no mags no nothing. At least partly because these are private events at people’s houses, and so we weren’t about to be giving the addresses out to total strangers. There are ways for people to get to the gigs if they contact us, but it’s not about broadcast at all. No, most of the audience were friends of the host, people brought in because the host said it was good, put their house and money behind it, and believed in what we did. It paid off. We had no shows that were less than wonderful. Made loads of new friends, and sold lots of CDs. Win-win.
We Have About 5 Hours Of Video To Pick Through Of The Shows:
the digital footprint of house concerts is probably about 10 times that of a normal gig. People are excited and talk about the show. Often the attendees are geeked-out, tweeting and facebooking the show from their iPhones and N95s, filming it, taking pics and posting them online, and in many cases, streaming it. The Milwaukee show has now had nearly 300 views on Ustream.tv. Everything is amplified.
Not only that, but after watching the Milwaukee show, we were invited to play in Philly. The show was booked because of the stream. Lovely Linda Mills saw the gig, sent me a twitter message, booked it, promoted it, and the show happened. All in about 3 weeks. Win-win.
We Have Invites Back For Twice As Many Gigs As We Played:
at house concerts, everyone there is a potential booker. they all have homes they live in, and may want to book a show. Loads of people went away inspired to book us next time we came, and also to start doing shows for their friends. That’s GREAT news.
Nobody Got Rich / Nobody Planned To Get Rich:
this is so far from being driven by the rock ‘n’ roll myths it’s untrue. No-one’s getting rich doing house concerts. But no-one’s doing it to try and get rich. It’s sustainable, people-centred, low-impact, high-value touring. It’s cheap to put on, flexible, engaging, original, exciting and artistically elastic. You can do the kind of show in a house you could never get away with in a club full of drinking punters expecting to dance. And you can go home making a profit, paying your bills, with time and resources to make more music for the next time you come round.
This tour was probably my favourite tour I’ve ever done. Every gig was more fun than playing the Royal Albert Hall. The people were amazing, the hosts were incredible in their generosity and still grateful to us for coming and playing. The audiences were attentive, engaged and loved it. There really was nothing bad about it at all.
Yesterday on Twitter, someone suggested that while my soundbites were enjoyable, the reality was different. (see the whole conversation here ) Our experience on tour says this works. Says it’s real. Says it will continue to work.
So, were you there? What did you think? Have you done house concerts? how did they go? please post your thoughts on house concerts/social media/the future of touring in the comments below…
(the picture at the top is of about half the audience/musicians who played at the inauguration house concert/party we co-hosted with Kerry Getz in Newport Beach – an amazing bunch of musicians, from all over the place, playing amazing music)
Tags: Geek · Gig stuff · New Music Strategies · tips for musicians
January 8th, 2009 · Comments Off on Pre-NAMM Social Media Seminar/Workshop, in Santa Ana, Jan 14th.
Finally, the details have been nailed down, and thanks to the wikkid organisational skillz of the wonderful Geoff Hickman, I’ll be doing a ‘future of social media for music makers’ masterclass in Santa Ana, the night before NAMM starts.
Date: Jan 14th
Venue: The Olde Ship, Santa Ana (map)
“Making your way in the world today takes everything you’ve got… no, wait, that’s the Cheers theme-tune… anyway, it’s true that the times they have a-changed for anyone trying to make it in the music world – record labels are resorting to increasingly desperate measures to make money and artists are getting squeezed. The smart money is definitely on handling your own career, out there on the world wide interwebs. But how? There are million services promising audience reach, targeted email addresses, high profile this and big bucks that… most of which are glorified spam email campaigns. So what can we do? How can we, in the words of Rage Against The Machine, ‘Take the Power Back‘?
“Enter Steve Lawson, a solo bassist and ambient/electronic music pioneer from the UK.
“Steve’s managed to keep his career buoyant for the last decade, all via online interaction direct with his audience. He was exploring social media tools before the term ‘social media’ existed, and was using the web to connect with fans and fellow artists back in the heady days of Web 1.0.
