Founder of Topsify, Playlists.net, Artists To Watch Records & ex Warner Music.
Streaming since 2008.
I launched Humble Angel Records on 26th January 2018 and seeing as we’re closing in on our first year in business I thought I’d share some stats and learnings of how things have went.
Since our first release on 26th January until our last release of 2018 on 23rd November (we didn’t release anything in December as no point in competing with Mariah Carey) we’ve released 47 singles, that’s just over 1 a week.
As you can see from the graphic above from Spotify we’ve achieved 240 million minutes worth of streams up until October 2018 (the cut off point for Spotify’s Wrapped 2018). The real number will be higher than this as I don’t have access to all of my artists stats on Spotify but I’m very pleased with this result. From a standing start of zero to 240 million minutes in 9 months is fantastic.
Investing in artists not songs
My biggest shift over the last 12 months or so has been to move towards a more artist development and long-term approach to the artists I work with. When I first launched the label I was signing artists on a song by song basis but I quickly realised in the fast paced streaming world that it takes a lot of time and effort to break through the 30,000 songs that are released on Spotify each day. My best success has come from artists who I work with over time and invest in more of a long term strategy, maybe by partnering with PR teams, radio pluggers, experienced managers, video creators, sync teams and even putting on live shows.
Don’t get me wrong, we’re still a streaming first label and playlists and algorithms are at the heart of what we do. We’re just expanding to ensure success off platform too and making sure we connect with fans everywhere.
Artist highlights of 2018
Here are some of the best moments and successes from Humble Angel artists of 2018. It’s not all of Humble Angel artists, just a selection. I’ll follow up with more artist updates in a later post.
SLANG is Dan Dare, one of the most creative, talented and authentic artists I’ve worked with. We started 2018 with the release of the Terms and Conditions EP and finished up with the heartfelt See You Again. Dan is one of the best lyricists around and can create the most infectious hooks I’ve ever heard. He’s also an exceptional live artist and this year supported La Fontaines on their UK tour as well as The Manor at the Roundhouse in London. 2019 will see him supporting Gavin James on some UK dates as well as some brilliant new music in February.
Singer/Songwriter Fia Moon smashed it in 2018 with 3 releases on Humble Angel, earning critical acclaim far and wide from the likes of Clash (Settle Down is an absolute banger) to the Official Charts (Settle Down is dazzingly honest and a deceptively catchy pop piece that embodies Fia’s rich and melodic sonic diversity).
Fia also played a Sofar Sounds gig in London, appeared on Reprezent Radio, Fubar Radio and RTE2 in Ireland. Fia is also named as one of the 2FM Rising 2019 list or Irish artists to watch in the coming year.
Houssein is already doing well on platforms like Tik-Tok where he has over 1.5 million fans and over 100 million likes and in 2018 he released 3 singles on Humble Angel records to build on his fan base. 2018 also saw Houssein play his first live shows too including Nickleodeon’s televised “Slimefest” and a support slot for Dusky Grey. Spindle dubbed Houssein “Pop’s Newest Prince” and I think they could be right.
Houssein 2018 highlights…
After 6 is probably best known for his massive club collab with Ryan Blyth, “Show Me” which has racked up over 23 million streams to date. In 2018 he topped the no.1 position in the Music Week Club Charts with “Upside Down” and has plenty more to come in 2019.
Ryan is a gifted singer songwriter and when he’s not playing guitar with SLANG he’s releasing beautiful pop songs like Tired Eyes, which was one of my personal favourite releases of the year. As well as being a prolific songwriter, Ryan is also an ambassador for the I Am Whole mental health charity and helped setup their first gig which saw the likes of Ed Sheeran, Anne-Marie, James Arthur, Olly Murs and more play live together in 2018.
Malia is only 3 singles in but has already racked up over 10 million streams, been tipped by Taylor Swift and supported JoJo on tour in the US. With one of the strongest and unique female voices around and industry heavyweights J Kash and Ross Golan in her camp 2019 will see big things for Malia.
2019 and beyond
There’s much more coming in 2019, we’ve already signed some amazing new artists and we have some exceptional new releases coming from our existing rosta too. We’ll continue to expand, innovate and develop new strategies, new routes to market and an exciting announcement coming January 25th 2019…
Have you ever seen a New Music Friday playlist with a picture of clouds on instead of the customary artist image and wondered why? Well wonder no more!
