Bono's Big Bad Clawprint

It was only a matter of time before U2 were attacked for their latest tour. Even more offensive than the giant claw that adorns their stage is the estimate of the carbon footprint of the 44 date worldwide show.

Bono fans will no doubt let this fact slide - the rare opportunity to see their pint sized messiah in the flesh will be too important to miss. It seems entirely hypocritical for a man who has campaigned to rid the world of poverty not to at least address the impact that his career is having on those he cares so much to save. We know that climate change will have the greatest effect on poorer nations (in fact Bono's primary area of campaign concern - Africa - is already the most effected - see DFID for more info) - does he not consider this before jetting off on a carbon intensive tour? He has acknowledged the issue of climate change in contributing to global poverty when he took to the stage at Davos last year. Perhaps he's becoming forgetful in his elder years.

I'm not expecting Bono or any artist to be a saint. But walking the talk is essential to credibility, and it shouldn't be surprising that the mantra of campaigners like him fall on deaf ears. It is also worth noting that as the business model of the old industry falls away artists will be under increasing pressure to tour to make up revenue. More touring equals a bigger footprint - not only of the artists themselves, but for every fan that travels to see their shows.

I do expect artists who are role models - like U2 - to be innovators and leaders. They should be establishing the blue print for not only a new music industry, but a new way for the world to behave and interact. Bono demanded we make poverty history - I'd like to see him step up and show us how its done.

Who's Zooming Who?

In the old industry, the roles of artist and label were quite well defined. The artist performed, and the label controlled. While the artist may have been responsible for the music element of the product, jurisdiction for all others fell to the label. How it was packaged, sold and presented - and in some cases, even how it finally sounded - was all down to the men in suits.

The new industry is fundamentally different. The label's role now centres around co-ordination. Ensuring that all the pieces of the puzzle fall into place, from administration of the artists rights, to planning the strategy of getting the artist connected to it's community.

The artists role has changed as well. They are learning more about how important it is to market themselves, and actively participating with their fans. Social media - like Twitter - is changing the relationship between artist and fan, to the point where fans have started to expect a much higher level of instant interaction. This marketing falls to the artist themselves - something relatively unheardof in the old industry.

The new industry has given power back to the artist. Effectively they can create, market, and distribute themselves. They now have more responsibility, but in a way that gives them greater connection to what they are creating. Finding the right label can give them access to skills and support which can help them reach their community. It's an equal relationship based on collaboration rather than control.

Sony Gets Some Tail

I was invited to attend the launch of Chris Anderson's new book - Free - last week. Alas at the last minute I found that the one thing that was lacking in my life, was free time. Anyways, I'm quite certain that he wasn't about to be giving his latest manifesto away gratis. After the grilling he was given by his peers perhaps this latest endeavour won't be as favourable received as The Long Tail.

One other thing nearly slipped my attention this week. As I was cleaning out my inbox I caught sight of a slice of Music Week spam with news that Sony had bought a slice of IODA - who just so happen to be the digital distributor of choice for Gaymonkey.

Could this be? A frantic Google search led me to an article at Wired (the fabulous periodical edited by noneother than Mr Long Tail himself) confirming that indeed the major label is now involved with a digital distribution arm set up as an alliance of independent labels - with the belief of the long tail at the forefront of their business strategy.

A threat to our indie integrity - or a giant 'told you so' ... perhaps both. Still its an interesting sign of the times considering the last decade has been primarily about the majors protecting their assets and shunning anything that wouldn't draw what they considered to be a commercial audience. Provided IODA don't forgo their own intentions, perhaps we should all just be flattered that the big boys want to come play on our patch for a change.

Lessons in Hype: The Next Big Thing

"Get your hands on the album everyone has been talking about."

This is the strapline from a recent TV ad campaign for a brand new artist. It is running in conjunction with an album launch, nationwide print ad campaign (including billboards and tube posters) and bit of a tour.