“These days he splits his time between playing his beguiling cinematic music – at venues ranging from house concerts to the Royal Albert Hall – and teaching other musicians how to form genuine connections with their audience, to understand the new attention economy of the internet, and make the most of the opportunities that are out there. It’s not easy, it’s not a get rich quick scheme, and it probably won’t result in you making a million. But if that’s what you’re looking for, buy a lottery ticket. The music world has never been a good place to get rich. This is a chance to discuss, to ask questions and to come up with workable strategies for finding the people who want your music to soundtrack their lives. Sounds great, huh?”
There you go. Please do forward this page to any friends of yours who are going to NAMM, and may benefit from a lil’ StevieStyle social media make-over.
And if you’re at NAMM, please do drop by and say hi. Lobelia and I will be at the Looperlative, Modulus and Accugroove booths as well as around and about. And we’ll be tweeting, streaming some video, and generally having a lark!
Tags: Geek · Music News · New Music Strategies · tips for musicians
December 31st, 2008 · 1 Comment
It’s been an amazing year for me – a proper round-up of the year will be coming soon. But I thought that first I’d pull together some of the things I’ve blogged about this year. So this is part 1 of a compilation of links to my blog posts for musicians this year –
Back in May/June, I did a series of posts about Social Media for Musicians:
…ah, clearly i didn’t finish that last one…
Then in July, I did a series on my thoughts on bass teaching, and music teaching in general:
These had some really great comments off the back of them…
And here, in roughly chronological order, are my favourite posts from Jan – August:
There you go, that lot would make a pretty good e-book, if I ever get round to editing out the typos, and shortening some of my more overly-verbose entries
Next entry will cover Sept – Dec, and then the rest of what’s happened this year! If I don’t get to it til tomorrow, have a great new year, see you in ’09!
If you particularly like any of the posts, please share the links around, either via the ‘share this’ option below, or just by forwarding the URL to people who think might like to read them.
Tags: Geek · New Music Strategies · site updates · tips for musicians
I’ve been getting WAY too many ‘follows’ on Twitter of late from musicians who really don’t get it. So here’s my Top Tips For Musicians On Twitter. You may want to start with my Best Practices In Social Media post, or just jump straight in here.
OK, let’s start by comparing twitter with Myspace, as that’s where most musicians get their start in social media:
Like most musicians, my start on Myspace involved using the search function to find other musicians and ‘fans’ and adding them without any interaction. I accumulated thousands of ‘friends’ in no time, and for about a month was getting hundreds-sometimes-thousands of plays a day. But very little of it turned into any real interaction with them, either at gigs, buying/downloading music or just messages to say ‘hi’.
So I backed off, and stopped actively adding anyone to myspace, and recently deleted 8000 myspace friends in an attempt to make it useful.
So how does that relate to Twitter? Well, Twitter has no media player. It’s just text. It’s also asynchronous. This is crucial to understanding it. So point #1 with Twitter is:
- ‘Following’ someone on Twitter means next to nothing. The interaction is everything.
So if you’re tempted to come onto twitter, search for ‘music’ or ‘jazz’ or ‘bass’ or whatever and hope to gain an audience. Think again. It’s not going to work. All that happens is, your timeline becomes unusable. You miss the good things other people are tweeting and you look like a spammer. Because (point #2):
- Twitter is all about other people.
That’s right, it’s not primarily about you. It’s a very difficult interface to game anyway. You can’t turn up, post links to your own page and hope people will find you. Because everyone else is way more interesting than you are. So, tip #1 (as opposed to point #1, that was above) – Tip #1 is:
And it stands to reason that tip #2 is:
- “hey check out my site” isn’t remotely interesting.
No, it’s not, it’s self-obsessed, dull and ultimately does you more harm than good. If you’re trying to get me to listen to you, you were in a better position when I’d never heard of you than when I saw your twitter page with 4 tweets that said ‘hey, check out my myspace‘. Now I just think you’re a tool.
