Media: Taking Cues from Indie Music
What Brands Can Learn from Amanda Palmer and Dan Deacon
Posted by Tony Long on 07.22.09 @ 10:37 AM
Most companies (and the agencies that serve them) are accustomed to viewing media as a chunk of real estate on which resides a desirable audience. But social-media sites like Facebook, MySpace, Twitter, YouTube and others aren't stable chunks of real estate; they are platforms, rising and falling in popularity and, most importantly, completely in the background for their respective users. Social-media platforms are like dance clubs or concert venues; they serve a purpose only when they are in use, but after the show the party moves elsewhere.
Like anyone, an indie musician can personally handle a few hundred ardent supporters before the crowd load becomes unmanageable. What happens at this point is the fans start to act as surrogates for the artist, trading pictures and set lists and even ticket sales among themselves, using the artists MySpace or Facebook pages or blog as their bulletin board.
Claude VonStroke uses two Facebook fan sites to post club flyers and dates where he will be appearing. His fans do the rest, posting and tagging photos post-gig, which help promote the next show. Erol Alkan's various online platforms offer fan-remixed versions of his remixes to be downloaded and traded among each other.
Participants on these sites become surrogates for the artist when they interact with other users on the artist's platform. The larger the number of surrogates, the more inter-fan activity there is, and the larger the artist's following grows. Meanwhile, the artist can focus on creating the core products (music) and managing key surrogates. From the standpoint of the artist, it's an efficient work flow.
Direct consumer contact
Managing the real-time social transactions on these platforms means one must be willing to engage on an individual basis directly with customers. For an artist, this means progressing from mere "performer" to being one step away from friendship. For a major brand it means evolving from being just a product to becoming a valued resource.
For companies that, like independent musicians, have long lead times between product releases, these one-to-one transactions are ideal for building rapport with the customer when there is no new product to pitch. Indie artists use social media to keep the post-show buzz going by releasing alternate versions of songs or publishing a "revealing" blog, or even behind-the-scenes photos, bringing fans in closer.
Content and interaction
For companies of any size, putting out content directly to customers -- in the form of information that is directly or indirectly related to its products but above all helpful to its audience -- solidifies the company's value in the minds of its customers. Tangible benefits from doing so are found in the following areas: customer service, product planning, focus group testing and pre-release sampling. Dan Deacon deals directly with the fans at the point of product delivery by performing on the floor among the fans, without any stage; the show is not about him, it's about the audience. A brand releasing information about an alternative but useful application of its product achieves similar engagement, and can enjoy similar positive effects.
For many companies large and small, using social media cost-effectively to achieve significant growth seems daunting, if not impossible. But social media can be a powerful engine for growth if you rip a page from the indie musician's playbook: View customers as individuals, keep them engaged and focus on managing a specific percentage of the total (or desired) audience. The build will feel slow at first, but it will have the strong potential to compound while yielding stronger customer relationships and a stronger brand image.
How These Indie-Music Darlings Use Social Media