Do What Radiohead Does - Four Artists Who Make It Work

So Radiohead have done something quite different in releasing their latest album without a mainstream above-the-line ad campaign, and by distributing via their own website. Which they can do - because they are big already, right?

The new industry is preparing itself for any artist to do what Radiohead does. All the means to create, distribute and connect are available to anyone. The problem rests in our own belief as artists that it's not enough - that we need to rely on others to build our success for us.

Yes Radiohead have benefited from mainstream support. However, the last five years of their career has shown them breaking from the status quo to take more and more control of their work. Their confidence must stem from the fact that they are supported by a great community of fans that shows no sign of dissipating. A community that with which they have always had a relationship of mutual respect.

To demonstrate that this is happening across the industry, here are a few examples of individuals who are brave enough to step ahead, build their communities, and try out a different perspective:

Robyn

The Swedish electropop queen has been making music since she was a teenager, but her biggest success did not happen until she packed in the major labels and went on her own. Her top album Robyn was released in 2005 on her own Konichiwa imprint, which she tirelessly promoted and used to build an international fan base - in fact it took several years for the record to stick in markets outside Sweden. She followed it up with a triple album - Body Talk - released across several months. Her strategy is to work hard, create, and give back to her fans. And it's paying off. Yes she has support from the big players now - but she's in control. Inspirational.

@robynkonichiwa

MaJiKer

An artists' goal does not always have to be based around global stardom. Matthew Ker's debut album Body-Piano-Machine was released after his career as a producer took off via collaboration with French artist Camille. MaJiKer and I worked together with the aim of increasing his solo profile amongst key tastemakers in the industry. Since then he has played at London's iconic ICA, remixed Fever Ray, and earned the praise of Janice Long, Ken Russell and Nico Muhly. Tracks from new album The House of Bones was recently featured on David Byrne's podcast. Proof that targeting your PR pays off.

@MaJiKer

Simon Curtis

This electro pop robot boy has become an internet success story by using the free model to build his community. With over a million downloads of his debut album from his site, Simon has tapped in to social media to capture a fan base of tens of thousands via Twitter and Facebook. What happens next is up to him - but with that level of support he is certain to move forward confidently to the next stage of his career. His community will follow him and amplify his intention.

@simoncurtis

Raj Rudolph

The maestro behind top pop blog Electroqueer continues to build his empire with devotion that shows no sign of letting up. Although not a musician, Raj and other bloggers like him who are serious about what they do embody the spirit of the new industry. They focus on their craft, remain independent, and create communities of support. And they innovate; Raj's EQ London live nights hold sought after slots for emerging acts keen to gain their own audience.

@electroqueer

While none of these artists are yet at the stratosphere of Thom Yorke and friends, each are working within the very same playing field as Radiohead. In the new industry, the game is up to you. Take a chance, poke the box, and see what happens. The only thing stopping you is your belief that it can't be done. Artists now have the ability to take control of their own careers. It's liberating - and it works.

Radiohead image from Flickr by Ben Ward

Radiohead's Surprise Idea

They changed the game with their proposition of pay-what-u-want for In Rainbows.

This time round, Radiohead have set the price, but The King of Limbs still remains remarkable in it's distribution. No warning, no hype, no marketing - just music. Worldwide, on their site, downloadable at a reasonable price. Available instantly.

It seems incredible, doesn't it. Yet the methodology is simple. Make something, then make it available. Any artist could do this, but few do. We are conditioned to thinking that only bands like Radiohead have the power to be brave because they already have the fan base to do so. The lesson is still the same for every artist - focus energy on building your community. And then give them great ideas to experience.

The album is great, and the band continue to inspire a new industry with a new way of thinking. Thank you.

If you don't have it already - The King of Limbs is yours by visiting http://www.thekingoflimbs.com/

Selling Ideas in Seconds

When we talk about selling within the music industry, we always think of the relationship between the artist and their fans or community. There is, of course, another level - the B2B connection with the various partners that artists must work with: from PR to distribution, other musicians, venues, bookers, etc. Often both sides must pitch to each other to establish the relationship. Its an important sales job, and often a complete disaster.

Check out this clip from Mad Men. Besides being one of the best moments in television that I have seen in a very long time, Don Draper's pitch to Kodak is a lesson in how to deliver a concept in under two minutes. His approach is grounded in what the product is, but at the heart sits the real reason to believe; the emotional hook that draws you in, puts you at the centre of the story, and makes it impossible for you to not want what is being sold.

I once sat through a long meeting with a PR team who were pitching for business with Gaymonkey. They spent the majority of their time talking about themselves, who they were and what they have achieved. After 90 minutes I was no clearer on why they did what they did, what they were offering me, or why they wanted to work with us at all. It was all about them - unremarkable, ineffective, and a waste of time.

A simple rule: the best ideas are sold within seconds, not hour-long presentations.

Marina's Big Failure

For too long we've defined success in the music industry by popularity and sales. Neither of these are values that are inherent to art, so its not difficult to see why artists get discouraged at points throughout their careers. With constant pressure to be the next big thing, ride out trends, fill stadiums and shift units, we can't be successful unless we are the biggest and the best. Right?

Marina Diamandis is angry, feeling "more like a failure than a success". This is despite the launch of her career as Marina and the Diamonds with an album applauded by many, nominated for a plethora of accolades and winning an MTV Europe award. Her debut peaked at number 5 in the UK and made a splash in charts around the world. To many, this would be an achievement. But to Marina, she's a flop.

