Music Marketing Interview: L.A. Music Manager Michael Haddad (Part 3)

This 7 part interview with Michael Haddad is an astounding look at the state of the music industry today.

TheRealMusician Recommends:

If you want to take marketing your music to another level, then I can't recommend enough John Oszajca's music marketing manifesto. My favorite aspect of his complete program was his stance on email marketing, where he really leverages the that "1000 true fans" philosophy.

His website is a bit hokey (Flaming guitars? Seriously?), but his program really shows independant artists how to get a leg-up on signed artists.

Learn about how you can promote your band from this incredibly deep and experienced look at the inner workings of the music industry. Be sure to check out all 7 parts, as the whole interview gets quite intense (especially nearing the end!)

It's a Must-Read/Hear for any band looking to make it in the world of music today!

You can see Michael's LA B-roll website here.

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

Read This Interview Below While You Listen

Michael:
I think when you have a lot of video content out there, obviously a lot of music to stream as well, and you start getting 200k, 300k, 500,000 views, it certainly helps you as an artist an awful lot.

When I realized how much video content helped, and this was a group that was already established. And if a new band could start with that sort of model and try to take that and duplicate it; get a lot of video content and fun stuff about them out there that would really grab a lot of people.

Whether it was about the music, or them, or how cool they are; or whatever.

Andrew:
What do you think about using Facebook as an advertiser to help achieve that goal?

Michael:
I think any time that you can use some sort of social networking, where people sign up as a fan, that they 'like' you or use your mailing list, and you can now start to collect data; I think that is great.

I think we have a great opportunity where we can collect data, and everything is linked together. You can find a few different sites that link everything all together, you can control all your fan base and find out where everybody is.

You know what cities in Europe have the highest concentration of fans, etc. You have hard data and all these statistics about your fans.

Andrew:
You could probably make your entire tour schedule just based on that.

Michael:
Yeah! But even better than that, now you have numbers that you really can't hide.

If you have hundreds of thousands of video hits, and people are talking about you in your home city, and maybe a couple others; maybe you did a UK tour and people are starting to write articles about you. You take that, plus everything else and I think you really have built up a story.

The one thing you can do with Facebook, Myspace, etc. is that you can take that data that the sites collect for you, and you can take that with you to the meetings at the label.

So for a manager, what I want to do is when I get called up by the label, and they say to me "Hey we kind of like your band, we would like to talk to you about them and find out what the plan is", I want to be able to go to them with 1 sheet that says "Look, this is our mailing list, this is our fan base, this is our demographic: girls between 13-24 years old."

I have an act right now for example, Linke, 89% of his fans are female, between the ages of 16-23. It's just an absolutely prime demographic.

To be able to take that data, and here's the stat sheet from Facebook, here's the one from Myspace; we know you don't really care that much about the Myspace, because Facebook is more accurate, stuff like ReverbNation is more accurate. But this is our data! This is it, we can't hide these numbers.

We have 15,000 fans, who have told us their gender, what city they live in, what country they live in, and how old they are.

Andrew:
So for the record label, you really have to prove to them what you're worth. It's a business decision for them. They don't really care whether your music is really creative or not, they need to see that people will like it, and people will buy it.

Michael:
I still think that they want to see both. It just depends on whether it's a major or indie label. There is a different culture between the two.

You and I both know that, if I've been making unbelievable songs on Youtube of me rocking out, and each video has 5 million hits and I've got 15 of these videos, people obviously love me. There is something right.

But the label can just say, "Look at this guy, he's in LA and he's playing in his bedroom and he's 16 years old, he's wrote these songs (or at least that's what he says), and he's very cool. The music sounds legit. We don't really get it, but for some reason 5 million people on each video love it".

So it comes back to the money. And we could have a huge conversation about how "It's not about the music". I think that's why the independent model has been working so well, because their focus is first on the music.

Andrew:
You can shove as much marketing as you want at people, and some people will eat that up because the marketing appeals to their emotions; but I think people are at a point where they are starting to get bored of that.

Michael:
They are! I think bands really underestimate the ability to use their data, and collect it, and watch it, and see change.

I told one of my bands just recently: "What if you were a household product? And I was a salesperson pitching your product to a major retailer. I would need to give them some real category information, as to what the demographic would be, the type of person, the age, what their social statuses were, what their income levels were. I would need to give them a lot of information."

Why is that same information not being funneled into something that is very usable that can be part of a pitch?

Not only to a label, but let's say even to a publisher.

Andrew:
What I see with a lot of musicians around me, is they get lost into this creative space where they are isolate from the world, and obviously this isn't everybody, but think about how many creative genius' throughout history were forgotten, because they couldn't connect with reality enough to appeal to normal people (until they were dead). That's why I think the marketing is really, really important, to connect with those people.

Hear the rest of this interview in Part 4!

Part 1

Part 2

Part 3

Part 4

Part 5

Part 6

Part 7

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My name is Andrew Muller. I love creative art, music, television shows, movies, video games, and a good story.

If you had to find me somewhere, you would probably find me down at O'neils home cooking eating an organic sweet-potato bun breakfast sandwich with ham.

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