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Leather pants

Getting data capture at gigs right

Clipboard - image accompanying an article about capturing data / email addresses at gigs

In a recent post we looked at how to put a good newsletter together – and a large part of that article dealt with sorting out your database before actually emailing anybody. Of course for musicians, a hugely important aspect of building a database involves collecting email addresses at your live performances, so in this post we give you some quick and simple tips to ensure that you’re not missing any tricks when it comes to capturing your fans’ info at shows.

1. Start capturing attendees’ data BEFORE the gig

Eh? How do I do that? Surely I have to wait until there are punters streaming through the door of the venue before I can get them to scribble down their email address? Well, actually, no – you can capture data well before you get anywhere near the stage, by selling tickets online in advance. You don’t have to be in the ‘Ticketmaster’ league of bands to do this – there are lots of low-cost tools like Stubmatic or Wegottickets that allow you to sell e-tickets in advance of your shows and, just as importantly, capture relevant data about your fans (the main thing you want, obviously, being their email addresses). Even simple Paypal transactions let you do this. No matter how you go about selling tickets in advance online though, make sure that you are able to export a list of attendees which you can then import into your e-newsletter tool (Mailchimp, Mad Mimi etc.) or database.

2. Get somebody reliable involved to capture the data

When people think of mailing lists generated at gigs, they are usually visualising a disinterested hairy guy at the door of the venue stamping people's hand with a stampy thing and only very occasionally asking for email addresses. And yes, that hairy guy is unreliable. He’s a bit stoned, or he’s a bit shy about talking to punters, or he just doesn’t like your band. Either way you end up with less email addresses than you should. So don’t leave things to the hairy guy. Put somebody you trust to do a good job at data capture on the case. This could be your best friend, your girlfriend or your mum – it doesn’t matter so long as they know how to charm people into handing over their data.

3. Use technology to capture the email addresses

Don’t forget that it is 2014 and there are a few more options than the old pen and paper method of collecting email addresses available. You can capture them direct to iPad, for example - and before you complain about the lack of wifi signal in the toilet venue you are playing, you don’t actually have to be online to capture email addresses (many e-newsletter tools, such as Campaign Monitor or Mailchimp have apps that store data locally on your iPad and then upload it for you when you go online). Various services also exist that allow you to capture email addresses by SMS. One thing though: don’t forget to insure your iPad, and pin-lock it…

4. Don’t just leave your sign-up form at the door - take it round the venue

Depending on the kind of gig you are playing, you can be quite proactive about data capture – i.e., you don't have to simply rely on the ‘leave a clipboard at the door and hope that people sign up’ approach. For example, you could ask the ‘designated data capture person’ we discussed earlier to go around the venue, asking punters if they’d like to hand over their details. Or make announcements from the stage asking people to sign up (if nothing else, this will give you a bit of free – but admittedly quite dull – stage patter). Or finally, you could leave a clipboard at each table, or cute little cards people can fill out with their details. Whether this sort of data capture is appropriate at your gig or not will depend on the nature of your act, the type of venue you are playing in and how comfortable you feel with hounding people for an email address, but the thing to remember is that there are always ways and means of boosting your email sign-up rate at gigs that go beyond leaving a scrap of paper at front of house that nobody writes on.

5. Incentivise

As with the data capture you carry out on your website, you should ‘incentivise’ the data capture you do at gigs. Offer a free track or EP in exchange for an email address, or a discount code for a future gig. By offering a ‘quid pro quo’ you will find a significantly higher number of people are willing to subscribe to your list. 

Finally, on the face of it, data capture doesn't seem like the sexiest of topics - and it seems a crying shame to be talking about gigs in terms of sending your mum around with an iPad to collect email addresses from unsuspecting fans rather than as an excuse for you to wear leather trousers, play lengthy guitar solos, do a spot of crowd-surfing and impress groupies with witty post-show banter. But when somebody who subscribed to your mailing list at a gig goes on to pledge £100 towards a crowdfunding campaign a couple of months down the line…well, that feels kind of sexy, and may mean that you are now able to afford the leather pants for the next show – that is, if you can convince a bunch of fans to crowdfund some hosiery. Now THAT would be an achievement.

