New year resolution

This year it will actually be very easy to make a New Year Resolution.

Take off all small things that are just there for fun, just work with the bigger projects and don't bother with the DIY people that are going nowhere. No more people that you have to clean up their mess.

In fact, the new in word will be NO.

I just have to say no to a lot more things. Sorry, I don't have time to do friendly stuff that leads to nothing.

So easy the New Year Resolution will be that I will say no to more things.

To much information, and I will kill you!

You know too much so I guess we have to kill you!
a sentence you probably hear in the movies time to time. And it's not that bad in this case. Still many times I wonder how much info is really needed. Also, knowledge is good in many cases.

But to do the work you can't really explain everything to the artists. Take an example that you should buy a package of milk in the grocery store. the basic fact you need to know, like how much does it cost. what kind of milk is it ( fat, skin etc)? How long will it be good, when do you think it will go sour.

This usually you kind find along with the package, The price is on the shelf, the best before date is on there. But if it was missing no one would look strange on you for asking.

This information should be enough to get you to make a decision to buy this milk or not. Same in the music industry this basic fact you really need to know, and if you don't know how to read the date we will help you to learn that.

If the went to the cashier and started to ask questions like, Witch farm does this milk come from? And to be exact witch cow? I also want the name of the driver that brings the milk to the grocery store. Also, who was the person that started the milking machine that day? If I don't get that info I won't buy this carton of milk!

I guess you just will be thrown out from the store, and you will pro0bably not purchase that milk.

In my job this is actually not that uncommon, yes it looks funny when I put it out this way but when you get this you just want to throw the person out of the office.

The person in the grocery store actually can't answer these questions. Technically it can be done. They could trace all this information and how it's done etc, etc. Still instead of just scan you milk get paid every customer would take forever and the information is not that crucial.
Instead, it is an agreement that we accept that these people that bring in the milk to the grocery store actually knows their job. The other way is to get your own cow and start milk yourself. Not very practical, but actually doable.

So when people start to ask how a song is delivered to Spotify, or how the collection societies work against each other in different matters. Or how radio is paying out the PRS.Technically I can answer that question. Timewise no! If you don't trust what we are doing, there you have the door.

These things actually work fine. same as the guy driving the milk to the store. It's done daily and almost work all the time. Here too. Sure if you get 6 boxes of milk that are sour before the date we have to go back and see if the cooling system in the truck is done. But that is NOT a job for a customer, we do that side ourselves. If one cartoon gets bad ahead of time well that can be many mistakes during the way, shit happens, get on with it.

It's time to go on Holiday!

Last day in the office, we close down until 10 of January. Well, the blog won't close, I will still update during the holidays.

Right now I'm excited to get going to make the year movie. It's great since it's a good reminder of how much things we actually got done. All these opportunities we got to our artists. Also going down memory lane and see all the pictures craziness that has happened.

This will be a short post since I need to get things wrapped up. So here is a good x-mas song.

It's a team job, not a one man show!

A problem I see too many are doing is jumping around. They believe more in one person then having the right team. Or more that one person can put a fantastic team together.
What is happening is thought that they leave one team to go to another team or going from one person to another person.

Most of the successes are actually quite big teams that are doing things all around the world. when you jump like that you are more or less go back to square one. The smart thing to do is to build people in the team to get a larger and larger team. It's not easy and you have to do quite many team bonding activities, but in the end, it's worth it.

And when a team is that good, then you won't be stepping on anyone's toes when you are moving up and need different team members.

In the old days, you could always see these artists having different record labels at every release. In the end, you just avoided those artists. you knew that they demanded that you should drop everything you where working with and just focus on there release. How much you ever did it was not enough. Even with a number one on Billboard and they still thought that you should have done more and changed record label.

So don't expect that one person can do your career. Don't forget who was doing the early stuff. And try to keep the team together.

Everything is relative.

 Everything is relative. What is big for someone is small for someone else.

I just got an email from an artist saying that she really got good numbers on Youtube with her latest video. I went in and she had 36 000 views on four months. In some cases that is really good, in some cases that are really nothing.

Right now the gap between both is widening. I spoke to a guy working ion a major record label. Their lookout was if you got a million streams on the first 48 hours of a release. Well, then your 36 000 streams on youtube are really nothing.