No, if I go to your page, and you’re interacting (twitter interactions happen by way of ‘@’ replies – if you put an @ in front of someone’s username in your ‘tweet’, it shows up in their replies, and for other people, it links to their page. It’s creates a contextual network for what you’re saying, it means people can find out what your tweet was in response to, and more about the person you’re talking to.) then I’m more interested in talking to you, asking you questions, answering your questions and generally getting a conversation going with you. Which is good for you, because if I reply to you, the 900-or-so people that follow me are going to see it, an if they find what I’ve said to you interesting, may click through to you…
So, tip #3 relates to how to get started:
- Start by adding people you know already and talk to them.
If you’re having normal fun interaction, you look like a human being, not a spam-generating bot, or worse, an up-their-own-arse musical narcissist. Just talk about what you’re up to. What you’re doing is placing your music within the narrative of your life. You’re letting people know what you’re about, so they may then be interested in what kind of music such an interesting person would make. And if you’re a musician, the day-to-day life of practicing, getting gigs, designing flyers, getting paid, making records etc. is fascinating. It really is. So talk about it.
Tip #4 relates to this:
- Twitter users are largely curious people, you don’t need to post links all day to get them to find you.
There’s already a link back to your site on your twitter page. And if you’re clever, you can post a nice pretty twitter background (here’s mine) that will give them a little more info. When you are interesting, people will be interested. That’s just how it works. So be interesting.
Tip #5 follows on from this
- Twitter users are curious, but also deeply suspicious of spammers.
Like I said at the top, if you get it wrong, it’s worse than not being there. if you look like a spammer, people will not only ignore you, they’ll block you. That’s not good. So If you
- keep close-to-parity in your followers/following ratio
- tweet a lot about what you’re up to without links to your site,
people may follow you back.
So, last tip – #6 – for now (I’ll do a part 2 later) is about Conversation:
- People are far more likely to follow you because your conversation is interesting than because your music is great.
No-one knows if your music is great. Lots of links to your site won’t make them want to check it out any more than one link. However, lots of conversation makes you more interesting than no conversation.
No-one likes the guy/girl in a bar who talks about themselves all night to the exclusion of all else. Don’t be that guy on Twitter.
For reference, here are some musicians being interesting on twitter:
Lobelia, Jeff Schmidt, Imogen Heap, Warriorgrrl, Botched, Steven Guerrero, Alun Vaughan, Simon Little, Ben Walker, Graham English. They range from the hugely famous (Imogen) to the ‘tweets all the time (Graham and I), to the ‘small but important interactions’ (Botched and Steven G) – there’s a range there. Watch them, see what they do, what makes you want to listen to them, and do that.
Have fun, make friends, and post any questions you may have in the comments below! And if you want to recommend a musical twitterer (that isn’t YOU) then please do that too, but give reasons why…
Tags: Geek · Managing Information Streams · Musing on Music · New Music Strategies · tips for musicians
December 24th, 2008 · Comments Off on First Leg of The House Concert Tour over…
Tags: Gig stuff · Music News · travel
December 10th, 2008 · Comments Off on Coming to America…
A week from today, Lo and I will be in New York! How exciting is that? Well, for us, very exciting. For you, probably less so.
But what may be of a little more interest is the series of house concerts that we’re doing. Being house concerts, I’m not putting the addresses up online, but if you want to more info on any of these please do drop me an email via the contact tab, or normal email if you’ve already got my address!
There are a couple of things still pending, so do keep an eye on the blog, especially if you’re in California or Philadelphia.
So here’s the list:
Dec 19th – Toledo, Ohio
Dec 20th – Brown Deer, Wisconsin (near Milwaukee) – details
Dec 22nd – Chicago Illinois
Jan 5th – Nashville (this will be a gig in the evening and a future of social media masterclass during the day – lots of details on request!)
(in here there could be a bass masterclass in Philadephia and there will be a future of social media for musicians masterclass in the LA area – more deets ASAP!)