Sound familiar? We hear this all the time from the music industry - in fact, its pretty much a standard campaign and message kit. But is it relevant anymore? 

The old way of marketing involved creating The Next Big Thing, with a big splash of hype. Drive the kids to the shops, get them to buy the record FAST - and watch it sail to the top of the charts. 

But now, none of those things matter anymore. The charts are irrelevant, and the kids aren't consuming in the same way they used to. So why do the big guns continue to play this game, and why are they so shocked to see this strategy is no longer working?

The Next Big Thing is now about taking small steps, and building slowly with commitment and belief. Its about building up the artist and community together and nurturing a relationship. One step and a time. Small really is the new Big.

How many times have we seen an artist thrust into the status of Next Big Thing only to fall away without a trace months (even weeks) later? We only need to look at the various Pop Idol/XFactor winners to see that unsupported hype doesn't equal success. 

Seth puts it perfectly in his blog this week:

"A few brands pick out tiny dominos instead. And topple them. And they do it again. They do it so often they create noise, momentum and most important, a sense of inevitability. That's how you win."

Image by Likemindedstudio.com

Taking Care of Your Genius

Great Ted talk from Elizabeth Gilbert (author of Eat Pray Love) exploring the need for all of us to nurture our genius - and how to avoid the crippling fear of the creative process.

I remember trying to express to someone how difficult writing can be. For me the whole process is incredibly private - I go and lock myself away, and when something has taken shape I can begin to talk about it. The bit before - when you are wrestling with what you are trying to express - can be tough. The bit after - when you have thrown this thing you've just given birth to out into the world, opening yourself and this new creature for criticism - can be particularly hideous.

In trying to explain this, I recall being asked why I even bothered if I hated those aspects of it that much?

Simply put - it is that space in between, when you are totally present with the process of creative thought, that is truly the most beautiful and rewarding thing in the world.

Nine Inch Wails

The Quietus has a great story today on Trent Reznor's withdrawl from the 2.0 universe after encountering "too many idiots". 

Is this a case of biting the hand that feeds you? Our new virtual world has allowed unprecedented interaction between artist and fan. How you use that power is up to you - but throwing your toys out of the pram if you don't like how you are being perceived isn't doing yourself any favours.

Musicians have always created a story around them to make them seem more interesting. Liam Gallagher is a tough northern prat. Lilly Allen hates everything and hits people. And James Blunt - well, he's mainly boring. But these are just roles they play. 

The internet is simply a medium for people to connect. The "idiots" on the web are the same fools that come to Reznor's concerts and buy his music. Only now they can get that little bit closer to him - albeit virtually. His fear is insecurity - maybe they'll see that he's not such a dark gloomy goth afterall.

EgoPR

One of the biggest issues in the music industry is this tension between niche and mainstream. For the niche to work - and it can work, for both the artist and the label - the players involved must consciously accept that it the niche does not require the mainstream, full stop. In fact, denial of the mainstream is almost key to psychologically getting over this hurdle.

To grow within the niche means nurturing a community that does not look to the outside for validation. The artist must trust that their community will grow organically, through peer-to-peer interaction, and make appropriate steps to make this happen.

Where the tension becomes disruptive is when we seek to fast track this growth through mainstream channels; by traditional media exposure, for example. Often this is simply what I call "egoPR" - seeing ourselves in press which has high status, but translates to little exposure of community expansion, and thus a limited impact for the artist overall. If the community does not require validation, then the artist/label must also accept this premise.

We saw this in the swedish campaign for Sara Berg. Huge mainstream exposure with a successful traditional PR campaign , for a sound that wasn't mainstream in the ears of the swedish public. So it didn't work. Outside Sweden her community of loyal fans continues to grow, oblivious to the previous PR. Was the investment in traditional PR worth it?

I'm not suggesting that mainstream PR be shunned altogether. But use it wisely - and not just to satisfy that overactive ego. And not at the expense of the community which matter most.

Image by redxdress on Flickr.