passive promotion

Empowering Artist Management: A Team in the Music Industry

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After completing the ”Managerial and Intercession Skills in the Music Business” course at Seinäjoki University of Applied Sciences, our team, a diverse group of aspiring artist managers, felt invigorated and inspired. Under the guidance of our esteemed instructor, Mika Karhumaa, and his book The Art of Music Business Management – For Artists & Managers, we discovered the key competencies essential for navigating the complex landscape of the music industry. Eager to translate our newfound knowledge into real-world practice, we formed a dedicated team committed to honing our skills in artist management.

The course emphasized the symbiotic relationship between managers and artists, highlighting how their collaboration can significantly influence success. We understood that effective management requires more than just theoretical knowledge; it demands practical skills, emotional intelligence, and a deep understanding of the artistic process.

Motivated by the course content, we began brainstorming how we could apply what we had learned. We recognized the importance of building a robust online presence and activating passive income streams, which were focal points of our coursework. With the digital landscape continually evolving, we sought to understand how to leverage social media platforms and streaming services to elevate our artists’ visibility and revenue potential.

As our team began to take shape, we quickly identified artists we were eager to support. IRENE, Melba Culp, and Hanna-Maaria Tuomela, all of whom Mika manages, became central to our strategic focus. We observed their promotional efforts beginning to yield results, providing us with firsthand insight into the successes they were achieving. Our team had the unique opportunity to witness these artists in action, as they participated in our sessions, sharing their experiences and strategies with us.

This hands-on involvement has proven to be an organic continuation of our coursework. The theoretical concepts we studied transformed into practical applications as we engaged directly with real artists and their promotional strategies. We gained valuable insights into the intricate planning processes behind successful campaigns, which allowed us to become part of the strategic planning for these artists. The collaboration offered us a clear view of how theoretical frameworks could be implemented in the real world, creating tangible outcomes.

To facilitate our ongoing development, we convene approximately twice a week via remote live sessions. These meetings provide a platform for discussing current trends, analyzing case studies, and sharing our experiences in artist management. Additionally, we remain flexible and available to meet whenever the need arises, ensuring that we can adapt to the dynamic nature of the music industry.

The collaborative atmosphere within our team fosters a sense of camaraderie and shared purpose. We are not just passive learners; we are actively engaged in the artist management process, leveraging our diverse skills and perspectives to enhance our collective understanding. This approach empowers each of us to contribute meaningfully to our artists’ journeys, facilitating their growth while simultaneously refining our own expertise.

As we continue our work, we remain committed to embracing the lessons learned from our course. By integrating practical experience with theoretical knowledge, we are equipping ourselves to navigate the complexities of the music business effectively. Our journey as aspiring artist managers is just beginning, but the foundation we have built promises a future filled with exciting opportunities and growth.

Our journey as a team has just begun, but we are filled with optimism and determination. We look forward to the challenges and successes that lie ahead, confident that together, we will leave our mark on the music industry while supporting our artists in achieving their dreams.

Here is the website of one of us, and there will be more like this in the future.

Our team as it is - Ville Tarpila, Heidi Hopeametsä, Viivi Kakko, Maarit Heini, Eveliina Hintikka, Jenna Haaja, Santeri Lintula and Mika Karhumaa

Second Course of 2024 for Music Managers Just Started

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Here we are once more, as the ”Managerial and Intercession Skills in the Music Business – The Modern Fundamentals of the Industry” course has begun at Seinäjoki University of Applied Sciences. The course is based on The Art of Music Business Management – For Artists & Managers book, 2nd Edition, 2024.

The essence of the course begins with its very title. Within it lie the key competencies that managers must master, shaping their journey in the music industry. The interplay between these competencies and a manager’s effectiveness is paramount, directly influencing their success in representing artists. This symbiotic relationship underscores the profound interdependence between managers and artists. As the adage goes, ”it takes two to tango,” emphasizing the collaborative dynamic at the heart of this partnership.

Success in this domain necessitates multidimensional skills and a shared understanding between the involved parties. We operate within multiple levels of frameworks concurrently. These frameworks encompass the foundational narrative and the artist’s perspective, which this course thoroughly explores from various angles. Here’s an outline of the lecture themes and their respective contents:

  1. Online Presence And Passive Promotion
  2. Activating Passive Income and Copyright
  3. Introducing the Management Agreement Assignment and Initiating Active Promotion
  4. Active Promotion
  5. Active Promotion and Reactions
  6. Active Promotion and Music Supervision

Our course features several esteemed guests, each a professional in their respective fields. This time, our lineup includes Jennifer Pyken, Rikke Andersen, Sam Tall and Marilyn Reles-Lozano.