Spotify display the clouds graphic when a “secret” big release is coming that hasn’t been announced to fans yet. The reason for this is that songs are released at midnight Thursday local time. So that means that midnight in Australia happens 19 hours ahead of LA so if anybody viewing Australia’s NMF playlist in LA on a Thursday morning can effectively see what tomorrow’s new releases are.
And given that the major labels are all headquartered in the US anyway, they want new releases to drop at midnight in the US (Eastern time) so they can co-ordinate marketing efforts and press releases etc. They definitely don’t want any spoilers for countries that are ahead of the US in terms of time zones.
So next time you see the clouds, be prepared for a surprise release from someone big.
I’ve been working with the guys at Feature.fm for a little while now to help them build the ultimate pre-save tool for artists and labels. The team there are really forward thinking and they asked me to help design the tool to meet artist’s and label’s needs first, so that’s exactly what we did. (For anybody not sure what a pre-save is, it’s the streaming equivalent of when you pre-order an album or single download so you get it in your music library on the day of release.)
Here’s why the Feature.fm pre-save tool is (I believe) the best on the market:
I fully appreciate that this post won’t “connect” with most people and it’s only for the hardcore Spotify nerds. But nonetheless here’s 5 reasons why this is one of the best and most effective Spotify Homepage Takeover’s (HPTO) ever from Universal UK displayed today.
I was talking to a new artist today. He’s released one song in his short career so far and he’s released it through one of the popular distributors. When he originally went to the distributor and asked them (quite rightly) what they could do for his release they asked him to fill in a lengthy form with all sorts of silly questions, the main one being how big his social reach is.
Now bearing in mind that he is brand new, this was before he released his first ever song, he has pretty much a zero fanbase. To be expected right? On receiving this form they then went on to tell him that they couldn’t offer any support because he has no fanbase and there’s pretty much nothing they could do for him, except to make his song available on all DSP’s and take a nice cut for the privilege.
Sadly this is now pretty much the case for all record labels as well as distributors. I’ve heard from so many artists today who are asked from labels, how big their fanbase is, before they even listen to the music. In other words if you don’t do your job for them and build up a fanbase first they won’t even consider signing you.
I can’t begin to say how messed up and wrong this is.
Surely the job of a label is to develop an artist and help them grow a fanbase together? If the artist is talented and has great music then who cares about how many Instagram followers they have? I don’t. The fact that they have great music is all that matters and if you truly believe in them then the fans will come with your help. Isn’t that a record label’s job? Isn’t it remarkably lazy to expect the artist to do all the work, build the fanbase and then give their music to a label to put out? You don’t need a label to do that, they are supposed to be a partner and help you get your music to fans old and new.
And don’t even get me started about all those Instagram and Youtube stars with a massive audience who have been signed up by a label hoping to cash in on what they’ve achieved already and then release terrible music. Just because you have a huge following of fans who like your funny YouTube videos or makeup tutorials doesn’t mean they want to hear you sing.
This is partly why I set up Humble Angel Records, I have an open submission form where anyone can send in music. I don’t care what your fanbase is, all I care about is if you have good music. We can work on the rest together.
Whilst browsing Instagram stories today I saw this ad promoting Calvin Harris’ Spotify playlist “Calvin Harris Radio“. Interesting as you don’t see many Spotify playlists being promoted other than the major labels playlist brands, but even then not that often.
Naturally I thought it would just be a smart move by Sony to capitalise on Calvin’s fanbase to promote a playlist that’s basically full of Sony content. I say smart as a fan will be much more inclined to listen to a playlist from an artist compared to a label playlist. Anyway I fully expected the playlist to be full of Sony’s priorities. Not the case! Sure there’s 3 or 4 of Calvin’s tracks but a very good mix of songs from all labels, independents and majors and even some catalogue tracks thrown in too. In other words it looks authentic and something the artist would probably put together himself.