At the same time, I got from a manger that is struggling to get 1000 streams on Youtube. For him, 36 000 would be a success.

But then the streams is not everything. I looked on the video with 36 000 streams, on three months it has only got seven comments. So I wonder where these streams come from? One of the tricks is to measure the streams is also watching the comments.

This video The Magnettes did with Rockit Gaming last year. On one year it has done 850 000 views with 2500 comments. I link it here:


In the world of the manager and the artist, this is a smash hit. I talked to the guys in Rockit Gaming and they thought it went a bit better than normal, but not any smash hit when it comes to Youtube standards. Many of their videos have over 2 million views.

Here we go it all about perspective. In the end, though nothing of this has broken any of these artists. Hunting numbers and boosting numbers is really not getting you anywhere.

I mean look at the artist with 36 000 streams. She thinks I will be impressed with that and start working with her or book her to our festival. The thing is that I looked on her Spotify and the same song had under 1000 streams. The facebook was 140 likes. She had never really played live. And the final blow, the song really sucked.

The important day!

Tomorrow is a really important day. Well, when you read it it was yesterday and I will know the outcome.

If everything goes as planned I'm about to start a couple of new festivals around the world. My already crazy schedule will be crazier than ever. I don't know what to feel about it. I would love to have some time off just one day a week (I sit and write this on Sunday night, try to be quick since I need to get up really early tomorrow). I guess though I have the right mental state. this is what I want to do. I love my job, and it's the results of years of testing and trying things out.

I have written it before, you need to catch the opportunity.

Look
If you had
One shot
Or one opportunity
To seize everything you ever wanted
In one moment
Would you capture it
Or just let it slip?

Yes, it's the lyrics from "Lose Yourself" with Eminem. Tomorrow is that day where everything can change. It's time to try to catch this opportunity, time to move ahead.

When you stop to take the chances is the day you reach your peak. Tomorrow is not my peak ....I have come to drop the bombs!

The problem with updating on DIY.

The biggest problem with DIY is that you are always very late to get the latest news and smart things to do. Things that go around in the industry actually comes down to the artist level it's almost one year old. Even with an artist signed to labels we still see that the info of what is going on is not that updated.

I can just compare when I got Spotify in 2010. I got the Beta version and could try it out. I was excited and told all my artist back then around of this new system. they really never cared, the only thing in their head back then was Itunes, in the worst cases, they were still into My Space. It took at least four years before the artist was up to date with what Spotify is and they started to be interested in the new thing. That is four years too late, by then Spotify was already divided and DIY was not in the priority.

Just got a message from one of my friends in the industry explaining to one of our bands that the first hours on Youtube is the most critical one. So hide a video and then do it visible is not that good for the algorithms.
Things like this are the stuff that DIY need to know to be able to make a good release. I guess when this info reaches them it's already out of date. and this one is very small we are talking about hundreds of tricks like this to make things happen.

Many think this info is accessible online. Yes, it is but it's also drowned in thousands of posts of other DIY people with the most strange ideas which are not correct. Finding what is good and not good here is impossible.

I have said it before that DIY is dead. Right now I feel it's more dead then ever. The industry is moving so far ahead that it makes it impossible to do it DIY as an artist and reach any bigger level. Even starting up a new record label and try to fit in the information stream has become really hard. It's all down to the team nowadays.

This is what you need to focus on the living from your music.

I got one of those "set your mind to it" where they start by explaining that all that you do is overwhelming and takes time and what should you focus on?

Most artists fall for this. Maybe you fall for the headline I wrote?

I mean we all have that question. This is not just the artist asking this question all the time, the professionals have the same doubt. Everything is overwhelming and the day only has 24 hours, and you need to sleep and eat. But even with a team with 100 people doing all that stuff that should be done, it's still not enough. When you get to that point you tell the world that you would need 200 people to make the task, why? Well, the more you do the more gets in as opportunities.

In this video, they talk about your goals, that you need to know your goals and stick to that than running around like a chicken. I agree to keep the goals and yes stop running around like chicken. You need to focus where you find it good to be. For example, I don't spend any time on Twitter. My post goes up there just if someone that likes twitter wants to fins me. Same with Linked in my posts are there too but I don't follow that much. I used to do a lot of Facebook. The new algorithm though has destroyed the good part there sop I had to go over to make a business account, still, Facebook only let through 10% so right now I focus more on e-mail. See when I change that, depends on the outcome in six months which is the time period I want to test out.