Typically, I lead the first two lectures, establishing a foundational framework for the course. Our primary objective during this phase is to cultivate a collective understanding of the critical elements at play within this industry. When this is set up, we will invite our guests in the order that aligns with the course’s systematic arrangement. The guests have also appreciated this arrangement, as it allows them to delve directly into their specialties without any constraints or structural barriers. Consequently, the course progresses continually, preparing and ensuring the readiness for its next step – one step at a time.

Consequently, the course doesn’t merely comprise lectures or guest presentations; rather, it’s a curated journey aimed at incrementally elevating the level of engagement and expertise. Many of the case studies and examples we delve into are current and real-time. In fact, numerous productions or operations discussed in the course are either ongoing or set for release shortly, providing us with insider knowledge about the influencing factors and potential hidden motivations behind these endeavors.

The course book, ’The Art of Music Business Management – For Artists & Managers,’ received its second edition this year, where these conceptual frameworks have been structured into an even clearer format.

And here we are;

Another Managerial and Intermediation Skills in the Music Industry at Seinäjoki University of Applied Sciences and Campus Online to begin. Here we are on Teams session with future managers.

Some Words About My Schedule 2024

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This question is frequently asked on an annual basis – how do I fill my days and what does it involve. In other words, what is my schedule like. Answering that question can be both easy and challenging – depending on the perspective from which you want to approach it. I like the word schedule because it implies a sense of planning. It indeed is that – with the caveat that you have to leave room for surprises, both positive and negative. We cannot predict the reactions our actions may evoke. These reactions hold significant importance, as they often determine the degrees of prioritization. It’s our tendency to direct activities where they thrive the most, support our narrative, and also feel most meaningful.

A manager’s schedule typically spans across various layers and forums. In my case, my books and related lectures are an integral part of my daily agenda. I always allocate a dedicated space for them. I balance these tasks with artist management and music law, which I work on. In relation to books and lectures, this practice is crucial. It keeps me updated on the latest trends in the industry.

This year’s schedule includes annual contracts with three artists, IRENE, Annika Nord, and Hanna-Maaria Tuomela. They keep me busy, and the number of artists is just the right amount to handle. In addition to that, I take care of matters for other artists without being operationally responsible for their entire careers. Quite often, I get contacted for assistance in strategic online presence and related passive promotion matters. Or someone needs help with industry contracts and copyright issues. Help with negotiations is also often requested. I’ve been doing this work for 30 years this year.

Another integral part of my yearly schedule is the ’Managerial and Intermediation Skills in the Music Industry’ course at Seinäjoki University of Applied Sciences. This course is held twice a year, and the first set is currently halfway through. If the course interests you, you can inquire about it closer to the beginning of May. The next set will take place then, and anyone from anywhere in the world can enroll.

And yes, the second edition of ’The Art of Music Business Management – For Artists & Managers’ book is on its way later this year. I can’t wait to share it, as the book’s overall concept has now met its audience and has been further developed to address the modern management needs.

Just like a natural progression and due to several requests, the book is getting its own master course. I still have a few question marks regarding this matter, but I believe I’ll resolve them soon. Ideally, the course could start in August 2024. It’s advisable to stay tuned and follow on LinkedIn and Instagram – the application for the course may open anytime.

Oh, about that schedule and its emphases. It varies throughout the year based on where the effectiveness is highest. However, always ensuring that artists’ matters are never at a standstill.

In the meantime, feel free to reach out if you have any questions. I typically respond within 24 hours.

My schedule for 2024 includes also spare time. Here I am seeing Something Rotten at Åbo Svenska Teatern

Live at Manchester Central Library

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It’s been a delightful day here at the Manchester Library. The afternoon has flown by, and I must say – I could have continued this for longer. If there were some particular areas of interest that stood out today, they are definitely the modern online presence and what it aims to achieve. You could say that in today’s management, it all starts with a strong online presence. You won’t be visible in front of the four audiences in the industry if this need isn’t considered.

Another noteworthy perspective is the concept of the three compartments in music business management. By internalizing this, you enable quick responses in a rapidly changing operational landscape.  And this is precisely what is expected and required not just from managers but also from artists in today’s world.

One great feature of online presence is that it doesn’t necessarily require significant financial investments. It leverages the online infrastructure in a way that achieves the desired outcome. Each of us defines our own goals, and in artist management, it often revolves around representing the artist, the artist’s story, and the associated business.