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Leather pants, rock gods, groupies and er, project planning?

Project planning - essential for a music release

OK, so you’ve spent 4 years recording your opus. And you’re getting ready to whack it up on iTunes and Spotify, thereby putting it within reach of a global audience of music lovers, who will, if there is any justice in this world, buy it in their droves and propel your act into the league of leather-panted rock gods.

The problem is that you are in the same boat as Lord-knows-how-many thousands of musicians all across the world, who, just like you, all aspire to wear the leather rock pants (or lycra hot pants; take your pick). The digital revolution has made it ridiculously easy to distribute your music to a global audience, but the flipside of this is that quite frankly, everybody else is doing it. You are competing with an enormous pool of ruthless, fame-hungry musicians who would sell their granny’s false teeth, or even the granny in question herself, if it meant a whiff of success.

So how can you put yourself ahead of this pack of mean, granny-selling musos? One option, of course, is to find yourself a nice sugar daddy or mommy with a shedload of cash that they are willing to plough into your career; but even then, you will probably not be home and dry. 

Although it helps enormously, cash on its own will not buy you success. It’s quite likely that your talent won’t help much either; record companies get sent fantastic music all the time – which could chart easily if given the right push – that remains completely unheard by the masses (often because the lead singer has a bad haircut, but that's another blog post).

In a nutshell – and you probably know this already – rock and roll success is one of the most difficult things to achieve, and if cash or talent alone can’t secure it, then what will? Well, it’s our view that one of the most single important things that can help give artists an edge in the quest for success, but gets repeatedly overlooked, is this: a plan.

Here’s a classic example of what we mean: a band spends thousands of pounds on an album; hires a designer to create a beautiful album cover; manufactures digipacks made of gold; hires dwarves to serve cocaine at gigs…and then sets a release date for the record that completely ignores the fact that the music press generally demand to receive an album three months in advance of its release (the ‘long lead time’). Cue no press hype, no interest from radio as a result of great reviews and finally, no sales and no leather pants and screaming teenage groupies.

There are a multitude of other examples of this kind of thing – for example, bands manufacturing CDs without ISRC codes (making it significantly harder to generate royalty income from airplay); press releases being issued without release dates; the radio plugger not being made aware of a four star Q review before talking to the head of Radio 1; barcodes not being added to CDs; artist websites not being updated with new material in time for the release and so on. All of these basic mistakes make that elusive rock success even more elusive, and generally they all stem from poor planning. Although “project management” may seem like a boring term when you put it in the same sentence as “rock stardom”, the two go hand in hand; and regardless of your budget or the quality of your material, if you fail to plan, you plan to fail.

So, here are 4 key tips which we think can help independent or unsigned artists plan for an effective promotional campaign.

1. Assign roles and responsibilities clearly: most serious album release projects will require a music PR company, a radio plugger, a website designer, a print designer, a distributor (and perhaps a publisher or TV plugger too). Ensure everybody is clear who is doing what, even if you are taking a DIY approach and doing a lot of the legwork yourself.

2. If at all possible, try to get one competent, organised individual to oversee the release – to act as the project manager. This person should liaise constantly with all the above stakeholders and ensure that each key project task is completed on time.

3. Get all your stakeholders in the same room and draw up a release timeline that works for everybody. Discuss press lead times, manufacturing turnaround, distribution deadlines, barcodes, ISRC codes and so on. Come out of that meeting with a project plan that contains key tasks and realistic milestones for the project.

4. Don’t ignore that project plan that you spent hours creating! Your project manager should now use it as his/her reference point throughout the entire release and tick off each task as they are completed.

Obviously, these four tips won’t guarantee rock stardom; a few little things like a serious marketing spend, a lot of good luck and that good haircut come in handy too, but hopefully having a clear, simple plan will take you a step closer to the land of the rock pants, or at least give you the best chance possible of getting there, regardless of your budget or musical prowess.

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