According to her interview on Australian radio, Marina's ambition is "to be one of the best artists of her generation". Great - but what does this mean? How does she define this success?

In the new industry, with decreased volume of sales, meaningless charts and more and more choice along the long tail, artists need to be able to articulate what success means to them personally. They must establish a vision for their work, with milestones to achieve along the way. For many this will continue to be money, fame, popularity. These artists will inevitably find their work unfulfilling with each missed goal. Only so many can reach the superstardom of The Beatles, Madonna, GaGa - this doesn't mean that other artists should just pack up their kit and go home.

A sustainable career, that allows the artist to continue to stay self-motivated, needs to have more than just goals. The vision must be supported by the artist's own understanding of what success looks like. In doing this they must get to know the feeling of success to them personally - not just create a list of achievements. 

Marina wants to be the best of her generation - this may take decades to fulfil. Will she be miserable throughout her career until she is informed that yes, indeed, she is now the best artist of her generation? It sounds like she has a destination she wants to achieve, but still does not know how she wants to feel.

We become deluded into believing that our success is measured by criteria established by others. Its not your parents, your boss, your label, or your fans that give you success. Only you can define and ultimately recognise it.

The biggest failure is to not take the time to set out what success means to you up front - if you can't establish that, how will you ever feel successful?

His Master's Voice

2011 starts with the news that HMV have announced their intention to shut 40 branch locations this year.

The alarm bells are not only the poor Christmas trading - but the rumour that the company was having trouble meeting their bank loans. 

Over the past few years, it's been clear that record retail - in the form of physical sales - has been shrinking; not only the amount of HMV's shelf space devoted to CDs, but the disappearance of chains such as Fopp and Virgin Megastore. In the case of HMV, I'm neither surprised nor disappointed.

From an artist and a label perspective, HMV's approach to retail is in no one's favour but their own. Their margins are massive and yet they demand one of the highest discounts on PPD than any of the other retailers. This is the set rate that a distributor sells CDs at to stores. HMV then request a discount of 20% or more, depending on the relationship they have with the retailer. Independent stores would get this discount, but because of the size of HMV, the discount is granted.

Distributors love HMV because they buy in bulk volume. HMV has over 250 locations - so each album release could get a hefty minimum order. The problem for the label is that distributors make their commission up front - labels pay around 20% for every unit shipped. If HMV don't sell your album in a few weeks, they return them. And the distributor keeps the commission.

It gets worse. HMV orders weekly, with each store putting a separate order in to the distributor. So even though you may have returns from the Glasgow branch, the next week might see orders from Bristol. The same CD returned to your distributor could be resold to HMV, and then even returned again. 

As an artist having your CD in HMV once gave you credibility. But once the discount was applied, you weren't making much in revenue from your sales. Then taking into the account returns - well, you could find yourself losing money on a release.

This distribution-retail relationship has always been one of my biggest issues with the record industry. Digital music has none of these problems - music is shipped and sold on demand. With this in place and available to all, there is no need for physical product or record stores like HMV.

If you're one of those who still insist on buying a physical album, there are great independent stores and Amazon who you can go to. For artists, get your CDs out of HMV now - there's no prestige in seeing your work sink with the ship.

Image from Flickr by Max Sparber

How Great Brands Begin

The greatest brands often have humble beginnings that start as the spark of an idea. 

Ikea's founder wanted to bring the things people need direct to them at low prices - he started out selling stationery before the flatpack revolution began. The first Apple computer was built from scrounged parts financed by promises that a single shop would stock them. Innocent smoothies launched as an experiment at a stand at a music festival.

These stories are inspirational. Anyone can build an empire from their dreams. All it takes is a great idea, a strong intention to drive you, and investment of time and resource. Along with a plan to get others to believe they need you in their lives. Basically - its hard work.

Great brands have strong leaders driving them. Individuals who won't let obstacles get in the way of their goals. These brands inspire us because the people who started them were inspirational.

None of the great brands I mentioned earned their place in the market by winning a popularity contest on television, or by sending random unsolicited samples to other brands in hopes they might join their product line. They bootstrapped themselves and worked their way into our lives.

Why do artists think that the way they enter the game should be different?

The Volume Issue

Having the capability like never before to produce, distribute and market your music comes with a catch - too much volume.

The democratisation that allows anyone to get in the game and release their work means that more people will take advantage of the opportunity. More releases = a greater volume of choice.

And with this wave of availability comes an even greater volume issue. Shouting.

Artists and labels still believe that the louder you shout about your work, the more it's likely to be noticed. The problem is - you can't outshout the big guys. Major labels with more manpower, access to the mainstream media and advertising spend are great at shouting. We've suddenly realised they are all yelling at us about the same thing:

LOOK AT THIS NEW ARTIST AREN'T THEY THE BEST EVERYONE LIKES THEM SO SHOULD YOU.

For the rest of us, the temptation is to shout along - especially as there are more voices vying for attention. With this much noise going on - not only from the music industry, but in every consumer market - people just stop listening.

The only way around this is to start a conversation amongst your community with a great story. Its not good enough to be a fresh new artist and next big thing. You and your art must speak to a community that wants to engage because they get something out of the connection.

This is why social media has become such a powerful tool for musicians. Those that use it well will be able to form strong ties with their fan base - and keep it alive. Those that use it simply to keep shouting will fail to see the benefits.

Amazing photograph of Žilvinas Kempinas' work - www.transmediale.de/en/white-noise - by weexinsitu on Flickr