Your #1 sales reps

You’re heading out to a gig. On go the AC/DC socks and pants set (in case you pull, you’ll shake them all night long), Iron Maiden trainers with Eddie’s face on them, that cool Baroness t-shirt, denim jacket with Municipal Waste and Motorhead patches, and your beloved Megadeth cap – do you ever get the feeling like you’re one of those multi band fliers that get handed out at gigs?

All these bands are exceptional at branding (or perhaps their record label is) and although that Slayer air freshener may have represented a step too far for you, it’s big business – in fact, it’s fast becoming bigger business than the sale of the music itself. The music industry, traditionally centred around selling only music, are clambering to get into the merchandising game offering bands 360 record deals that include selling merch (and live shows, plus distribution, publishing etc.) in an attempt to bolster their languishing profits. Traditionally the bastion of mega b[r]ands like Kiss and Iron Maiden, it’s now becoming normal for even the most marginal of bands to view themselves as a brand – the era of bands as brands is upon us.

It’s worth clarifying what I mean by ‘branding’. The retail world decades ago cottoned on to the fact that a consistent approach to advertising their products led to more sales. It’s a simple psychological reality that, when someone who is given a choice of similar items, they will choose one that they are more familiar with or is more recognisable. It didn’t take advertisers long to work out that, with the right product image, you could build up feelings affinity, identification, even devotion to otherwise completely mundane or functional products. This then expands out to product ranges, then to merchandising related to product ranges. In this day and age, it’s got abstracted to the point where, in some cases, the brand is as important (if not more so) than the product (take Apple as an example of this).

The music industry was slow to get to grips with this, but fast to capitalise – and it’s getting better all the time. The heavy metal world is spectacular at this. Most metal bands have an identifiable logo, a sub-genre, an identifiable band image, and fans that will wear their t-shirts, hoodies, caps etc. This stuff all pulls together to form a band’s brand. It’s what makes you instantly recognisable to folks who know your music, but your brand image is a viral mechanism in itself – a badge of honour, sign of allegiance, a deriver of coolness (or uncoolness) – and when wielded correctly can be the single most important factor in the success of a band.

Bands like Black Sabbath or more recently Mastodon and icons like Kurt Cobain this exude coolness and create culture and identity effortlessly that people immediately attach to. Other bands have record companies pay millions of quid on creating this identity (eg. Linkin Park). But either way, it’s a powerful mechanism for spreading affinity with a band.

Now, on to the economics. Traditional musical marketing, broadly speaking, considers 4 elements (and seemingly in this order of importance):

1. The format containing the music (record, tape, CD, MP3) – the Cornflakes box if you will
2. The music itself – the Cornflakes
3. The band and their image – the Kellogg’s brand
4. Sales of other related stuff like merchandise – like, umm, those branded Kellogg’s bowls you used to get I guess

The purpose here is clear – sell more music, just as it is for Kellogg’s to sell more packs of Cronflakes. Given the dwindling sales of music (you know the reasons, I’ll not patronise you by repeating them) it’s starting to become necessary for this paradigm to shift. To maximise revenue generated by a band, all potential product lines must be considered, and their relative commercial merits should be judged within the context of that particular band – to give a facile example, metal fans are more likely to buy t-shirts and CD’s whereas Dance music fans are more likely to buy records and record bags. So if your core motivator with regards to generating cash is no longer the music, but a diverse and malleable collection of product lines, where is your focus? The band of course! The band, their music, their image and that of the label are vehicles to shift more stuff, be it CD’s, bandanas or bog roll. In fact, it’s conceivable for a band to exist and be very successful without ever officially releasing any music at all (more thoughts on this at a later date)

And let’s be perfectly clear here – a fan that buys a t-shirt is potentially more important to you than one that buys the music. Why? Well, they like you enough to wear your band’s name on their body, and walk around like a big advert. They hang around with their buddies who want to know who the hell that wondrous looking band on that t-shirt is. People are now talking about your band – the importance of this should not be underestimated. And because kids tend to like to fit in with the crowd, they’ll probably all go off and buy one for themselves, thus propagating the same mechanism. Did all these kids ‘steal’ your album from the interwebs? Probably, yeah, but what have you really lost? You’ve shifted some t-shirts that you probably wouldn’t have, which are generally more profitable anyway, and whether they bought the music or not, they’re still fans.

File sharing aside, squeezing profit, or even return on investment on physical and even digital music sales is nigh on impossible for most bands. The overheads are big, distribution and promotion hard and costly. Merchandise tends to be more profitable as the margins on each item are higher and the overheads lower. Also, when you concentrate on selling the music, you can really only sell a couple of items to any 1 individual (CD’s, collector’s packs, record), but clever branding and merchandising opens the door to sell a whole range of other items to peddle to all the adoring fanatics.

Now, to be clear, I’m not suggesting that unsigned bands stop releasing albums/EPs. The artistic merits of the album format aside, they provide a vital marketing mechanism, and a way to manage your marketing over time in discrete chunks (analogous to campaigns in marketing speak). Spending out on decent recording and some nice artwork is essential, but when looking to recoup that cost, you should place your emphasis on selling merchandise rather than CDs, and even consider giving the music away in digital form, either in part or in its entirety, to help shift more merchandise and spread awareness of your band. This depends on the band, but you should generally only consider a physical release if there is CLEAR demand for it, and always consider getting up on iTunes as the priority.