The main rule is to progress consistently until the online presence’s story root and related story are established correctly. Once you reach that level, we can say that the passive side of your promotion is in order. Since we only had two hours available here in Manchester, we presented this idea in broad strokes. So, there’s more to this than what we discussed today. The good news, however, is that once you grasp the underlying idea and significance of passive promotion, you can establish one through your own actions. Each of us will find our own style to implement it.

Rapid development is a characteristic of modern business, especially in the music industry. The music industry is a quick adopter – it absorbs every new development as its own and, if not permanently, at least tests it. This creates challenges for management. For this purpose, you need a framework – one that adapts to ever-changing situations and needs. You also need one that aligns with the modern ideals and preconditions of the industry.

I have developed the three-compartment model, which is thoroughly explained in this book. You can project it in your mind onto a transparent wall, and you’ll see the landscape that a manager is facing. Behind it lie the areas of action, the four audiences. The good thing about this model is that it can be applied globally – it is useful both in the United States and here in Manchester.

The most important takeaway for today is to internalize this framework. When you rearrange the pieces in front of you and tailor it to different audiences, you always see the operating environment to which you need to pay attention at that moment. This is the first foundation of management. The second is the indirect effects, which we’ll discuss next time.

And yes, not only at the Manchester Library, but I also speak on the topic elsewhere and offer one-on-one sessions. Feel free to reach out if I’ve piqued your interest. I also organize courses on the subject from time to time.

It was nice to give a lecture at Manchester Central Library and its Henry Watson Music Library

The Things That Probably Trend in 2023

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Some things always trend better than others. One thing is for sure – any trend is never steady. The way I see trend, or trends is – I am interested in meta truths affecting them. Something has made them come up. In a time when uniqueness, or an effort to become one is the thing people are striving for, one attention must be made. You don’t have to slavishly follow the trends to be trendy. No, it’s nothing like that at all.

You may use the alternatives trends give you almost however you want. With some features more stylish than others. Still and however, the most important thing is that how that trend sits into your fashion. Your way of life, your system of values, or how does it sit on your goals.

This is the foundation behind all that you do. It is influenced by passive promotion. Your own digital identity. How it then correlates to the reality, your own goals and the story you want to tell is another thing.

The important question to yourself is to decide, on a case-by-case basis, whether some trend is something you’ll incorporate into your own action. You have a power to decide that. It can be as much as trendy to use something as to completely ignore it. One piece of advice is in place. Be consistent before the foundation of your digital identity is established for the all four audiences.

What all this means to the music business management and the modern version of it. It’s a lot things. You really cannot neglect the planting of passive promotion. It is something that has to exist. If you don’t have it, you do not exist in the eyes of the relevant algorithms. Given that this is one of the most important meta truths today, passive promotion is a trend that it always around.

If you want to read more about this, here’s a book. It will explain everything understandably. Your artist management, or whatever you do in the music business will become easier. You’ll soon understand why!

This chart will trend in 2023 and beyond

 

Teacher Info

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If you are a music business management teacher like me and are interested in The Art of Music Business Management – For Artists & Managers book, here’s some valuable background information. Every teacher naturally values their own methods and practices, which served as a foundation when I began writing this book. I’d like to believe I have successfully crafted a book that speaks ”from one teacher to another”. That’s one objectives behind this book. Another goal was to create content that is equally beneficial for artists and meets their management needs.

The book primarily emphasizes a deep understanding of the core principles and concepts, rather than delving into numerous details. While there are examples provided, they are presented judiciously, only when necessary. This approach is deliberate in shifting focus from the conventional domains of the music business to real-world scenarios and treating them as practical case studies. You will soon grasp the significance of this approach, as it allows us to gain a genuine perspective on the role of a manager.

This innovation facilitates presentations through three pertinent dimensions: management, copyright and contracts, and intermediation. It simplifies the explanation of the shift in contemporary management priorities from the traditional mediator model to this updated and current model, founded on strategic control.

This is advantageous for the students as it provides them with a comprehensive understanding of the contemporary job description. In accordance with modern management practices, artists are no longer viewed as passive objects rather as dynamic assets. Consequently, students gain deeper insights into the strategies and current regulations that impact this field. Not all of this may be immediately apparent, but you will soon discover it!

From the artist’s perspective, we replace the term ”promotion” with the concept of ”story”. However, it is essential to clarify that the term story doesn’t refer to a traditional narrative in this context. Instead, it serves as a framework to elucidate the functional elements of the narrative – what purpose the story truly serves. This approach allows us to shift from an external perspective focused on appearances to an internal perspective, delving into the story’s content and its underlying objects.

Contracts and copyright, on the other hand, have been addressed only to the extent that is pertinent to music business management, specifically focused on the business aspects. This approach prevents the complication of the overall comprehension with excessive technical details. The book includes references to supplementary material for those who wish delve deeper into these topics.