In a way, though nothing of this is important. The real importance is the mindset. The reason I'm in the position I'm is totally mindset. I want to work behind the scenes in the music industry. I don't have any desire to be on the stage, but I'm deeply interested in the business around it.
And I wake up every morning to just work with that. That curiosity is what drives me and make me go places. The people that fail are the ones that just do a bit of this. It's fun to work but you go home 5 a clock to your family and treat it like a 9 to 5 job.

An artist like Ed Sheeran was doing the same. I bet there are thousands that are better than ED Sheeran out there. But few have the determination like Ed. And keep going all the time is the key factor that took him where he is. He created the luck that got him there.

The problem is that many do a lot very fast. Suddenly they releasing a lot of music, posting a lot and are in your face for six months. Then they just cool off. And then they do the same race three years later. Like I said so many times it's a marathon not a sprinter race. You just have to do things all the time. And some periods of the year you do certain things like right now is high time to seek out festivals for the summer. So contacting those would be a good mission right now. Still, to contact them you need a good story why they should have your band so planning in a release later in the spring must be done at the same time. And on top of that don't forget the other stuff you were doing before.

Suddenly it's overwhelming. Then you think it over, take the things that work, keep with those and drop the stuff that doesn't. But with the right mindset you will come quickly up with new stuff to do so when it's overwhelmed it's temporary.

Active or passive listners? How to detect fake numbers.

I have been writing about fake numbers, here and here before. So how do you check fake numbers? Many artists just ask for certain things but if you fake one thing it shows on other things.

Normally I don't hang out bands, but in this case, I have to. Nothing wrong with these bands, probably they don't know it, it might be done by their label, management or something. But to learn how things work I have to do it.

The artist KIDDO, it's a Swedish artist, pretty few have her of her before. I would guess most of my friends would say KIDDO who?
I just looked on her Spotify numbers. KIDDO has 323 463 listeners a month on Spotify Her first single trouble has 500 000 streams, her second single 1,8 million streams and her new one released 7 of September 3,5 million streams.
Good numbers and this is what many artists thinks that we should focus on. It looks really good with three singles and that many streams.

Yes if you are an amateur booker or people not from the industry it looks perfect. But right now the whole industry is learning how to look into this fake numbers, because yes they are fake. Or not fake, they are passive streams. Passive means that it's used as background music, like music in the roof of a store. Active is when you go in and type in the song you want to listen to.

To check the streams you just sweep to another channel to see if these numbers collaborate with Spotify. So we check her facebook page. And here you easily find that she only has 1136 people following. Yes, all these streams are coming from passive listening on playlists on Spotify. The real followers are more like this number on facebook and that is what a normal new beginning artist has. Clearly, someone has pushed something just for Spotify.

Then we have Instagram, she is young so she would have more here, 2398 followers, but only 61 posts, so she is not very active.

Then we go to the real killer, Youtube. It used to be the cheating channel but it's harder to do it now so it has become a check tool to Spotify. Only one video out, but it's the last single that had over 3,5 million streams. Here you got a 54 000 and only 73 comments since September. Usually the mistake is that they only go for one channel, in this case Spotify, then forget the other channels. With real fans, the numbers actually go up on all channels at the same time.

I was on a panel on Viva Sounds this weekend and they were discussing this and the biggest booker said. Yes, they might have many streams but that doesn't indicate that they are a good live. KIDDO don't have any live videos! Booking this artist could be a really big gamble, and many have lost a lot of money by test the numbers out. In reality, KIDDO is just a small artist on her way up. But if you look on just Spotify she would be a top 50 artist.

So how did she get so many playlists (a thing artists always ask for), well, one thing her social media reveals is that she is part of a Spotify program for female producers. That can help, I'm not saying that is the reason. Also, some bigger lables has put in their playlists just to pump numbers. Still, they just put on playlist where we know there are fake accounts just listen to the list over and over. And the Spotify playlist she has is mainly the ones where people use it as background music. The active listeners are revealed in the other social media numbers. So the numbers are probably pumped by her record label and maybe also her connection to Spotify.

Many artists wish that they had a company pumping numbers. But look out for what you ask for. The booking industry will be harder and harder that the numbers make sense, so if your company cheat like this it might cost you other stuff. Just good numbers on one site is not good enough. It has to be on all platforms.

