Category: sethwCategory: sethw

I first saw Sleevenote on Substack. It’s a new music player with no streaming option, playing only music files you’ve bought and own. From their website:

The time has come to get serious about supporting music makers and valuing the music you love. Audition stuff on your phone and what you LOVE, you buy and put it on your Sleevenote.

I’ve been emailing with CEO Tom Kell a bit, and we’ve definitely hit upon the irony of the statement “nobody buys music,” and that everyone just does streaming now. Says Tom:

The statement “nobody buys music” is not true with the relatively healthy vinyl resurgence. The thing is people aren’t buying things that they don’t need to buy, and when buying vinyl (and to a lesser degree merch), music fans are often compelled by the motivation that they are “supporting the artist” with these purchases, and getting some form of physical and tactile experience (for however fleeting) in response. When subscription-based music access came along it cut the legs off the need to buy digital music, for a like-for-like experience – music on your phone. With Sleevenote, all our efforts are going in to making digital music feel more special, and now our ethical responsibility is, if we’re helping make it feel more special, it should now be worth more, and we do everything we can to put friction in the way to achieve that. In the topsy-turvy digital world, people pay for the removal of friction, ads are added so an ad-free version seems valuable.

Sari Azout of Sublime talks about a post with a million views doing very little in terms of revenue, but a video with far fewer views being more valuable.

“Attention is cheap and volatile. Trust is slow, expensive and durable, and I think if something reaches a lot of people but creates no relationship, that’s not distribution. That’s just noise.”

We don’t want to build for “eyeballs,” we want to build for the right audience, the right reader, the right fan. To make our work in our own weird, magical way that sends the right signal to the people who appreciate our weird, magical work.

“There’s a way to show up and promote your product where you feel authentically you, and your job is to figure out what that format is.”

There are jobs out there that are one of one, and that’s the job you’re hiring yourself for.

Got this bit from ‘Discoverability for illustrators’ by Tasha Goddard via Robyn Hepburn:

“While emailing is more about outreach than discoverability, I have heard that art directors and art commissioners will actually use the search facility in their email app (e.g. Outlook or Gmail) as a first point of call after any in-house databases – so they might type ‘room illustration, colourful’ or ‘collage illustrator, newspaper’ etc. into the search bar to see if they have been sent any work by a relevant illustrator.”

Keep this in mind when reaching out to art directors and venues and other people you’re pitching for potential opportunities.

Are you asking people to “subscribe for updates” to get people on your email list? Maybe promising a 10% discount?

“Say, “follow our adventures as we leave for tour in a month. Sign up so you don’t miss a single photo of our adventures. Sign up so you don’t miss out on all our crazy tour stories.”

There’s a reason media outlets ask, “got any crazy tour stories?”

It’s because stories sell.”

Remember, you’re competing with Netflix, social media, family, new albums, holiday plans, and a million other things – rework your pitch.

If you’re still using one of those Link In bio services (here is mine), take some time to clean it up. My god, I’ve seen some artists with 50+ links in those things. Do you expect fans to dig through all those? More choices just means your fans aren’t even going to click anything.

Consider putting all the things you’re linking to (YouTube videos, music, upcoming appearances, store) on your own website, then just simply linking to your website. One link to rule them all.