Running head: HOW ARTISTS BENEFIT FROM SOCIAL MEDIA

How Artists Use Social Media to Exploit Their Careers: Landing a Record Deal
Stephany Avila
Portland State University

HOW ARTISTS BENEFIT FROM SOCIAL MEDIA

Social media makes it possible to convert strangers into listeners, and listeners
into crazed fans. With it, people can interact with others who share similar interests,
discover new music, keep up with bands, and thanks to Instagram, fans can also keep
up with their dietary preferences. Modernizing the music industry has transformed social
media and music streaming into powerful platforms with unforeseeable potential. Such
innovations have forced record labels to change the standard way of recruiting
musicians, marketing and distributing. For new artists, being able to expose others
around the world to their music increases the probability to build a fan base and get
discovered.
Before the Internet was ubiquitous, all aspiring artists careers depended on record
labels; more specifically the boundless funds that belonged to the labels. Larger funds
meant more advertising, subsequently leading to a successful career. In order for that to
happen, an A & R (artist & repertoire) [executive] would need to decide whether or not
the act was worthy of a record deal. A & R executives are employed by record labels to
discover and develop new talent. Most A & R executives have multiple areas of specialty
within the industry such as producing or songwriting; it is unusual to find an A & R who
is solely focused on finding and developing talent.
Perhaps the most common strategy to contact A & R (before the internet) was
through demo distribution (sending demos to labels); because of the amount of traffic,

HOW ARTISTS BENEFIT FROM SOCIAL MEDIA

chances of getting music heard by an A & R executive were slim to none without proper
connections. According to (Minnick, n.d.), About twenty years ago, [record labels
stopped accepting unsolicited music because] 98% of all unsolicited material is
garbage At the time, [record] labels accepted unsolicited material (music that was not
requested), but A & R executives were not inclined to listen to it because they did not
want to waste time listening to music that was not guaranteed to be good. Instead, A &
R would listen to the music that was sent in by their trusted contacts; A & R executives
know that that material was worth listening to because someone was willing to risk their
professional reputation for it.
Although the article by Minnick was not published in a credible journal, and the
author is not extensively published; the author was the West Coast Creative Director for
CBS Songs, SBK Entertainment and a Professional Manager at Almo/Irving. In addition,
the author was Vice President of TAXI, an independent A & R company from 1995
(when social media was not prevalent) to 2005.
Simon & Schuster found that in 1961, before the Beatles performed to sold out
arenas and stadiums, the stage at the Cavern [club] was their home, playing nearly 300
shows over the next two years. It was there that future manager Brian Epstein, first
heard the group. After becoming the bands manager, Epstein had the Beatles audition
for nearly every label in Europe, but the group was rejected by virtually all of them. This

HOW ARTISTS BENEFIT FROM SOCIAL MEDIA

was until Epstein got the Beatles music to George Martin who was able to get the
Beatles signed to Parlophone Records. That is the moment when Beatlemania started
its process of world domination, starting in Europe, then spreading to the rest of the
world (as cited in The Beatles, n.d.).
Typically, artists did not have connections to people in the music industry. Acts had
to audition, send demos, and perform at clubs in hopes of getting their music in front of
a manager, A & R executive, or producer -- someone who mattered, to either sign them,
or pass their material on to someone who could. Before the Internet and social media,
that is the way that a vast majority of artists had scramble their way to a record deal.
Once an act was signed and had music that was ready to be released, record
labels would advertise and promote the music. Record Labels generated the most
exposure with radio airplay (billboards, newspapers, touring, and television were also
effective forms of advertising). Webster states, In 2000, 44% of 12-24s most often
began their day by listening to the radio [in the US] (2010). When a record label is
promoting music, it is important that there is an audience to advertise to, someone who
labels can turn into a consumer. According to Caves, When a radio station plays a pop
record, it attracts listeners, who in turn bring the station profit form advertising revenue.
Airplay causes some of these listeners to buy their own copies; the record label profits
from those purchases (2000, p. 287). Both radio stations and record labels rely on