Another example is Noëp from Estonia. He was signed to Sony music in Sweden. He released a couple of singles there. "Move" with 8,1 million streams, "Rooftop" with 5,1 million streams and "New Heights" with 1,7 million streams. The rest of his catalog have a couple of hundred thousand streams each. But these three sticks out. and yes those are the one released of Sony. It's pretty evident that Sony pumped the numbers.

Also here you can easily see how Sony went for streams on the first one. Of course, it was massive but Sony also knows that the streams are passive listeners. They test out if the audience like it. But it seems no they didn't. I guess it actually cost Sony more then they got on these 8 million streams, they try one more with the second one and you can see that the third one they just add it to some smaller one.

After that, they seem to have dropped the artist? All releases after that are on the artist own label. Here you can easily see that they just go up to a couple of hundred thousand which is the capacity for Noëp. This match his Facebook following of 17 000 people. Or does it?
I guess he has cheated here too. Yes, he has 17 000 followers but on average all post he does just get around 60 likes or interactions. yes, another tool is to check the interactions on posts.
On Instagram, he has 15 000 followers with an average of 1500 interactions, better and more likely and actually fits with a hundred thousand streams. A good key point is that the interaction should be 10% of the followers.

Then we go to Youtube and it gives it away, the channel only has 7000 followers. The videos are around 25 000 views each. Then "Move" stands out, the single Sony bought numbers on and that has 1,2 million views, still far from the 8 million on Spotify.

Of course like I wrote nothing bad about the artists and in many cases we see that they're not in it. Still by doing numbers and it can be so easily checked and now is the trend that you can hunt that on live side. The live side is now taking over just because it's more money there and harder to cheat. So be careful what you wish for. Get real fans that is what will keep you alive in all weathers, even on Spotify.

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Can I borrow you network?

I'm going to this place, can you set up some meetings for me?

I get this from my own bands as well as professionals around me. It seems kind of easy to just share your network and help someone out, but it's not. I used to do that, and it is an idea of that yes you can work as a group sharing things.
The problem that arouses is that in many cases it's personal contacts. It's a personal relationship. In the bottom, you actually put your personal brand on the line by doing this. In some cases when I have done it the person screws up the relationship because they say the wrong things or ask for the wrong stuff in the meeting.

One example long ago was when I got a really big Japanese label to Sweden. They were in Stockholm and an artist had nagged me to meet them. I didn't have time to take that meeting so I let the artist go by themselves. Then after that meeting, the label was a bit weird to talk to. Of course, the artist had been totally crazy and just went into the meeting demanding tours and stuff in Japan thinking that everything was easy to demand. In the end, it took me two years to get the trust back from the Japanese company.

Sure you can get my network, but I rather do the introduction when you are around. that is my principle right now. Then, of course, the people I have a super connection too I can give you.

And the problem is that networks are personal. You can easy her stories how an artist gets signed to a label and a month later that person leaves the company and the artist is stuck in limbo since the contacts that should be used for that artist went the person that was leaving.

Then you have to give something back. I built up a network for the past twenty years and paid quite much to get into things to get this. Sure I want to help you out but it is a give and takes. So for an artist, it's harder, they usually don't have much to give. Sure we are in the same boat and try to push your music forward. It's better though if you go for your own network and we use both then you tapping into mine so we both have the same.

Another thing is also that music professionals talk differently when they speak to an artist. They don't want to be rude so they really just be positive to all that your a saying. When you are in other terms you get a whole other story from them.

This is also why artists can't really do showcases by themselves. First, they are too busy playing and do what they should do. On the other side, it's hard for them to pick up your contacts and also know how to work them.

I get the contacts are a tool, a tool that you don't borrow out just like that.

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The hard work is after the signing!

Never strikes wrong, when you leave an artist since they mainly just sit on the sofa and sends you messages like " how is it going" they start to work. Suddenly they do these things they should have done all along, these smaller things that the professional can use to leverage to the second level. Now they do the small things and there is no one to take it to a next stage.