So why pay to promote it? I doubt very much Calvin Harris is promoting it personally, he has plenty of other stuff going on. And if Sony are investing in growing the playlist then why haven’t they put more of their own songs in it? I can only think that it’s a smart move to invest in the playlist long term and in a very thoughtful way. By keeping the playlist authentic and not filling it with Sony priorities they will build engagement and trust with his fans and grow the playlist faster. Maybe they plan to grow it and then when Sony songs come along that fit the playlist in a natural and organic way, i.e. something that Calvin will play himself in a set, then they can seed it in and help it grow.
For me this is so much smarter than record label playlist brands that don’t have any loyalty or following among fans and have anything from 80% to 100% of their own content.
Growing a playlist like this one also lessens the label’s and artists dependence on playlists controlled by Spotify or Apple Music. Of course these editorial playlists will always move the needle most but it’s smart to have your own playlist route to market too.
This is probably a blog post on it’s own but now that streaming is unstoppable and here to stay, there really should be more investment and creative thinking into playlist brands. The 3 major labels could all do more with their playlist brands and be more creative and where are the other playlist brands disrupting the ecosystem? There are a few YouTube channels moving into streaming like the mighty Trap Nation and Cloudkid but who else? It will take money and some creative thinking but it can be done. The indie labels have been talking about creating a playlist brand for 3 years or so but nothings happened. Someone really needs to fill this space.
Today, Spinnin’ records announced that they were going to rebrand 4 of their playlists so that they can be easily found in voice activated speaker systems like Amazon’s Alexa.
In a statement the company said… “This means that playlists can now be found under a new succinct name, all have a unique theme and iconic-branding, making it more compatible for the streaming age and ready for voice-activated technology.”
The four playlists are named; Hundred, Brand New, Pixel and Fit.
Whilst the point of whether you should brand or rebrand a product/service to fit in with consumer behaviour is a debate for another day there I think problem with the names Spinnin’ have chosen. Namely that Spinnin’ have made the playlist names too generic. So much so that the exact reverse has happened to their goal.
To test to see if these names were easily discoverable via my Amazon Echo which is connected to my Spotify account I first went in and followed all 4 Spinnin’ playlists in my Spotify account (this usually makes them more discoverable when I play them using voice commands) and then I tried to play them using voice activation.
First of all I tried to play the “Hundred” playlist, here’s what I said and what happened…
“Alexa, play the Hundred playlist on Spotify” – Alexa played the Billboard Hot 100 playlist
“Alexa, play the One Hundred playlist on Spotify” – Alexa played the Billboard Hot 100 playlist
“Alexa, play Hundred on Spotify” – Alexa played the song “OneHundred” by Sims
“Alexa play One Hundred on Spotify” – Alexa played “One Hundred by NF
This went on for a while, I tried every combination of Hundred, One Hundred, One Hundred Playlist and so on. None of the results brought up the Spinnin’ Records playlist. Eventually I gave up and asked Alexa to play “the Hundred playlist by Spinnin’ Records on Spotify” only for Alexa to say that “she” couldn’t find it.
At this point I gave up, and decided to move on to the “Fit” playlist.
“Alexa, play the Fit playlist on Spotify” – Alexa played the “This Is Escape The Fate” playlist ?!
“Alexa, play the Fit playlist on Spotify” – Alexa played a playlist called Spin Fit
“Alexa, play the Fit playlist on Spotify by Spinnin’ Records” – Alexa played the “This Is Fitz and The Tantrums” playlist ?!?!
Once again, no matter what I said I couldn’t get Alexa to play the Fit playlist. OK then moving on….
“Alexa play the Brand New playlist” – Success! Worked first time.
“Alexa, play the Pixel playlist” – Success! Also worked first time. Side note, because all of the playlists have emoticons in the title, Alexa says “Playing Pixel Joystick by Spinnin’ Records on Spotify”. It sounds kinda jarring so I would consider removing the emoticons from the playlist title. If the playlists are meant for voice activation they’re redundant anyway.
So, a 50% success rate. But with only 4 playlists I would want a 100% success rate.