HOW ARTISTS BENEFIT FROM SOCIAL MEDIA

each other to thrive, fostering a mutualistic relationship. Creating new audiences, and
expanding those that preexist are the main goals of the label. Heavier airplay would lead
to a larger profit for both the label and the artist; larger profits increase the budget for
future projects and generate trust [from the label] in the artist, correspondingly earning
more creative control on future projects.
Friendster was the first of its kind (social network) making its debut in 2002;
Facebook, Twitter, Instagram, and even YouTube soon followed it. Amongst them all, the
purpose of these sites was to connect, discover, and share information (which includes
music) all over the world. As of January 2014, 74% of online adults [research
conducted in U.S. to those over 18, English and Spanish speaking] use social
networking sites (Social Networking Fact Sheet, n.d.). For a new artist, or one with a
low budget, social media is a lucrative tactic to advertise content, and to get noticed.
This is mainly because social media gives users the opportunity to reach audiences all
over the nation and around the globe for free.
The research conducted by Social Networking Fact Sheet, (n.d.), is recent; it was
conducted from January 23 to the 26 of 2014. But still, this research is flawed because it
does not offer any information about Internet users under the age of 18. People were
called on landlines and cellphones in English and Spanish, isolating those speaking
other languages. Out of those that were contacted, only about 9% agree to be

HOW ARTISTS BENEFIT FROM SOCIAL MEDIA

interviewed. This means that 9% of the American population (English and Spanish
speaking) represents the US in the polls conducted.
On April 28, 2003, iTunes online music store launched its debut; it would later
become the largest music vendor in the world (Apple Press, 2010). Online music stores
allow consumers the luxury of having nearly unlimited music right at their fingertips. For
artists, it provides the opportunity to sell their music on a global scale. The best part is
that no record deal or representation of any kind is necessary.
Strachan states The Internet and new social media offer several possibilities for
extending ones fandom by engaging in the production, promotion, and distribution of
music (as cited by Galuszka, 2015, p. 38). Fandoms [fans of specific artists] are a
powerful force. Fans are constantly generating buzz for artists, such activities include
watching music videos on repeat in attempt to break the VEVO record, buying large
sums of records to boost the artists chart position, and requesting songs on the radio is
working. It is critical to remember that fans are the ones buying material; more
interaction promotes more devotion, and a better experience means more music sold.
According to Colohue (2009), File sharing, broadcast and internet marketing have
given musicians the tools that they need to break into the world of modern media, sell
albums and songs to an entirely new market and generally just get themselves out
there. Music sharing sites such as Spotify and YouTube empower up-and-coming artist

HOW ARTISTS BENEFIT FROM SOCIAL MEDIA

to release content, and listeners to discover music. Spotify features a discover tab
which uses algorithms and information about listening patterns, which will then contrive
a generous list of options of songs that one may enjoy. For artists, this is a great
opportunity for others to listen globally; music heard on Spotify can be linked and gain
more exposure. YouTube offers something similar to the discover tab, in this case, it is
the recommended section; just like Spotify, it tracks activity and features videos similar
to the recent history. It also offers the what to watch tab that displays trending videos, it
may help to keep up with what others are watching.
For singers, musicians, and bands looking for more coverage or maybe just
practice, turning to YouTube is an option that has often proved to be potent. Many have
achieved success through the YouTube, but Justin Bieber surpasses all. By posting
cover [a new performance of an already existing song] videos, Justin garnered millions
of views within days. While wandering aimlessly on YouTube, Scooter Braun (a talent
agent) stumbled upon one of Biebers videos. Impressed by the talent and potential,
Braun hunted Bieber down. Braun then had the young singer audition for Usher (singer)
and L.A. Reid (chairman of Def Jam Records); enticed by Biebers germinating fan
base, soulful runs, and charm, the Canadian singer was quickly signed.
Tom Sarig affirms, [What are some things that artists can do to get themselves
noticed?] Create a following and a story. Things that would contribute to a story would