However, there is one exception and it pertains to passive promotion. The book explains the significance of copyrights from a modern promotional standpoint, and copyrights play a pivotal role in this context.

All of the above allows ample flexibility for individuals to utilize this information as they see fit, supplementing it with additional pertinent sources, personal experiences, or examples. The provided framework for the teacher doesn’t impose on or exclude any existing frameworks. It also doesn’t preclude other methods of acquiring the same information, even if they run in parallel or overlap.

I have implemented this structure in my lectures for three years now. Our guest lecturers have greatly appreciated this setup. They have mentioned that it allows them to seamlessly integrate their experiences without any rigid structural constraints. It empowers them to discuss what they are most comfortable with while maintaining a contextual framework.

One of the most intriguing modern management tools and my favorite, passive promotion, is well explained in the book. I am one of the founders of this school of thought.

The final two chapter of the book may appear somewhat repetitive. When I teach manager students, I typically omit these sections. However, when working with artists, I’ve founded that repetition can be an effective approach. In their case, there are valid reasons to reiterate certain concepts, as they require this information for various purposes.

Another rationale behind including these two last chapters is to prepare for a potential Second Edition. These chapters contain memory traces that need to be considered when planning the update. This approach ensures that I do not overlook them.

I had mixed feelings about venturing into predicting the future developments, so I ultimately chose not to do so. Consequently, I refrained from making extensive predictions about where web3, the metaverse, or other businesses might lead us – my aim was simply to present their current existence and significance. I believe it’s wiser to allow practice to demonstrate their trajectory first. This turned out to be a right solution. The book’s conceptual framework naturally takes the future into account. This is evident now, especially with artificial intelligence – there is no immediate need for updates. In fact, in the context of passive promotion, the book is ahead of its time.

This is also a reason why the book has fewer (134) pages than average. When the necessary additional information becomes available, this book serves as a platform for its incorporation.

If you have any questions, please do not hesitate to reach out to me. As a teacher, I wish you a great lectures!

This chart will make it easier to teach - teacher's info

Happy to Announce – The Worldwide Publication Date

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I am happy to announce that it is soon here! The worldwide publication takes place in July 19th.

There are at least four things that makes me happy with this.

Firstly, I finally managed to create a concept that takes into account the current global needs within this scene. Trust me, it wasn’t easy. Every time I got created a concept, some emerging innovation made it weak. Every non-fiction writer knows what I mean. This change is nonstop, or at least it feels so. The modern non-fiction book requires reservations for this possibility.

Consequently, I am happy the book succeeded with its reservations. There isn’t an instant need to change the structure anymore – when some additional trend arrives the market. Just give it a welcome and decide what to do with it.

I am particularly happy that this book can be used for multiple educational purposes. If you are a teacher of the subject, just use the structure/concept of it and feel free to replace its examples with your own ones. Or, use it as it is.

Finally, it makes me personally happy to decide this chapter. From now on, I can freely take against all the related assignments. When the writing session is underway, or when you create preconditions for something great to happen, this destination begins to loom on your head. You probably know what I mean!

Have the best of Summer!

-Mika

Happy to announce the publication of this book.

A few changes always happen when finalizing the book. Here’s an updated backcover.

 

The next generation of music business books is here!

Karhumaa’s seventh book presents an unprecedented concept – how to understand modern artist management. Traditional and prevailing laws are transmitted, but the development of technology is presented in a way that often goes unnoticed.
In a time when technology development is increasingly guiding the formation of new business models, it is important to adapt to the situation. NFTs, web3 or the metaverse is already commonplace. Development plays a huge role in the job description of artists and managers.

Nowadays artists more frequently take a more active role in their own management. It’s not just the manager that runs intermediation or facilitation, and this includes modern preconditions and their arrangements. The artist needs to be prepared in any case, with consideration as to how resources are allocated to enable goal achievement.

To be able to succeed now and in the future, the basics of this book will be needed. This book is a step by step of what you really need to know. It is particularly well suited for educational use.

A manager needed to write this book. The author has almost three decades of experience in multiple capacities. Mika Karhumaa is a music business manager – specializing in artist management and contracts & copyright. He lectures on the subject and acts as a strategist in many industrial operations.

It Takes One To Know One

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We all know that like-minded people get along together. It is extremely inspiring when it originates from your own ’initiative’. This kind of connection enables the dynamics and intensity what it takes to perform well in the modern music industry.