All the time when I speak with professionals they have experienced that they sign an artist that is really active and things are starting to happen. they take a chance and get the artist signed and suddenly everything stops. The artist is just expecting for you to pick up where they stopped and start doing all these smaller things they were working on. And you actually can't really do these smaller things. Okay yes in the artist's eyes these things are bigger, but in reality to get small blogs writing of you or update your homepage and get out and seeking fans is the smaller stuff you should really do on a daily basis. But these small things are the petrol we need for the engine to make the bigger stuff.

So then they come off again as active and someone else steps up and thinks, oh here is something happening and signs them. And suddenly they are back on the sofa sending messages "how is it going". Been there done that.

The thing is that when you get someone interested you actually have to step up all that work you're where doing before ten times. I guess many just expect that they should take over and you can just follow along, but that is totally different. The only time you do that is when you have a smaller manager that is new that is taking care of everything, I rather call these managers butlers then managers though. The problem with that is that these managers can never leverage anything since they are preoccupied to do all the things that the artist should do.

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I want artistic freedom!

-We are signed to a label that is run by artists for artists, a place where we can have our creative freedom.

The line is from an artist asking me to help them professionally to get forward in their career. I looked into their things and realized yes they were just standing still. All their efforts where merely crazy small attempts to do things that have already been proven to not work (things like fundraising campaigns, just releasing on SoundCloud, do their own tours in their own places). Then I checked out where everything was released and found the label with that saying in the top.

It's a nice thought that you can get together as a collective and do that. Sharing all your contacts ( a thing that never works, I hope to write a piece on that later next week). The problem with these things is that they just do the mistakes that have already been done. To be honest, the artist has their creative freedom even on normal labels, is just that someone is saying no to the most stupid ideas like sending a 10 minutes long song to radio and pay for PR doing it.

The problem is that it seems easy to release music. well, it looks easy to have a restaurant as well. You just cook food that people like and then you make money, right?
Of course not it's all the things having contacts to market the restaurant, getting the right suppliers of the ingredients to cook with. Having the right staff, and be very very persistent.
Imagine that 5 different home chefs open a restaurant doing exactly what they want. That menu would be something to see! Should they have different styles in the restaurant, ohh I want a table in the Mexican part far away from the rustic Swedish food section?

Of course, it could work out over time when they find common mistakes and agree on things, but then they are just like any other restaurant just taking some detour doing mistakes.

Back to the artist seeking us out. The funny part here is that now suddenly they seek out this professional side and think we can help out on these ideas we already know doesn't work. You have taken a path that you want all control, all the money, but also all the freedom. That really can´t be totally teamed up with someone that will say no to crazy ideas, already have a kind of strategy how to get you forward. To be able to work with professionals you have to be very open and very curious to try new things and be very very persistent.

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Do it perfect, and never do anything! Slimy cod in a toaster!

Why don't you check your post with Grammarly? I do most of the time, on the phone it sometimes not work, then I try to check it later on the computer, and try to spell well on a phone! Still, errors occur, I know that and English is not my native language.

So I have two choices. I can do it much slower, just writing everything correct and also get the text corrected with someone else. Yes, but then I would do a post every second week. Sure it will be very polished. But would it be better? I guess not, you still get what I'm writing even with the errors. Part of the fun is that I can post Monday to Friday all week. A lot more is done and shared.

If we take this to the music level. All tracks that should be sent to me should be perfect produced in a very big famous studio and written by professional songwriters. I guess that would be really stupid to have that kind of expectation. Yes, the demos we get contains errors and faults, but hey that is okay. I can still listen to it and make a 99% judgment anyway. because if every song should be expected that flawless I would get a song sent to me every year. and the chances that the song is crap anyway is quite high.

Why? It comes down to the inside. what the song is telling you, what it contains. A good song is never about how good you play your instrument. Many times I meet perfect musicians that are lousy songwriters. These musicians usually just end up in the opera or big orchestras. And for me, that is the second place, they are not good enough. To be good on an instrument you just have to practice, to write a song you have to show real skills. And here it is about the story, not how it's spelled.

I usually compare it with Ramones and Yngwie Malmsteen. Ramones could never play any instrument very good. And I can only recall two solos in their songs ever, and one of these solos has it rumor that it's done by their producer. When Hilly Kristal saw Ramones the first time at CBGB:s he wasn't sure they just were some hoodlums that stolen their instruments.

