Wow, what’s up everybody once again?
Alright, I got to talk about something that a lot of managers have done.
Not every manager, of course, but a lot of managers have done this and maybe some more managers need to be where it is. Strategy artists, you should be aware of this too.
It’s just a thing.
And what that strategy is essentially is below one artist to bring a more sustainable artist some visibility. What do I mean by that?
Sometimes, you have artists that are, let’s just say, more lyrical.
And in this type of space, where it’s harder for them to get visibility commercially because they likely don’t have that single thing that’ll just take off and cut through.
However, you might also have another artist who makes that type of music, more single-driven music, so it’s easier to cut them through.
Sometimes people just call them superficial, or they are not really talking about anything, whatever.
But the point is that artists find it easier to just break through into the marketplace.
So you push that artist first.
And once you get that artist to break through, now you have visibility, resources, and credibility, and even a growing network that makes it easier to blow up those other artists. A perfect example would be being a mirror. I’m not saying he’s a super single artist who doesn’t talk about anything. I’m not saying he’s a super deep into his catalogue.
However, why being a mere had that one song that was similar to a song, I can’t remember the name of it, and him blowing up and giving the name or credibility.
And then you get to bring in artists like Why being core, who just by nature, that type of music, he makes it his style is going to have a more sustainable and reliable income over a longer period of time.
Because that’s the thing about that type of art is when you think about lobbying for days, or let’s say a Kendrick or Jay Cole, anybody in that sphere, you know, y’all know all the artists, they might not even necessarily be that big.
When they find fans,
They add fans for life.
And it’s easier for them to evolve with their fans because they’re already speaking with more mature content.
Then, on the other hand, you’ve got these other artists that are easier to get to bring through into the marketplace.
But even if they aren’t just one-hit wonders, their full career probably has more highs than lows. Higher highs are actually lower lows, though, and that’s the problem. They are not as consistent.
You got to it’s like, what have you done for me lately?
Daniel Cesar is one of those artists who obviously has those connections to, like, a chance manager and all these other resources that were able to help him blow up.
But his type of music, once he’s there, he wants to hit a certain plateau, or just a certain level. He’s gon na be good for a long time. Because of the type of music that he makes, he might not ever have a hit as big as a Cardi B or something, but he’s gon na be good.
So that’s just something I want to put out there for managers. Right. There’s something that you can do if you have multiple artists, or if you’re just looking to figure out how to make this whole thing shake. Maybe you need to get another artist that will give you a little bit more of that short-term success to then flip the longer-term artists into things. That’s the way people look at it.
I know artists’ autolite. This is how that’s how a lot of business people look at it in terms of the industry.
But for an artist, the same thing, that same concept, you can apply to yourself, like so many other artists have done when it comes to blowing up with one single. You have that one song that then leads into the rest of your catalog.
So you have that one song that’s a hit, but then you make sure the rest of your catalog is a little bit more of that other type of stuff that you really want to have for your career.
So then a lot of people come because of this other thing, but then the only people who stay are the ones who are interested in this thing. It has beauty, visibility, and now you can continue to build up off of that other thing.
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