One of the guidelines to myself is not to advertise my services too much. Although I publish books and manage artists on a regular basis, I don’t like to be pushy. It is always best if people discover me. They come to know me as a result of their own inquiries, possibly through word of mouth, following me on social media, or some other interaction that prompts them to reach out. Of course I am making efforts to better distribute the information about myself, but it isn’t the primary objective. The aim is more to provide prior information about the things I do. So that you could already know what to expect before making that call.

It’s been a while since I started this and many years to make this happen. It is nice to realize this main goal of mine has reached the target. Almost every new contact I get is a bespoke thing. The modern artists, more often, already know who they are and what they are after. That helps my work a lot. In the past, our focus was primarily laying on the foundation or constructing the entire business, but today, these inquiries are almost invariably tied to the next logical progression. The artists like to know how we, background executives, see them. What we can offer? They are looking for our professional opinion of what they could do next. Of course the overall construction of one’s career is still an issue, but not in the way like before.

For example, the artist may already have an organized operation. While you are doing something daily, you may become blind for it. These are the moments where you need additional eyes and ears. Today’s online presence is a great feature – you can easily find the things that can be done better, or if something is missing there. That’s where I step into the picture. I like the way also the artists know this – the questions they ask can be very precise. A few weeks ago, Mikko Heino from Rylos called me. He told me that some of their operations aren’t functioning as they have hoped for. A deeper look into their activities expressed the reason why. It wasn’t a significant matter, but sufficient to create that distraction. We will now spend the next three months to fix that problem – that’s what modern music business is about. Some of the things we can correct immediately, while with some other things, it requires time to get settled.

Online conversation running with Rylos - it really one to know one.

 

Co-Management and Modern Music Business

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Co-management has become an essential part of my daily routines, offering great flexibility, especially in today’s music industry. Artists, now more than ever, embrace co-management as it allows them to maintain their artistic and economic freedom. They’re aware of their rights, needs, and goals, which reflect their growing self-awareness. This awareness enables them to assess how much external help they need and from whom.

Rather than locking things in too early, we focus on taking the next logical step, aligning short-term actions with long-term goals. One of the great advantages of co-management is its flexibility—it can be ended at any time, with no strings attached. This puts the responsibility on the manager to consistently demonstrate value. The artist can continue as long as the collaboration feels right and is mutually beneficial.

The liaison between artist and manager is regular and often does not differ from traditional artist management—except for one key element. The artist knows their platform, their audience, and their routines. Some things evolve naturally, but others require support and a fresh perspective. This is where co-management excels, especially for artists with established careers. For those just starting, traditional management may be more beneficial, as early-stage artists often need more hands-on resources, expertise, and connections.

However, even for emerging artists with sufficient knowledge and resources, co-management can still work. They have the ability to evaluate the relationship and adapt if necessary. If the collaboration proves successful, they may transition to traditional management or continue co-managing, depending on their evolving goals. Artists who seek more comprehensive support generally require a dedicated manager, while co-management can be ideal for those preferring an organic, less structured approach.

For me, co-management is highly personalized, especially now. The support I offer is tailored to the artist’s needs, and multiple tasks can be managed simultaneously without compromising quality. This flexibility enables me to continue with my writing, lecturing, and my passion for artist management. Many of the artists I work with don’t require constant day-to-day management, which makes co-management a great fit. However, if a more hands-on approach is needed, I may not be the best fit for that particular artist.

The collaboration between Jennifer Porter and her label’s executive Dana Packard is a prime example. Initially, we didn’t plan to go further than a meeting. However, Jennifer’s story was so compelling that we decided to continue working together. As a result, we found better ways to enhance her career visibility. Passive promotion is essential for every artist. When things progress organically, driven by the artist’s own momentum, that’s the best outcome. And of course, when the artist is booked or engaged in their creative work or due to other reasons, the focus shifts. In those moments, we adjust, and the management relationship adapts to suit the situation, considering both the artist’s and the manager’s natural abilities. The artist might take on some tasks more naturally, while others are better suited to the manager’s expertise.

Co-management can be practiced in many ways - here we are with Dana Packard and Jennifer Porter

 

 

Story Root and A Few Related Insights

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As it is with every story, its root is an always present thing. The story root exists, even if it you cannot see it. It may have been replaced with some other, more topical or accurate feature. Something that is more interesting, or in time at that particular moment. Even in case of its altered form, the origin is always there – you cannot get rid of it. In fact, all these new features springing out of it, are somewhat in line with it – one way or another. It is our growth story.

That set-up is present where ever you are accepting a new assignment – no matter the role. Even though there can be a root already, your contribution begins a new era within it. All the features you will bring with it, will be evaluated though the scope of this root. How much, or how little your efforts are reflecting that idea. When we say that someone is taking good care of the artist’s legacy, for example, it is this story root and related episodes that acts as a measure.