The best approach to branding and merchandising will be different for every band, and the key to success is agility – the ability to roll with what the fans are demanding – something which the bigger record companies are terrible at.

If you’re in a band, you’re agile and creative, so this stuff should come naturally to you, so get on with it!

I’m generally quite predictable. In these articles (otherwise known as drops in the ocean) I tend to say a little about the band’s legacy and some history before introducing the track. The tracks themselves are usually fairly obvious ‘classics’ or fan favorites. (It is fair to say, that I haven’t actually written enough to constitute a trend, but I’m gambling on the fact that if anyone bothers reading this, they won’t expend the effort to verify my claims). But what hasn’t already said about Iron Maiden? Bruce “compulsive dabbler” Dickinson has said a lot of it at any occasion that some misguided soul listens to him. It would be pointless to sing the virtues of Run to the Hills (not a favorite of mine by a long shot), or 2 Minutes to Midnight (surely one of the greatest metal tracks of all time?)

No, I humbly bring your attention to a track that, perhaps, you haven’t considered for a while. Somewhere in Time is not considered among Maiden’s most revered albums, although it sits comfortably in the middle and has by far the best cover art (feel free to debate this, but you ARE wrong). It was certainly one of their most commercially successful, and Heaven Can Wait was a live favourite for some time.

But amongst the radio friendly (Wasted Years) and pseudo-prog epics (The Loneliness of the Long Distance Runner) sits a hidden gem.

Sea of Madness, penned by the band’s pop-metal factory Adrian Smith, harks back to the melodic flourishes of Piece of Mind. It’s a simple trad-metal anthem. No new ground is trodden here – verse-bridge-chorus, repeat, guitar solo (nothing to write home about), quiet bit, repeat the fist bit again. There’s a bit where Bruce goes who-a-o-a-o-a-o. And what a chorus, truly anthemic, unintelligible lyrics, talk of madness, sadness and eagles. What could be more (mid eighties, post NWOBHM) metal?

OK, so I’m pushing the definition of the word to call this song a classic. Maiden didn’t roll it out along with (other hidden classic) Moonchild on their recent Somewhere Back in Time (see what they did there?) tour, but it’s seriously one of my favorites, so just shut up for a few minutes and give it a go – you’ll love it, I promise. If you don’t, then Number of the Beast is pretty good too.

If I had to sum up my thoughts on last night’s Mastodon gig at the O2 Islington Academy in less than 5 words, they would be “It is not cool”. Allow me to elaborate.

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When Iron Maiden, touring to promote their (admittedly excellent) album A Matter of Life and Death they played the whole album, note for note, in its entirety from the beginning of the gig. That was not cool. However, in the fullness of time we forgave the Maiden their misdemeanor as, as they rightly put it, they had earned the right, after 2 and a half decades, to play their prized and critically acclaimed new album from start to finish live, should they so wish. Or to put it another way “we are Iron Maiden, and we can do what we want, so f*ck off!”. Fair enough as they did conclude the gig with some time honoured classics, but it still spoilt my enjoyment of the gig.

When The Mars Volta did the same thing, on their debut tour, celebrating their debut album, it was also not cool. But in fullness of time we learned to forgive them as, at that point it was the only material that they had ever recorded. They could have jumbled up the order a bit to make things a bit more exciting, but Deloused in the Comatorium was a concept album which threads a narrative, so playing it out of order would have seemed a little strange.  Fair enough, and the quivering afros did enhance the entertainment value somewhat.

When Metallica chose to perform their seminal album Master Of Puppets (1986) while on tour in 2008, this was cool. This album had earned its right to be performed in its entirety live. I would have killed to have seen that.

When, last night, Mastodon decided it would be appropriate to perform their (admittedly excellent) album Crack in the Skye in its entirety (I can only assume as I left half way through track 6) IT WAS NOT COOL! It still is NOT COOL. Neither band nor album had earned that right, and they had plenty of other astounding musical ditties to choose from.

You see, live music is all about spontaneity. If I want to listen to an album I can stick it on my iPod anytime and listen to it. I can even jumble up the order so I don’t know what’s coming next. I don’t need to spend 15 quid to breath in other people’s sweat and queue at the bar for overpriced beer – I just put my headphones on. Unpredictability cannot, and should not be taken for granted. Part of the mystique of the live experience hoping, nay praying that they play your most prized track, watching the clock thinking closing time is drawing uncomfortably near. Will it come as part of the encore? Will there be explosions or and extended space jam (thank you for this many times Queens of the Stone Age)?  Sculpting a set list is a different discpline than putting together an album’s running order. Knowing the setlist of AC/DC’s phenomenal gig at the O2 arena earlier this year actually detracted from my enjoyment of it, despite the fact that they always play the same stuff.

Hear me now Mastodon (or should that be Mastodon’t), it is NOT cool!

I can only thank Valient Thorr, last night’s support, for an electrifying and highly amusing performance in which the songs were in a random order and from multiple albums. Your beards are truly inspirational. Valient Thorr, that IS cool.

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