Jan 15th-18th – NAMM Show, Anaheim California (demoing for Looperlative, Modulus and AccuGroove)
Jan 19th – gig, Long Beach, California, also featuring Vicki Genfan (she’s so good, it’s scary) – details
Jan 23rd – House Concert, San Jose
Jan 24th – House Concert, San Jose
There you go – that’s quite a lot of stuff going on, and may well be lots more… if you can see a hole in the calendar, and can think of something cool for us to do, be it a gig or a music masterclass, or a seminar/session on the future of the music industry, do get in touch. We’re open to offers :
Tags: gig dates · travel
November 26th, 2008 · Comments Off on Featured Artist at Reverb Nation…
Monday night’s album launch was amazing – thanks to all who came along. More on that v. soon, as well as all the other blog posts I’ve been promising to write for so long…
But in the news dept, I’ve just had an email telling me that I’m a featured artist this week on the front page of Reverb Nation – Reverb Nation is what Myspace should have been like if they hadn’t found it more interesting to give old dudes a way to hit on teenage girls instead of making a site where people can actually find new music. It’s a great platform, and the speed at which it is evolving, growing and improving is remarkable. Do check it out if you haven’t seen it before.
They also get how information posted on social networks needs to be ‘tearable’, portable and aggregate-able, so just about all the data you put on there can be embedded anywhere else as widgets, and you can add your twitter account as a status update on there, and link it to other services (including myspace).
Anyway, my Reverb Nation page is at www.reverbnation.com/stevelawson – and from there you can download an ENTIRE free album – Lessons Learned From An Aged Feline Pt II. It’s a pretty good introduction to what I do when I play solo.
(you can download another free album from Last.fm here
Tags: Music News · website recommendations
November 23rd, 2008 · Comments Off on Myspace friend-cull. Who, How, Why.
I’ve just spent a most enjoyable few hours of the last couple of days removing over 90% of my Myspace ‘Friends’. By ‘removing’, I just mean from my list of myspace friends, not anything more sinister!
My reasoning was fairly simple – with just over 8000 friends, I was finding Myspace to be completely unusable. I wasn’t getting a play-count that suggested any sizable number of those friends were checking back in to see me, and the same went for blog-views. The way that Myspace’s interface is set up, it’s pretty much impossible to sort by region and send targeted messages (there is that option in the event invite, it just doesn’t work as they neither require location info from people signing up, nor do they make it clear why it would be useful. Even then, you still have to add people one by one.
If you’ve got over 5000 friends you can’t get a list of who’s online, or search within your contacts and there’s no sensible way of grouping them (yes, they’ve just added categories, no, they don’t really offer the kind of granularity of data that I’d want).
Basically, the myspace platform is a distaster. So why stick with it?
Well, let’s have a look at what Myspace has going for it:
Uhm, that’s it. Pretty much. But it’s a biggie. Lots of people unfamiliar with the rest of the internets still use Myspace to find music. Promoters often use it as their first port of call when looking at a band as a potential booking (goodness only knows why), and there are just millions and millions of people on there who think of it as a music site.
So I’m going to try and make the best of it. I’ve started by removing everyone I don’t know, don’t recognise, and don’t remember having had any proper communication with, as well as all the huge bands I’m a fan of but never talk to. In the process of doing it, I’ve almost certainly deleted a load of actual fans, some of whom probably had me in their top friends list. Hopefully, they’ll come and find me, add me again, and we’ll have a chat we otherwise wouldn’t have had. If not, it means they haven’t noticed, or don’t care, and that’s not a problem either.
Now, when I look at my friends list, I have context for all of them. I want to talk to them, message them, read about them. Myspace is going social in this house. And I’m not accepting any friend requests from anyone who doesn’t send me a message with it.
Lobelia did the Myspace mass-delete about a year ago, and saw no drop-off in the number of plays she was getting. She just stayed in touch with more people. So I’m copying her.
If you do want to add me on myspace please click here and do so.
And if we’re already friends over there, check out the blog post and all the comments over there too.
Tags: Managing Information Streams · Musing on Music · tips for musicians
October 12th, 2008 · Comments Off on Social Media – first principles for musicians (Pt 1)
There’s been a whole load of talk in the last few days, following on from the financial crash, saying that ‘Web 2.0 is dead‘.