The story root is an enabler – it makes the necessary evaluation possible. You may afterwards analyze your action according to how it corresponds to the idea of that root. Or how it correlates the back motives involved in it. As we already pointed out, that same story root is relevant outside the artist’s story too. It will make reflections to the artist’s background organization. To understand and internalize this very philosophy is something that makes you a manager. Even if the artist has released their biggest hit just recently, it is still their first release ever that consists the origin. Everything else that has happened from that moment on, is a growth story. This is something to keep in mind before starting your job as a manager.

The takeaway insight is that the story root itself is usually located to much earlier moment we tend to think. It isn’t always obvious. It is the first official mark where the journey begin. With regard to the artist, it is always a released recording or a published song. It is your job to find it. Only then you can be consistent with your work. Embrace the origin.

This is us – at Seinäjoki University of Applied Sciences. 29 students plus one teacher and a common interest – a modern music business management. Even though our story in this context is still under construction, we decided to make a premature move. To provide our content on the matter. Otherwise we would be just a registration mark. This post will eventually become relevant, retrospectively – as it is already linked to Seinäjoki University of Applied Sciences. The people here are its cultural management students. The first thing with regard to our story is the moment when they enrolled themselves to this course and got accepted in it. As they already are the school’s students, the context is clear. When we get this course finished, it establishes a registration mark – a grade. That registration is permanent. It cannot be changed or taken away, unless you decide to raise the grade. However, the mark itself remain. In time, when the whole degree will be completed, it will crown all this. It becomes a whole. All these registration marks together establishes a frame to our story. If we decide to do something else together – it will always return to this root that has been established. Keep this in mind and you are able to be more consistent with whatever you do.

The Essence of the Music BusinessTalking about story root at one of our lectures

The Essence of the Music Business

Homepage and Communication

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When the first steps of the promotion are to be presented, the website cannot be ignored. In fact, the website provides a fertile ground when we talk about the road map, plan realization or just reacting accordingly. As it is with income types, also promotion can be divided in active and passive sections. Modern promotion has many different tasks, but also meanings. You should read The Art of Music Business Management – For Artists & Managers to get an updated info.

With a new artist, the audience rarely has enough knowledge of them. Therefore all the plug-ins that increase that awareness is extremely important. When people begin to know their name, the two-way role of the website will be established. For the followers who already know the artist and their story, the main focus is on the artist’s up-to-date affiliations and future plans. This part of promotion is the active part. For others, the people who are not yet aware of the artist, or who visit the site for the first time – the attention is paid to other things. They are generally interested in what it’s all about. This side of the story could be considered the passive part of promotion. Unlike with the already existing fans, a new encounter need a background information. They are usually in a need to know more about the artist, and what a better way to do it than search engines. If everything is in order, search engine provides the artist’s own homepage first. The homepage is also a source of information where an artist can best influence the content of stories.

When considering the promotional content, one must take into account the different levels of needs. TV series must have parts that attract new viewers even if they haven’t followed the show from the beginning. In addition, it must also be able to retain older fans interest with new episodes. The artist’s future and the ability to follow their progress is for the existing followers. Giving the opportunity to find out the artist’s history and origin is for the new followers. Thus, it is a good idea to have metadata information such as biographies and discography, as well as photos and videos along the way.  All the new material instead, plays an important role for the fans as it shows the artist being active.

All the artist’s products should be easy to find – also the related information. Information acts like a product description. Unlike the products that can be bought with one click, information works differently. It always requires an effort from the recipient. This in turn requires clarity on the artist’s side, with the content and layout. The artist cannot confide that a new visitor will be patient or want to find information behind a thousand links. This may cause a counter reaction – it can be a good idea to keep your homepage simple, but also thoughtful and spectacular – pleasing to the eye. The career information should be initially guided by the artist’s action plan, not so much a massive awareness of the artist’s existence. On the tactical side, it is important that the artist reacts to the call, if the reception requires. If the artist is unable to answer this call, it is not worth acting the opposite.

What most artists want is to the contacts – for this reason contact info must be very easy to find. The same applies to other things that the artist wants to emphasize. The products should also be accessible and the links should be avoided if the products are difficult to obtain. This of course requires on-call time. If this situation changes in the future, availability placement can be made to match the prevailing situation. This is one example of why homepage matching reality is more important than impressive appearance. If a potential buyer cannot get the product they want, or worse, not even find a link, the visit will surely leave a sour taste.