HOW ARTISTS BENEFIT FROM SOCIAL MEDIA

be various data that we could track -- sold out shows, record sales, and getting airplay
on their own (as cited by Minnick, n.d.). Bieber already had a growing army of fans; that
is what made the Canadian pop star desirable. The reality is that most record labels
only want to sign acts that already have a fan base. By signing artists with fan bases,
labels are guaranteed to make a profit; labels also save money because there is no
need to develop an artist who already has a dedicated following.
Though social media is a valuable tool for artists, it can also be exhausting to
maintain. Morris (2013) claims the flipside to this integration of new and social media
into the production process is a greater burden on artists to take control of aspects of
their career that they previously delegated to labels (p. 275). Although there are perks
to having complete control to a music career, artists have to juggle between managing
different social networking sites: Twitter, Facebook, Instagram, and YouTube, as well as
the official website; there is so much work (on the business side) that needs to be done
that it is easy to forget about the key to it all, music. It is difficult to draw an audience due
to the amount of people releasing content. From a consumers point of view, its great
that there is more content to be watched and heard, and more posts to be seen, liked,
and shared. But it can all be overwhelming. Audiences have too much material to watch
and listen to. The deficit to such a large library of content is that not all of it will be good.
Social media and music streaming sites are influential tools that are vital for all new

HOW ARTISTS BENEFIT FROM SOCIAL MEDIA

artists. Success can be found on YouTube and Spotify by uploading content, and
advertising through social networking sites such as Facebook and Twitter. Both YouTube
and Spotify attract large numbers of visitors, and encourage people to discover,
connect, and share. Interacting with viewers helps build close relationships; converting
them into fans. When a fan feels close to an artist, fans are inclined to want to attribute
to the artists success by promoting the artist on their personal social media, buying new
music, etc. The music industry is all about creating a positive fan experience; the better
the experience the more support the artist will receive.

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References:
Apple - Press Info - Apple Launches the iTunes Music Store. (n.d.). Retrieved December
8, 2014, from https://www.apple.com/pr/library/2003/04/28Apple-Launches-theiTunes-Music-Store.html
A&R Executive. (2010, June 21). Retrieved December 11, 2014, from
http://getinmedia.com/careers/ar-executive
The Beatles. (n.d.). Retrieved December 9, 2014, from
http://www.rollingstone.com/music/artists/the-beatles/biography
Caves, R. E., (2000). Creative Industries: Contracts Between Art and Commerce.
Journal Managerial and Decision Economics, 21(5), 287-313.
DOI: 10.1002/mde.986
Colohue, T. (2009, December 25). The Effects Of The Internet: Music Distribution.
Retrieved December 8, 2014, from http://dottedmusic.com/2009/lifestyle/theeffects-of-the-internet-music-distribution/
Galuszka, P. (2015). New Economy of Fandom. Popular Music & Society, 38(1), 25-43.
DOI: http://dx.doi.org/10.1080/03007766.2014.974325

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Minnick, D. (n.d.). Record Labels and Companies: Record Label 101; What's The Deal?
Retrieved December 7, 2014, from http://www.record-labels-companiesguide.com/article-record-label-101.html
Morris, J. W. (2013). Artists as Entrepreneurs, Fans as Workers. Popular Music and
Society, 37(3), 273-290. DOI: 10.1080/03007766.2013.778534
Social Networking Fact Sheet. (n.d.). Retrieved December 9, 2014, from
http://www.pewinternet.org/fact-sheets/social-networking-fact-sheet/
Webster, T. (2010, September 29). The American Youth Study 2010 - Part One: Radio's
Future - Edison Research [web log post]. Retrieved December 12, 2014, from
http://www.edisonresearch.com/the_american_youth_study_2010_part_one_radi
os_future/