If I was rebranding playlists for voice activation I would make the playlist names as unique as possible. Like Spotify’s Rap Caviar or Bassline Bangers, that way there’s no room for confusion. What I expect is really happening here is that Spinnin’ are deliberately going for a generic name in an effort to mop up some generic searches, i.e. people who ask Alexa to play something “brand new” or “top 100 songs” etc. However I can’t help feel that this strategy is just trying to look for low hanging fruit in the search world and they are much better off growing playlists with a strong unique identity that stand up on their own.
After all, Spinnin’ have built a fantastic dance brand over the last 20 years or so and that’s where their strength lies, not in voice search “SEO”.
Side note, ironically the brand looks great visually.
For a long time now I’ve thought there is something missing from Spotify. Namely the ability for content creators, rights holders, record labels, publishers and more to reach their fans via advertising to Spotify’s audience of 159 million monthly active users.
Now of course Spotify does offer advertising, namely display, audio and video ads. But they are aimed squarely at the larger corporate customer with deep pockets and they’re not cheap. There’s also the issue of ever decreasing click through rates due to “banner blindness” and the fact that the ads are obviously ads (more on that later) so we’re now trained to ignore these.
So what if Spotify offered self-serve ads to artists?
Speaking as someone who manages Facebook pages for brands and artists, one of the things that never fails to impress me is the sheer volume of opportunities I have to spend my money with Facebook to grow my audience. I’m inundated daily with highly personalised offers of how to reach another 500 fans for just £10 or why I should boost a high performing post. It’s relentless but it works as Facebook generated $39 billion in advertising revenue in 2017. $39 billion.
Take a look at this screengrab, as a Facebook page owner you are met with no less than 3 ways to spend money on ads when you open your page.
Photo credit – Buffer
So I’ve been thinking, why doesn’t Spotify offer something similar? Basically a way for artists etc. to easily reach new fans via self serve ads. Spotify did trial sponsored songs last year but being honest, they were too expensive and I don’t think the way they were designed was particularly effective. They no longer offer them so that’s telling in itself. Spotify also announced a new self serve audio ad service last September where they promised audio ads starting with just a $250 investment. This will certainly help when it launches but I think there’s more that can be done.
There’s another big problem here and that’s Spotify’s Premium service is sold on the fact that if a user pays $10/£10 a month they won’t get any ads. So how do you reach Premium users who pay for the privilege not to hear audio ads or seen banner/video ads. Well that’s a problem I’ve spent a lot of time thinking about and here are my ideas.
Here are 5 ways in which Spotify can offer self serve ads that are cost effective and won’t spoil the user experience
1. Paid placements in Spotify algorithmic playlists – to be clear I don’t mean sticking songs in Spotify’s editorial playlists like Rap Caviar and Today’s Top Hits, they are and always should be controlled by the Spotify editorial team. What I mean is Spotify’s algorithmic playlists like Discover Weekly, Release Radar and the 6 Daily Mix playlists that we all get in our Spotify account whether we want them or not. There are also seasonal algorithmic playlists that crop up now and again like “The Ones That Got Away” that offered a playlist towards the end of 2017 of songs that we should like but never listened to. In fact if you look at Release radar the description even says “Catch all the latest music from artists you care about, plus new singles picked just for you”. Discover Weekly says something similar.
With Spotify’s smart genre targeting these paid placements wouldn’t be harmful to the users listening experience either. Spotify already maps artists who are similar to each other and it knows what kind of music we listen to so it would be a simple process to find fans to target for a specific song or artist. That way a metalhead wouldn’t get Justin Bieber’s latest single in their Release Radar playlist for example.
I see this kind of ad being self service where an artist or label could log into their Spotify Ad Manager™ control panel, choose the song from their artist (already live on Spotify) and be offered a range of targeting options and prices. Something like “Reach 10,000 new listeners for $100” via Discover Weekly or similar, depending on the artist, genre and pool of fans who would match the song. I’ve seen songs from emerging artists generate over 100,000 streams just from being placed in Discover Weekly, these algorithmic playlists can deliver significant volume. This could be capped too so that no more than 20% of the songs are paid for placements.
2. Radio – As above, Spotify’s Radio algorithm can also drive high volumes of streams. So again using what Spotify knows about our listening habits they could offer placements in radio channels and any instances of Spotify’s Radio function being triggered.
3. Recommended Song – At the bottom of playlists now you will see recommended songs based on the content of the playlist that the user selects. Again this could be a pool of sponsored possibilities.