Still, they wrote songs that would change generations. Look on the video when Metallica hear about Dee Dee:s death. Many other bands have also talked about how much Ramones meant to them like The Clash, Pearl Jam, U2 and Red Hot Chili Peppers. And they were voted into Rock 'n' Roll Hall Of fame 2002.

Yngwie Malmsteen, well he can play guitar. But that can so many others, and there is probably some small Japanese kid that plays faster and better than him. But you never hear of this small Japanese kid writing good songs. And did Yngwie inspire a generation, hell no! Did he write classic songs that are done by superstars, not that I know? And the reason is that he only play fast, there is really no songs there. Even how much Yngwie thinks he is Rock 'n' Roll the chances that he gets into Rock 'n' Roll hall of fame is very slim.

And I will rather be the blog Ramones then Yngwie. I guess less is not more, more is more.

You can also use this method to write songs. Write five songs a week. If you think you can write five perfect songs all the time you are so stupid that I urge you to stop playing music. But over time you will get better. And out of a hundred written songs, you will end up with some really good ones. If you only write one song and polish that song over and over. You might don't see it but that song can be a turd from the beginning and you are polishing a turd so you will end up with a polished turd.

Same here, some of my posts are turds, badly spelled and not good. But if I write a lot then I get better and I will write some really good ones, witch my readers has shown me over and over. So if I start to polish a turd post yes I end up with a polished turd post. Better to move on just write more and learn to be better.

I have written this before when I just changed the blog from Swedish to English to get the blog accessible to more people. I just realized it was over two years ago, so I guess with new readers I can take this again. On that old blogpost, I ended with a quote from one of the first punk bands in Sweden:

" Jag sjunger vad jag vill, slemmig torsk i en brödrost" and I did my free version, "I write what I want, slimy cod in a toaster".

Still, I love that people write back on errors, it means you care. But don't write ohh you have so many spelling errors or grammar errors in an email with no reference. Rather if you see an error put it in the comment section and I will change it and thank you.

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Do some PR for your release!

No, it's not just to get the music "out there". Yes technically it is that way, you can release your single in 24 hours and get it online (technically I can do it in 3 hours, but that is another thing). But what is the point?

You see more and more that the services use more algorithms to pick up what should be on the playlists, And not just the algorithms, I see many of the bloggers and tastemakers also want to have a build up before the release.

Quite frankly your singles success will depend on how much and what kind of PR you are doing. The more and broader you will do it the more your release will succeed. this is actually not any new science. I would be that Coca-Cola is not the best soft drink in the world. Still, it's the most sold and they are masters of doing PR in many levels and things. By that they are the most sold soft drink, the best well that is totally another debate.

Yes, I know you can't do the PR as Briney Spears or Kate Perry. These are massive campaigns. No, what I mainly see is that most artists actually don't do any PR. They seem to think that a Facebook post will do it, or even worse a paid facebook post. Yes, you have to work for it around a release. You have to hit up all the people you have meet in your career, all the people you know and in some way or another be able to present this new music you have done. Yes, you will get 2% answer on it.

Of course, this goes easier if you have been smart collecting these people during the way and been small communicating with them. Here is the first mistake the artist do, they don't collect fans. No the followers on Facebook are not yours, you in fact only reach 10% of them with your posts. And you can't control how Facebook is flip around posts so they won't appear in the right time and place. In all words forget Facebook as a good PR channel, forget Instagram as well. You would probably be more successful in picking up your phone and call twenty people and tell them to talk about your new release.

I tell my artist to have all their release ready 10 weeks it goes live. Yes, 10 weeks. That is the time you need to set up all channels you have to be on before the release. You are not able to do the work faster than that.

Then also look into some PR that cost money! Too much people try to take all the free routes. Well, they are nice but it also gathers all other free routers. And in the end, you won't get anywhere just because every tool you use is for free.

And save mone6y for it. May I ask how much the recording cost? Calculate to use 50% of that sum for PR. Or actually, double it and use the rest for PR. Did the recording cost a million dollar (which probably Kate Perry cost) well then you have 2 million dollars and spend the other on PR. In Kate Perrys case they probably spend 10 million. But hey that is later. Did your recording cost 10 bucks well spend then bucks on PR. In the ned, I can tell you that 99% of the reason why your release flopped is PR. Even with the worst song, you can do a great release with PR.

- If I only had two dollars left I would spend one dollar on PR - Bill Gates

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