6 Things You Can Do To Get Your Fans to Take More Photos At Your Shows (And Why That Matters)

[Editors Note: This blog post was written by Hugh McIntyreHugh writes about music and the music industry and regularly contributes to Forbes, Sonicbids, and more.]

These days, everybody is taking photos…of everything. Now that cameras are everywhere and anyone can upload their latest capture to the world wide web in mere seconds, there is no stopping the deluge of images that continues to grow larger and larger by the hour. Some musicians are upset about this, as it distracts them when they are performing and they feel audiences aren’t paying the sort of attention they want, but none of that is going to stop how people act nowadays, so why not make the most of it?

As a working musician in a social media-focused world, you should always be on the hunt for great content. You will find yourself constantly needing something to post or to save for another day, and snaps from a concert can be the perfect filler. If you’re in the beginning stages of your career, keeping a photographer with you at all times (especially when touring) probably isn’t an option, so why not rely on your fans to supply you with the pics you’ve been looking for?

Here are a few ways to get your fans to take more photos of (and with) you, and then to share them in a way you can find them easily and repost them…with their permission and proper crediting, of course.

1. Pose!

Young people these days don’t always need to be told to take a photo—it’s in their nature by now. Most under the age of, say, 30, have extensive experience with smartphones, and the vast majority of them have become used to taking photos of almost everything in their day-to-day lives. This is the generation that has had to think of everything in terms of content, be it for Facebook, Twitter, or especially Instagram, and they have a mind for this sort of thing. If you do something fairly obvious that says “take my picture!,” chances are they will understand the message in no time.

Pose for a moment on stage, stop moving for a minute or so, put the spotlight on just you, stand with your bandmates before taking a bow at the end of the night…you can be as creative as you want with this idea, but it’s really, really easy, and you may be surprised how popular those few seconds will be in the photos you search for later.

2. Make A Special Moment

Every concert and every performance should be fun and special in its own way, but that doesn’t mean you shouldn’t go out of your way to do something extra during at least some of your shows. What this might be differs for every band or artist and it should vary by staging, but if you do it right, you could wind up with plenty of photos and perhaps even some press.

Shoot confetti out of cannons, bring a fan up onstage and sing to them, gather two fans together and arrange a marriage proposal (this is always a crowd pleaser), use a funny prop during one of the songs, or bring out a special guest that those in the crowd might recognize, if that’s possible. Any one of these would likely end up being the highlight of that particular performance, and it just begs everybody in attendance to whip out their cameras.

3. Create a Photo Booth

This option might not yield any photos of you and your bandmates doing what you do best (performing), but it can supply you all with a different kind of picture, which can wind up being useful in its own way.

Work with the venue before you arrive to set up some sort of area specifically designed for photos. This can be a “photobooth” of sorts (though you might not want to shell out the money to rent an actual photobooth just yet), or perhaps something as simple as a backdrop. You don’t need to spend a lot of money to make this a reality, though it might cost your band a few dollars to have something printed with your band’s logo all across it, like what red carpets are lined with. If you’re meeting fans afterward, why not make sure to do so exactly where you want to, with this added bonus? It might help push a new song or album, or maybe just a hashtag you are trying to promote.

4. Suggest A Hashtag

Speaking of a hashtag, that is something else that younger music lovers are already familiar with, and once you’ve given it to them, they know exactly what to do with it (usually). You can print the hashtag, which should be easy to understand, make sense, and be as short as possible, and people will see it. Show flyers, event reminders online, and perhaps even posters placed throughout the venue can all feature the phrase, and you can even mention it while performing, but don’t be annoying here, because while most young people don’t mind being asked and reminded about a hashtag, especially if there is any incentive to go tweet it or Instagram it, they can very quickly become a nuisance, and once that has happened, nobody wants to be a part of the movement.

5. Post On Social Media

Since you are looking for pictures to share on social media later on, why not use the medium to influence more fans to start taking pictures in the first place? Start posting on your accounts telling everybody flat out that you are on the hunt for some really excellent snaps. This will let those who catch the missives know to go out of their way to do so when they are at your next show, and you never know what pics are already out there sitting on phones or in folders on computers, just waiting to be unearthed by those who are into your music who might not have realized anybody was interested in their digital souvenirs.

Also, once you begin posting pictures shot by concert attendees and tagging them (and thanking them in your tweet), it won’t take long for people to get the idea and start sharing openly. Who doesn’t want a little recognition for a well-framed picture and a thank you from a musician or band they like?

6. Ask Them

If all else fails, or if you’re feeling particularly lazy—or perhaps if you just want to be direct and honest with your fans—why not just ask them to take some photos and share them? While you’re on stage and chatting in between songs (if that’s your thing, which isn’t the case with every artist), casually mention that you love seeing pictures from your shows on social media.

