From what I can see the Bandcamp targets tier view content 1,2 and 3 generated all the income with the. 1 was the Spotify links and the other was the Bandcamp links. So from what I can gather from this you had 2 targets. We haven’t done anything special to promote “Time to Wonder” but it appears to be taking off on its own.īrilliant post Brian. Release Radar is sharing most of the tracks, including a few that were previously released as singles. If you try them out, please comment here with your results! I still have unanswered questions about the service’s inner workings, but for now I feel confident recommending them for a Spotify conversions campaign – not an exposure campaign. I’ve been paying $225 a month since May and have accrued 3.6K new Spotify followers through them, all of whom automatically presave each new release. That’s thanks to a service called Rise that I’ve been planning to write about for quite awhile now. You may have spotted the insane number of saves on some of the tracks, particularly my new single which as more than twice as many saves than streams! So maybe 20K streams since release? I should’ve kept track. I’m seeing 14K streams in the past 28 days, at 42 days post-release. Spotify for Artists reports 58K streams since 2015, but that’s deceptive because it includes the streams from tracks that were previously released as singles. Eventually those fractions of pennies from Spotify will put us back in the black. I paid mechanical royalties for 100 units via Easy Song Licensing (tell them I sent you!) for $300, leaving us $1025 net.įacebook ads amounted to $1080, so we more or less broke even, which was the plan. I treated the focus track promotion as I would any single release, starting with hiring Walker Dunn to create a Spotify canvas based on Depeche Mode’s album art, which he repurposed as a YouTube visualizer.Īfter Bandcamp’s 15%, that’s $1325. Granted, the song (“The Sun and The Rainfall”) is pretty obscure, as are most of our other selections. We opted to make our Depeche Mode cover the focus track, which is pretty much the center of the bullseye in 80s synthpop circles. We had already released six of the dozen tracks as singles over the past eight years, so those weren’t candidates for Spotify editorial pitching. I sent out a couple unrelated emails as well. To be clear, it wasn’t all Peripheral, all the time.
GREEN SPOTIFY PLAYLIST COVERS PLUS
In the end, I decided that fans’ comfort, trust, and familiarity with Bandcamp, plus the added discoverability, outweighed the negatives. In fact, between Bandcamp’s lack of pixel support and their 15% fee, I almost ended up taking pre-orders on my own site. I don’t know how many sales those clicks generated, since Bandcamp doesn’t support Facebook’s pixel. In total, $140 of ad spend produced 1608 clicks to Bandcamp and a solid number of comments and likes. The “GLW” stands for “Green Light Warmth,” hitting audiences who previously engaged with me from the same countries as the cold traffic campaign. “Peripheral Cold” is the carousel ad, and “Peripheral GLW” is the announcement post. I announced the album to my email list and on socials with a (true) story: For better or worse, those demos are now a permanent part of the deluxe edition. The plan was to remove those demos on release day, but then I realized that buyers wouldn’t be able to stream them from the Bandcamp app. As a bonus, I included the eight demos I provided to Matt. The vast majority of sales occurred before release day as Bandcamp pre-orders. This post-game analysis is extremely helpful, and I probably wouldn’t bother if you weren’t around to read it, so thank you! The Pre-Release Campaign I’m going to break down the campaign from start to finish. Every Bandcamp sale was an opportunity to reach more listeners. Instead we focused on getting the album heard by as many people as possible. We could’ve just promoted the release to our existing fanbases, pocketed $600 each, and moved on. My previous USB key release was a nightmare, with drives spontaneously corrupting after a year. The deluxe edition is outselling the standard by an 8 to 1 ratio, and the only physical format it would fit on is a USB key. In retrospect, digital-only was the way to go. So we released it digitally in two flavors: a 12-track standard edition and a 36-track deluxe edition. We would’ve absolutely, positively lost money. As much as we would’ve loved pressing CDs or even vinyl, paying the rights for 1000 CDs doubles the cost.