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Promoting music in the digital era

Promoting music in the digital era

The advent of the Web first marked the decline of the music industry – with the democratization of downloading and the decline of record sales – and then created new market opportunities. Indeed, in 2015, the music industry, for the first time in 20 years, suggests growth. Mainly thanks to streaming, which has become the first way to listen to music. Many platforms have appeared. In addition to the traditional Deezer and Spotify, there are now Google Play Music, Tidal and many more. The market is thus characterized by a very strong competition, both between these platforms and between the artists themselves. Because on the Web, the offer is so vast that an artist must know how to stand out to capture the attention of a volatile audience with a simple click.

Sketching Sylvain Lebras

On the occasion of a Masterclass of ECV Digital Nantes, Benjamin Reverdy, head of communication of Trempolino in Nantes (support structure for musicians), returned to the issue of the promotion of music in this new context digital. Musical marketing is now showing more and more original initiatives. He seeks less to sell records than to develop a close link between the artist and his fans. New means are being used by market players to promote musical works. Each of them is a way of highlighting the “direct to fan”, that is to say the privileged relationship maintained by an artist with his audience.

Georgio is one of the examples who has maintained a real link with his fans on Facebook. They returned it by making its crowdfunding campaign an exemplary success. The trend of music publishing is another promotional (and therefore financial) door for artists. This practice consists in using a piece as part of an advertisement or a sound package, allowing the author to monetize while making themselves known. Finally, we see that the music industry is increasingly using derivatives as part of marketing strategies. Here, one seeks more to communicate on the image conveyed by the artist than on his musical work. These products make it possible to symbolize our relationship with this or that artist and to identify with him. Fauve, for example, had perfectly implemented this principle by making available to its public a mobile application to apply a photographic filter representing the logo of the group.

Yet as streaming music breaks all records and new ways of online promotion emerge, we are witnessing a return of the physical object. The best example of this trend is the trend of vinyl, which in recent years has regained its acclaim. Consumers are more and more likely to want to find a certain cult of the musical object, an object that would make the music palpable and give it more value than a simple web data that can be erased from a tour of hand. Far from stereotypes, the market of “material” music would not have yet said its last word.

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