Digital publicity can be a fantastic way to build the necessary online foundation to set yourself on a path towards success. But like much of digital marketing and music publicity, the process and subsequent results can feel a bit nebulous if proper goals aren’t set in place.
Setting goals for an upcoming digital publicity campaign can help you to do two things that are critical to success:
1. Hire the right kind of publicist
There are many different types of digital publicists, each of whom have a specialty and defined approach to music publicity and PR. Tour publicity, niche publicity, long-tail publicity, short-tail (aka short head or fat head) publicity, and more. Exploring and defining your goals will help you to better determine the right kind of publicist for you.
2. Understand the value of the work
Without understanding what it actually means to receive digital music publicity (again, from the right kind of publicist), each feature that you receive – an album review, interview, internet radio spin, tour coverage, etc. – won’t ever truly satisfy you.
A good way to look a PR is to understand that each feature you receive is simply a step in the right direction. But without understanding where you are going, these steps might not feel like success. By setting the proper goals for your music publicity efforts, you will be able to truly understand the value, and thus the return on investment (ROI) of each feature.
But setting goals needs to be done properly. Certain goals will take more time to accomplish than others, and of course some goals are just completely unrealistic (often the result of insufficient market research and/or lacking music industry knowledge).
Before we dive in to setting realistic goals, let’s look at some unrealistic goals that can lead to the wrong expectations of what is likely to happen from a successful digital publicity campaign.
1. Expecting unrealistic tangible results, e.g. producing a viral video, selling one million albums.
2. Presuming you can establish a self-sustaining career in music from PR alone.
3. Expecting feature placements from industry-leading tastemakers that are far beyond your reach, e.g. a brand new indie artist expecting coverage on Pitchfork or Rolling Stone.
4. Expecting feature placements that just don’t make sense, e.g. coverage from blogs that don’t cover music, your style of music, or who cover national topics and celebrities exclusively.
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