This will be the next thing – the links and their use. It is perfectly normal and even advisable to use links to the services and improve availability. However, they should not hinder the acquisition of information or mislead people which may happen by accident. Ensure that links actually lead where you want to steer people. It is not uncommon for something to go wrong when setting up links. The artist is therefore not linking their homepages to mere sales aspirations. Links also have other uses. They can lead people to interviews or other relevant forums. It is good to note links may change its content. They may, and often change – as well as their locations. Someone else’s interview may be found behind some particular link. It is good to be aware that not all the content behind these links is not solid.

If you’ve shared that one of your songs or albums is #6 on some chart and half a week later someone clicks that link and you’re in position 28, the positive message you’re trying to convey may have the opposite effect. A 22 position drop does not necessarily support the other positive messages on your homepage. Fast-changing information is better placed elsewhere on the social media environment – not on the homepage unless placed on its News Section.

Restrictions can also be present with copyrights. Some distribution networks have divided their offering so that there are regional distribution points around the world. Many times this is due to local legislation. Even if some umbrella organization has obtained the right to sell your copyrighted products throughout the world, the content of the license does not necessarily apply to all of its distribution outlets. Therefore, it is not necessarily wise to advertise products through German link despite the product would be topical in Germany. This choice may exclude all the other countries if you are not careful. It can be that the umbrella organization’s French unit is responsible for France’s distribution and Italian unit for Italian needs. If there is a globally eligible link available somehow, you should use it. Alternatively, if the artist has a fan site in Germany, then it is completely natural to use German links there.

In many cases – the less information, the better. Browsing pages may become a challenge if the artist’s homepage is a salad, filled with all kinds of information from here and there. Different sections of that site hold a different weight and it is always better if the most delicious points of one’s career are presented first. In doing this, the visitor gets a better idea of what the artist really entails.

Particular attention should be paid to the site’s sections that do not change very often, but are of great focus. It is a good idea to strongly invest in the content, structure and layout – to meet the artist’s image. It is also good to post artist-related communications elsewhere in social media, rather than just on the artist’s home page. Some news are just better to place on artist’s Facebook page, where it disappears with the news stream. Visitors usually tend to pay attention to the issues that the artist raises. If the artist’s current plan calls for more sales, it isn’t wise to talk about the new album and associated pre-production – as this topic is premature. It only takes the focus away from the current agenda.

It is time to remind the concept of footwork. The active stage favors regularity. It is highly recommended to build a communication plan, the protocol. To map out all the things the artist wants to share and/or how to react to the echoes. Fans who regularly visit the artist’s ‘premises’ are surprisingly aware of the truths behind the scenes. All the lightweight news is better placed in faster forums such as Facebook, Twitter, or Instagram, if the artist feels it necessary. This allows the artist to react quickly in a situations where the artist is expected to respond. The bigger news and more time-tolerant stories are worth to put on the homepage.

All in all, communication on the homepage and its relation to the artist’s other information channels is a matter of choice. No single truth exists. It is about the artist’s career stage that usually determines the contents of the artist’s homepage. In any case, it is always wise to plan in advance how to meet the different situations – and through which media different things will happen. At the beginning of one’s career when knowledge of an artist is limited, it is important to be clear and honest. Everything leaves a mark on the search engines.

Why homepage and its communication should be aligned can be read from this The Art of Music Business Management - For Artists & Managers book

Passive Income In Artist’s Revenue Generation

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In an ideal situation the artist’s distribution network and prevailing popularity match. Each measure transpires effectively towards the goal and allows the public make positive purchasing decisions. When the artist give interviews, perform live, or otherwise appear in public, the public have immediate access to the artist’s products, but they also have a prior information where to find them. If the artist or management neglects this, the artist cannot take advantage of passive income, at least to its fullest extent.

When the artist’s distribution network is setup, it takes care of bringing the products to dealers – in both physical and electronic forms. It is completely up to the artist’s management to decide how this task is taken care of. Many artists, because of the small size of their activities, do most of these things themselves – however this is not always an ideal setting. The goal of many artists is to achieve such revenue that they are able to outsource these activities to the record company or some other relevant player – depending on the business area in question. Here we come to what was meant by the prevailing popularity and efficiency of the distribution network. The more familiar, the more popular, or the more promising the artist is, the greater is the likelihood of industrial cooperation with the artist. Here we come to what the another article here meant about footwork. It is the main task of artists to make their activities interesting – it’s about pop music.