You don’t need to beg or plead, and please don’t be obnoxious about it (nothing is worse than someone bugging you to snap an excessive number of pics of them), but if you’re doing a good job and entertaining those who paid to see you, and since some of them will already be taking photos on their phones anyway, nudge the rest of the audience to do the same, and you may be surprised to see how many come flowing in over the next few days.

New Music Friday: August 4, 2017

TuneCore Artists are releasing tons of new music every day. Each week we check out the new TuneCore releases and choose a few at random to feature on the blog.

Is your hit next?

Follow The Billion Dollar Club – a Spotify playlist that’s updated every Friday with new releases from TuneCore Artists – stream it below!


We Should Go To Counseling
Quiet Company

Rock, Alternative


Blend Out
Uri Grey

Pop, Electronic


Dreamcatcher
Geneva White

Pop, R&B/Soul


Doom Side of the Moon
Doom Side of the Moon

Rock, Heavy Metal


Tell Me True
Corey Chisel & Adriel Denae

Folk


Out Of Light
Slushii

Dance, Electronic


The Maranda Experience Volume I
Maranda Curtis

Christian/Gospel


Paving the Runway (You’re Gonna Fly)
JJ Heller

Singer/Songwriter, Children’s Music


Shady
Visto

Hip Hop/Rap, R&B/Soul


Softer Side
Erica Blinn

Rock, Alternative


Missing London
Lostboycrow

Pop, R&B/Soul


Album II: Grasp of the Undying
Pentakill

Heavy Metal, Rock


Crystalline
Jome

Pop, Alternative


Enough
Janoskians

Alternative, Pop


Faces
MyKey

Singer/Songwriter, Pop

Wednesday Video Diversion: July 26, 2017

In need of a little mid-week inspiration? This day in 1968, a group known as The Jackson Five signed a one-year contract with Motown Records – they’d go on to have not one, not two, but FOUR number one singles in the next two years. Wait – you said you’re looking for a little mid-week distraction? Oh – well check out these awesome TuneCore Artist music videos and drift awaaaaay:

Doom Side of the Moon, “Money”


Alice Kristiansen, “Lost In Translation”


The Babe Rainbow, “Love Forever”


LDF (Ladies Drink Free), “FREAKSONIC”


Dumb Blondes, “Into the Light”


Trey Jordan, “Invest (feat. Double O-Z)”


Capital Kings, “I Can’t Quit (feat. Reconcile)”


Roberto, “Into You”


Passenger, “Angie (Rolling Stones Cover)”

Bright City, “You Are the One Thing”

TuneCore Artists Close In On Earning One Billion Dollars In Revenue

When TuneCore launched in 2006, our mission was simple and clear: to help independent artists sell their music online, without sacrificing sales revenue or giving up their rights. At that time, there was only a fraction of the digital platforms by which artists can have their music streamed, downloaded and discovered in 2017. iTunes ruled, Amazon was cracking into the market, and artists that created music outside of the label system needed a way to get it distributed.

Since then, TuneCore has gone on to grow as a company exponentially in terms of what we offer artists in the way of features and services – and independent artists have acquired more and more power when it comes to controlling and advancing their careers. Services like Music Publishing Administration, Fan Reviews, Professional Mastering, YouTube Sound Recording revenue collection and others have made TuneCore a staple in the indie community across all genres.

All the while, whether they continued grinding it out DIY-style, got signed to a label, or achieved mainstream success, TuneCore Artists carried on receiving 100% of their sales revenue using our platform.

Today, we’re excited to announce that TuneCore is approaching the $1 BILLION mark of revenue earned by artists from their download sales and streams!

That’s one billion as in the number one, and NINE zeros after it. These are McDonald’s-esque numbers, people. Dr. Evil-from-Austin-Powers-ransom-request numbers, even. No matter the non-music-related monetary figure reference: we think it’s a pretty big deal.

Collectively, that money helped artists do things like:

  • Eat
  • Pay rent
  • Record more projects
  • Create and sell merch
  • Sign up for Publishing Administration
  • Build PR and radio campaign plans
  • Afford new equipment and gear
  • Go on tour

Maybe you’re reading this as a TuneCore Artist who just joined or hasn’t seen tons of money from their release since distributing and you’re thinking, “Wait, what? Me?” Yes, you. As you hustle and write and record and tour to build a fanbase, and focus on earning more revenue from your music, the money you’ve earned so far – whether you’re still working on that first dollar, or you’ve out the other side as a superstar – contributes to a major figure that would have baffled music industry pundits over ten years ago.

Your contribution to this major milestone, no matter what the size, plays an undeniable role in the further expansion of independent music and supports the idea that artists can do it their way and still get paid.