Q #1 – what’s Web 2.0? Well, here’s the wikipedia page for it. For our purposes as musicians, it describes the use of the web for collaboration, conversation and creative empowerment, as contrasted with the old model of broadcast, one-way traffic, competitive, aggressive sales-driven stuff…
As the very wise DanLight says here, the people saying ‘web 2.0 is dead’ are actually describing a facet of the tech industry built around web 2.0 resources that is now in deep shit because its funding model is based on venture capital. VC money is deeply hooked into the world of money-markets, credit, banking and all those financial institutions who’ve finally realised that gambling can go very wrong even if you’re not in Vegas.
Clearly, the use of the web as a vehicle for collaboration and conversation is alive well and growing daily. The number of people who ‘get it’ is still growing, and loads of musicians now realise that with a little bit of care, attention and respect, their relationship with their audience can shift from being one of being “big-box producers throwing product at faceless consumers for money”, to being one of arts patronage, support and friendship.
So, just to be perverse at the Web 2.0 funeral party, I thought I’d spell out a few first principles for musicians:
- Talking to your audience doesn’t cost big money but it does take time. In order to get the value from social media, we need to invest time in communicating with our audience. The equation is a fairly simple one – if you spend time talking to your audience about what you do, they will
- understand you better
- feel like they know you better
- be able to explain what you do to their friends better (peer to peer advocacy, if you will) and
- be FAR less likely to view your ‘art’ as something disposable to be thrown away on a P2P sharing platform.
- Broadcasting over social media networks stands out like a dead sheep on a bowling green. People who try and use social networking sites and tools for 90s-style broadcast look really effing stupid. You become like the dude at the party who goes from group to group, looking for an audience,but leaves without even knowing anyone’s name. A HUGE part of web 2.0 for musicians is learning how to listen. I’ve met SO many fascinating people through the web, through talking to people on line, and many of them are now advocates for my music. I’m not friends with them because of that, but it stands to reason that people who are engaged by the ‘soundtrack to the inside of my head’ are going to be people I’m likely to like. My audience is almost always comprised of people I want to go out for dinner with and chat to.
- If you don’t ‘get it’, learn from someone who does. Look, let’s be honest, a lot of people who come from a record company background [where ‘we’ make music and ‘they’ sell it for us] really struggle to understand how this works. If that’s you, GET SOME HELP. That help can come just by observing how people who do it well do it, or it could be that you hire someone to help you out. Increasingly, I’m working with bands and indie labels on strategy for social media engagement. There is no one way to do it, but there are principles to be applied in your setting. And if you don’t get it, you can end up looking like a dick. Hiring someone for a day to help you set up the right services, talk through some strategy and get you hooked up with a like-minded community that will help you move forward will be a hell of a lot cheaper than an 8th of a page ad in the back of Q magazine, and do you 50 times as much good.
- What you’re ‘selling’ is so much bigger than the music on your CD. Think about the last time you bought a CD just because you heard a track on the radio. You didn’t know who or what it was, you just heard it and had to own it because it was so good. Been a while, huh? No-one does that any more. People are entranced by stories, and even more so, like to buy music by their ‘friends’. Even though I put ‘friends’ in inverted commas, there’s no duplicity here. Your audience become people you know, people you talk to, people who tell their friends about YOU not just your music. And you telling your story in your own words gives them the story to tell.
If your first response to this is ‘but will it make them buy more CDs?’, go back and read it again. And this time, read it because you need to know it, not because you want to disprove it so you can nestle back into ‘busness-as-usual’ safe in the knowledge that the internet is still full of know-it-all nerds who can’t actually play an instrument, but like to talk as though they can. This is all a long way from the music forums of the late 90s. This isn’t about being top dawg in a kennel of bass-nerds, it’s about inviting people who are interested in what you do to engage with it on whatever level helps them to get more from it.
I don’t know about you, but I want my music to mean something to my audience. I want to help them to find that meaning in it. I don’t need to define the meaning, just to facilitate them finding it for themselves. Next post will look at more ways of doing that, and maybe a case study or two…
Tags: Geek · New Music Strategies · tips for musicians