Passive income doesn’t mean the goal is to desire a state of affairs in which the money should come without doing anything. Not at all – it is the complete opposite. The job has to be done, but in advance. Music business earning logic has been arranged so that it possible to enjoy passive results. The clearest manifestation is found in music publishing. Song-writers get remuneration for the use of their songs whenever their music is publicly performed, or music recorded to a phonogram – as it is simply expressed. Copyright collecting societies and collective management organizations monitor the use of copyrighted music and collects royalties of their use. These organizations pass on royalties to the artists, provided they have affiliated with the organization as a clients or members. Copyright collecting societies, for example, grant licenses to radio stations or TV-stations when they play music in their programs. They also grant mechanical reproduction licenses when music is recorded on a phonogram. In this way it is perfectly possible that after writing a song an author of such piece can enjoy the copyright revenue only by joining such an organization. After that moment, he or she may no longer need to do anything, as the organization takes care of the monitoring of use and distributing royalties from the users to its authors. This is the passive income referred to in this article. The money doesn’t come from nothing but requires a prior work.

Here we come to the need of external help and the justification of its cost. In order to make passive income, the artist usually delegates powers to those who make the production available to the public. It is also about acquiring strategic know-how making that happen. Many record companies and music publishers are able to gain more revenue to the artist, even though they take part of the revenue. The question here is the price an artist should sensibly accept – as well as how much it is wise to give up decision-making power.

No one can find a song unless they know of its existence or various playlists or other industrial mechanism push it through. In the industrial sense, music producers and/recording artists don’t go looking for music they want to use from the massive registers of copyright organizations. To this end, the area has its own operator – music publishers. On a professional scale, their job is to do the footwork on behalf of the song-writers they represent. In this context, we do not take a stand in the legitimacy of music publishing. No – we want to demonstrate passive income and the meaning of its accumulation. If the author and music publisher end up in a music publishing agreement, the publisher will participate in the ownership of the catalog, yes. Consequently, the publisher gets the other half of the artist’s catalog insofar when it is associated with the publisher’s share. At this point, it is good to point out that 50/50 is not the only method of calculation used. There are also other kind of arrangements. It’s common practice that the artist gets to keep the writer’s share in full, but the artist and publisher share the publisher’s share equally. However, you cannot rely for this main principle – read the contract carefully. It may well be that with some income types, the split is something completely else. If this income generates a main income for you, even a small deviation can be meaningful.

When it comes to rehashing old songs, we find ourselves at the heart of the passive income. Previously released piece starts to generate additional revenue for its rights-holders. Kate Bush’s Running Up That Hill is a perfect example. When it got connected to Stranger Things in its Season Four, the song skyrocketed to multiple charts. For such songs, the footwork has already been done and its authors are in the ‘public domain’. Not to mention that for younger viewers, this song is completely new.

If the authors themselves intend to find performers for their songs, this footwork becomes their responsibility, in which the existence of the songs and their elements are brought to the attention of potential artists and producers. If the authors want someone else to do it, they will likely have to convince music publishers of the excellence of their songs. In a nut shell, in order to enjoy passive results, you must first succeed in footwork.

Passive income occurs also in record sales and streaming. All royalties received by the artist can be classified as passive income. When the artist has recorded the music and made it available to the public, the artist no longer needs to do anything. The operation is over. The popularity of the album determines the amount of revenue. If the artist succeeds in the promotion and gains popularity, this usually results in additional revenue. At this stage it is good to point out that communicating music to the public via radio and television or online is also a subject to copyright remuneration, not just album sales and streaming. Both the artist and the financial producer of a phonogram are entitled to earnings when the recording is played public. Just as it is the case for song-writers and music publishers, the recording artists also have their own copyright collecting societies. All the revenue gathered here is also classified as a passive income.

It is possible for an artist to become involved in passive income through other contexts than recording or music publishing. For example when their merchandise is sold on the internet by authorized dealers, or their music is associated with the film or other moving images. Passive income therefore concerns all activities that no longer require the artist’s physical presence.

As a comparison, live performances usually require a full show. Active income requires a physical presence and real-time performances by the artist before it becomes topical. It should be noted that passive income does not exclude income from active sources. Consequently an artist, acting as a performer of their own music, not only receive compensation for the show, but also as a copyright remuneration when their music gets performed publicly. The set information of the show, especially in festivals, can be a valuable thing. If the artist performs music created by others, then the authors of the musical piece will acquire passive income from that same public performance – and the performer will obtain direct premiums for the show. 

Passive income has a meaningful plug-in to the artist’s business plan. The artist must be able to organize their activities so that it matches the prevailing popularity and physical presence of the artist. Otherwise there is a risk the artist’s promotion is done in vain. However, at the beginning of a career, when still making name for themselves, this is not always possible.

The meaning of passive income is explained in this The Art of Music Business Management - For Artists & Managers book