To celebrate, for a limited time you can join the Tunecore Artists already in the ‘Billion Dollar Club’ by distributing a FREE SINGLE using the promo code BILLION at check out (offer expires 7/2/17).

Distribute your free single today!

As we count down to the big earning moment, join us for the journey by following us on Twitter, Facebook and Instagram where you can get in on the fun. And be sure to follow our official TuneCore Spotify playlist!

New Music Friday: May 19, 2017

TuneCore Artists are releasing tons of new music every day. Each week we check out the new TuneCore releases and choose a few at random to feature on the blog.

Is your hit next?

Follow Music Made Me – a Spotify playlist that’s updated every Friday with new releases from TuneCore Artists – stream it below!


You And Me Today (Acoustic)
Kelly McGrath

Singer/Songwriter, Country


Nerds By Nature (The Remixes)
Pegboard Nerds

Dance, Electronic


I Heard It Through the Grapevine
Joe Alterman

Jazz, R&B/Soul


Bodyguard
The I.L.Y.’s
Rock


No Moment But Now
Wendy Colonna

Singer/Songwriter, Folk


The Realness
The Pheels

R&B/Soul, Alternative


The Blame
Sam Grow

Country


Voodoo Love
Red Rosamond

Alternative, Pop


Better Places (feat. NVDES)
Pierce Fulton

Electronic, Alternative


Working Title
Mt. Eddy

Alternative


Dreams > Dollars
Maggie Rose

Pop, Country


Orion
David Archuleta

Pop, Singer/Songwriter


Faze Me
Anya Marina 

Singer/Songwriter, Pop


Bimmer
Ishmael Raps

Hip Hop/Rap


AmeriBLAKKK
F.Y.I.

Hip Hop/Rap, R&B/Soul


Oh No
Hannah & Maggie

Folk, Pop


Passionfruit
Noora

Pop, R&B/Soul


Anymore
The Pains of Being Pure at Heart

Alternative, Rock


History
Tyler Barham

Country


May I Have This Dance (feat. Chance the Rapper) [Remix]

Francis and the Lights

Pop, Hip Hop/Rap


Dat’s My Bae

Ball Greezy

Hip Hop/Rap, Soul/R&B


Back to the Nights
Ben Rue

Country


State Trooper
Chris Kasper

Singer/Songwriter, Folk


Transitions
Fame On Fire

Rock, Pop

The Artist & Record Label Relationship – A Look At the Standard “Record Deal” [Part 2]

[Editors NoteThis is a guest blog written by Justin M. Jacobson, Esq. It’s the second in a two-part series on the Artist/Record Label Relationship – read Part 1 here. Justin is an entertainment and media attorney for The Jacobson Firm, P.C. in New York City. He also runs Label 55 and teaches music business at the Institute of Audio Research.]

 

We will continue from our prior installment on “The Artist & Record Label Relationship.” We will now explore some additional contract clauses included in most recording agreements as well as a few negotiation tactics for these clauses.

Once the artist and distributor agree on the advances and what constitutes “delivery” to satisfy an artist’s commitment, the negotiation of the actual royalty rate earned for each sale is next.

ROYALTIES – (1.) Artist shall accrue to your royalty account, in accordance with the provisions of this Agreement, as described below; provided, however, no royalties shall be due and payable to you until such time as all Advances have been recouped by or repaid to Label. Royalties shall be computed by applying the applicable royalty percentage rate specified below to the applicable “Royalty Base Price” in respect of the “Net Sales of Records” described in this paragraph. Label shall pay to Artist all-in royalties (i.e., inclusive of producer and artist royalties). The term “Net Sales of Record” shall mean all gross income actually paid to Label in connection with its exploitation of such Album less all expenses (excluding overhead only) paid or incurred by Label in connection with the exploitation, manufacture, sale, advertising, promotion and marketing of such Album.

(2.) (a) The royalty rate (the “Basic U.S. Rate”) in respect of Net Sales of Records of the Album made hereunder made during the respective Contract Periods specified above and sold by Label through Normal Retail Channels in the United States (“USNRC Net Sales”) shall be as follows:

(b) The royalty rate (the “Escalated U.S. Rate”) in respect of USNRC Net Sales of each Album recorded pursuant to your Recording Commitment in excess of the following number of units, shall be the applicable rate set forth below rather than the otherwise applicable Basic U.S. Rate:

As the above clause mentions, the royalty that an artist earns for the sale of their music is calculated as a percentage of either the “Published Price to Dealer (PPD)” or the “Suggested Retail List Price (SRLP).” The “SRLP” is the approximate price charged by the retailer, such as Wal-Mart; while, the “PPD” is the approximate price that distributors charge to the retailers (wholesale unit price). It is prudent for an artist to attempt to negotiate for the highest possible royalty rate they could receive, as the higher the rate, the sooner they recoup the amounts advanced and the sooner the artist will begin receiving funds again.