4. New Releases – Another opportunity to get your song/album in front of fans. There’s also a selection of “Top Recommendations For You” under the Discover tab in Spotify.
5. Sponsored songs/playlists/albums in Spotify Free – while the 4 ideas above are for Spotify Premium or Free I think it would be great to offer artists self service ad formats in the Free service that can also boost awareness and streams. So just like banner ads and video ads these ad formats are clearly labelled as such bit instead of having to stump up a few thousand pounds/dollars for a custom campaign from the Spotify ad sales team these are self service and can be purchased from say £50 or something. Spotify could offer a range of templates to ensure quality control and/or all ads would need to be approved first but I don’t see why these wouldn’t work. Obviously they wouldn’t be as effective as the other methods above but there’s still a percentage of people who do click on ads, especially if they are creative and targeted.
The one issue I could forsee with all of the above is the fact that streams of course count towards chart positions and what’s to stop a major label with extremely deep pockets to buying their way into the charts? What if they bought up all of the inventory available for an almighty push towards one song? Would that matter?
Well of course you could argue that there is a built in fail safe already given that a song must be played for 30 seconds or more to count as a stream. But if Spotify’s targeting is good (which it is, I always find great new music on my Discover Weekly) then users will like the song and play it all the way through anyway. So ethically is that wrong?
Another way to handle this is to put limits on the total reach for each song. Let’s say for example that every song you want to pay to promote will only ever have a total reach of 1 million fans a month. Or however you want to cap it.
The details of course need to be thought about and ironed out but one thing I know for sure is that artists and rights holders are desperate to give Spotify money in order to reach new fans in an effective way. I work with so many artists and labels who are forced to put their money into Facebook ads because there aren’t any other options on Spotify and sadly because of the very nature of these “off-platform” ads they’re not that effective.
If there was a way to directly buy ads in Spotify there would be a huge appetite from the creative community and I’m sure a share of Facebook’s $39 billion in annual ad sales would find their way into Spotify’s ecosytem and then because of the way Spotify distributes it’s revenue, back to the artists. Win-win right?
I get emails pretty much daily asking me if I offer playlist pitching services for independent (and major label for that matter) artists. I decline them all as it’s not something I do but I thought I’d give some advice here as to what artists can do themselves to make sure they build up fans and therefore streams and therefore playlists adds on Spotify.
There really is only one step, it’s easy….
GET YOUR FANS TO FOLLOW YOUR PROFILE ON SPOTIFY
That’s it. This is the key to success on Spotify. No need to pay that “streaming consultant” £500 a day from now on. You’re welcome, buy me a coffee sometime.
Good question. if you get fans to follow you on Spotify, a few things will happen which in turn will lead to playlist adds by the Spotify editorial team…and their algorithms.
OK but how? What works?
The short answer is to be engaged with your fans, whether it’s via social media, email lists, YouTube videos, whatever works for you. The key is to keep talking to them, build their support and then drive them to your Spotify profile. Here’s some examples….
The above Twitter feed is from another of my artists, Lucy Neville. We’re currently sending out her new single to bloggers and radio and Lucy is being proactive by engaging with the people who have responded and downloaded her forthcoming single. Establishing one to one relationships like this is super useful.
This is Samantha Harvey, a YouTuber who is also releasing a single tomorrow on Virgin. She’s has a large loyal fan base from YouTube so she’s directing them via Instagram stories, Snapchat and more to pre-order the single from iTunes, Amazon and Google Play and will pick someone to visit in person who pre-orders from all 3 services. If you’re a well established artist with long term fans then asking them to part with money for downloads can work but you can use the same method to drive fans to follow you on Spotify.
The above is just a taster of the kind of thing you can do to build your profile and fan base on Spotify, there are countless other ways. Key is to just keep engaging with your fans.
If anyone doubts the impact that the Release Radar playlist can have then take a look at the graph below. That huge spike in streams is what happens when an artists song is added to Release Radar. Notice how they continue on an upward trend after the initial drop after Friday’s peak when the playlist updates too.
Founder of Topsify, Playlists.net, Artists To Watch Records & ex Warner Music.
Streaming since 2008.