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Networking event be like: everybody dey hold cup of chin-chin, smiling, exchanging "let's link up" β nobody go ever link up π But sha, that ONE genuine connection wey stick fit change your whole career. Show up anyway. Quality over quantity.
3/ Small exercise: pick your best song right now. Write down every possible way e fit still earn money this year that e never earn yet. That list na your to-do list. Go execute am. ππΈ
Money mindset shift every artist need π§ π°
1/ Stop thinking "how many people go hear this song" and start thinking "how many ways this song fit make money." Streaming, sync, publishing, live performance, merch β one song, multiple income streams if you set am up right.
2/ Most artists dey release song, hype am for 2 weeks, then move to the next one β abandoning royalties wey suppose still dey grow quietly for months and years after. Your catalog na an asset, treat am like property, not like content.
Grind mode activated π₯ Two jobs today: make good music, and make sure people fit find the good music. Talent without strategy na hobby. Talent WITH strategy na business. Which one you dey run?
Playlist pitching truth nobody dey tell new artists: rejection no mean the song bad, e fit just mean the curator don already get enough songs for that vibe this week. Improve your pitch, improve your metadata, try again next release. Persistence dey pay for this game. πΆ
Village people: "we don see your vision, we don cast am"
Me: opening my laptop to check Linkliv analytics at 1am π
Dem no fit cast consistency. Dem no fit cast discipline. Keep building in silence, make the results talk for you.
3/ How to start: keep some instrumentals ready, make sure your songs dey properly registered (see thread on publishing π), and start reaching out to small production houses, skit makers, and ad agencies directly. Small placements today, bigger ones tomorrow. π₯π΅
2/ Nollywood, Nigerian ad agencies, and skit makers dey always search for original music β many times dem no even know how to find independent artists sef. That's a gap. If you no dey positioned, na international library music dem go use instead.
Let's talk about sync licensing β the money move most Nigerian artists dey sleep on π¬π§΅
1 Sync licensing na when your song dey used inside a movie, TV show, ad, or skit. The brand or filmmaker pays YOU to use your song. E fit be a one time fee wey pass months of streaming money
Nobody dey talk about the boring part of success: showing up on the days wey nothing dey happen. No views, no comments, no alert β you just dey show up anyway. That's the part wey separate the ones wey blow from the ones wey quit for chapter 3. Keep writing. β€οΈ
Artist: "I need my money today"
Manager: "the platform never pay us"
Artist: "but I saw the streams"
Manager: "streams no be cash, e still dey travel through 5 different countries before e reach your account" π
Studio session be like: producer say "one more take" since 3 hours ago π Meanwhile your voice don dey beg for mercy. But that's how hit songs dey born β for the 47th take wey almost kill you. Patience na the real talent nobody dey talk about.
4/ Action step for today: go find out if your released songs dey registered anywhere for publishing. If dem no dey, that's homework #1 this week. Protect your pen, protect your money. βπΎπ°
Publishing 101 for independent artists π€ (thread, no skip am!)
1/ When you write a song, you own TWO separate things: the sound recording (master) AND the composition (lyrics + melody). Most artists sabi about masters but sleep on the composition side. That's a mistake.
3/ In Nigeria, you fit register with COSON or affiliate with international PROs through admin publishers. Yes e dey stress small, but once e dey set up, e go dey pay you quietly for background even when you no dey release new music.