In addition to agreeing upon the royalty rate and what the rate is based on (“PPD” or “SRLP”), similar to the clauses above, an artist can create royalty rate “escalators” based on album sales. As described above, when an artist sells 500,000 units (R.I.A.A. certified gold) or 1,000,000 units (R.I.A.A. certified platinum), the royalty rate escalates or “rises.” This increases the royalty rate that the artist is entitled to. An artist should also be cognizant of whether the royalty rate escalators are “prospective” or “retroactive.” A “prospective” escalator is one that only applies to sales going forward after a specified sales level is reached. This means that the artist’s royalty rate only is increased for any albums sold after they reach the listed sales level, for example, unit 500,001 is paid at the higher royalty rate. Conversely, and what is the ideal scenario for the artist, is “retroactive” escalation.

This means that once the artist reaches a specified sales level (i.e. 500,000 copy sold), the royalty rate is increased to the higher rate for all the albums sold prior (1-499,999 copies sold) as well as those going forward (500,001+ copies sold). An artist should also be aware that any “free goods” or albums given away for “promotional use” do not count as royalty bearing sales as no royalty or money is earned in these instances.

As in the example listed above, most royalties are considered “all-in.” This means that the artist is responsible for paying the producer of the track from the amounts they receive from the label. For example, if the artist is entitled to a 15% royalty rate from the label and the artist entered into a production arrangement with the producer providing him with a 3% royalty rate, the artist must provide the producer with the 3% royalty from the royalty the artist is entitled to. Thus, the 15% royalty rate paid to the artist by the label is split with the artist receiving 12% after the artist pays the producer their 3% royalty from these funds.

Once the royalty rate is set, the examination of the “reserve against returns” clause is necessary.

Reserve Against Returns – Label shall have the right to establish, during each semi-annual accounting period, a royalty reserve against anticipated returns and credits, of up to twenty- five (25%) percent of the royalty earnings associated with the units of each Record reported as distributed to its customers in that period. Each royalty reserve shall be liquidated equally and in full over the four (4) semi-annual accounting periods following the accounting period during which the applicable reserve is originally established.

While the above clause has begun to become obsolete in most instances, it is still important to examine and understand. The “reserve against returns” specifically applies to any physical record music as there is currently no way to “return” a digital downloaded MP3. This means that the label shall “reserve” or set aside a specified portion of the royalties the musician would otherwise be entitled to in case of any “returns” or “credits.”

For instance, in the example above, the label shall reserve twenty- five percent of the royalties the artist is entitled to in case any retailers must provide any refunds to its customer, which the label must in turn refund to the retailer. After a specified period of time, the “reserve” funds are “liquidated,” thereby, releasing the royalties to the artist. The frequency of “liquidation” is determined in the contract. As the above clause states, the reserves will be liquidated in “four” accountings, meaning every semi-annual accounting period. An artist should try to negotiate for a lower reserve percentage as well as a more frequent liquidation to earn as much of their royalties as quickly as they can.

Finally, one more clause that is included in many recording agreements is one that addresses the artist’s non-musical obligations, such as publicity and marketing for the released album.

Publicity – As Label reasonably requests, Artist shall appear for photography, poster, cover art, and the like, under the direction of Label or Label’s designees and to appear for interviews with representatives of the media and Label’s publicity personnel, at Label’s expense. As Label reasonably requests, Artist shall perform for the recording of brief audio, visual, and/or audiovisual spoken-word recorded messages and fan greetings suitable for use on and in connection with digital products and services and/or digital media platforms (e.g., Internet and wireless). In addition, as Label reasonably requests, Artist shall perform audiovisual works (e.g., so-called “B-roll” and “behind-the-scenes” footage) suitable for use on and in connection with Records embodying the Artist’s performances.

As the clause above outlines, the artist has to make themselves available for any public appearance, audio or audio-visual fan greeting or other audio-visual work as requested by the label. This is fairly common and in most instances, the artist will not receive any additional compensation for these services. However, an artist should try to negotiate for some of their expenses to be covered, such as transportation and/or meals, especially if the artist is required to travel further than a specified distance from the musician’s home.

Overall, the artist and label relationship is one of the most important ones and the next step in an artist’s quest for stardom. Since these agreements typically span many years and many albums, it is prudent that an artist fully understand the contract they are signing and ensuring they enter into an arrangement that works for them as this could be the document that makes or breaks an artist’s entire musical career.

This article is not intended as legal advice, as an attorney specializing in the field should be consulted. Some of the clauses have been condensed and/or edited for content purposes, so none of these clauses should be used verbatim nor do they act as any form of legal advice or counseling. We are also aware of the importance of streaming recordings; but, we will need to leave that for another day.