4 Ways Bands Can Build a Local Fanbase

One of the most essential things a band needs in order to become successful is a fanbase. For bands starting out it is very difficult task to build their fanbase and it can often seem extremely daunting. While it is all and good that your close friends and family support you, the most important fanbase consists of people who you don't know. But how do you reach and build that fanbase? Here are 4 ways bands can build their local fanbase.

1. Brand Visibility - Every band has a brand, whether they work on it or not, and this brand is the
band's identity. From the band logo and songs to the way the band interacts at shows and on social media, they are all part of a band's brand. To become successful a band needs to not only create this brand to best represent them but they must make their brand visible and rememberable. Merchandise is one of the best ways to get your brand out because it allows your current fans to advertise for you, especially items that can be given away for free such as stickers, buttons, or posters. Just getting your band's image and name out there is very important because you are establishing your brand recognition or as many in the industry say; creating a buzz.


2. Perform - Performing live is an essential part to building your fanbase as well as making your current fanbase even stronger. An amazing show can turn someone who just enjoys your music into a loyal fan who passionately promotes your music to their friends. Be sure to book smart and not overplay certain areas, if you play an area too much it can burn out your audience and start to hurt your draw. Some of the best places to play are venues and bars in small towns near your area, small towns often appreciate live bands more because they get less of them and it is often one of the only things to do in town that night.


3. Network - One of the most important things in all business fields is networking. As the saying goes "It's not what you know, but who you know" and in the music industry it especially rings true. Luckily there are a ton of ways to network in the music industry and with the right attitude and drive you can easily open yourself up to many opportunities you may have never thought about. Shows are some of the best places to network in the music industry and it's also a great way to show support to fellow musicians. Just by going out and showing support for other local bands you are helping your local scene thrive which helps you in long-run. Always have a business card handy as well, it not only looks professional but makes it easier for people to remember and contact you.

4. Promote - The most important tool in a bands arsenal is their ability to promote themselves. You need to promote everything you do; shows, tours, cd releases, videos, etc. In fact the three previous items in this list can be considered as promotional tactics but they are only a small part of promoting. Every industry and field relies on promotion, even massive internationally recognized brands and companies constantly focus on promotions and marketing, so for a local band it should be no different. Think outside the box and try to find innovative ways to promote your music and brand but most importantly come up with a game plan. Set goals for yourselves and make sure everyone is on the same page, a team effort is your best shot. Don't limit yourselves because sometimes crazy things may work like when Alien Ant Farm crashed a Justin Timberlake concert, Gay Pride parade, and the BET Awards. Some artists go other routes such as Lil' Dicky who paid to get professional music videos made of his songs and released a new one every few weeks.

It takes a long time and a lot of work to build up a fanbase but with the right attitude and a lot of ambition you may end up surprising yourself.

Be sure to check out similar articles;
7 Things Bands Do To Make Promotors Frustrated
8 Things Every Musician Should Know About Music Publishing
6 Reasons Why It's Important For Bands To Tour

Songwriters Equity Act 2015

On March of this year multiple Senators and Representatives Reintroduced H.R. 1283 and S. 662, which is also known as the Songwriters Equity Act (S.E.A.). This legislation was originally introduced in 2014 but has found backing from members of both sides of the aisle. What the bills essentially do is require the Copyright Royalty Board Judges to establish rates and terms that most clearly represent the rates and terms that would have been negotiated in the marketplace between a willing buyer and seller, when setting royalty rates under the compulsory license available for the reproduction and distribution of musical works (a.k.a "mechanical license"). When they are establishing such rates the judges must base their decisions on the current marketplace and economics  as well as information presented by the participants.

What this means for songwriters is that the courts must establish digital performance rates based on fair market values, something songwriters have been trying to fight against since the digital age has affected the music industry. ASCAP even released a video (embedded below) and hashtag #StandWithSongwriters that emphasizes how one million streams earns a songwriter only $90.

Some people believe this bill doesn't go far enough and we really need to get rid of the Credit Royalty Board altogether to allow for a free marketplace. In 2012 a D.C. Circuit Court even found the 3-judge panel to be considered Unconstitutional, with the Senior Judge's opinion stating;

"Intercollegiate Broadcasting, Inc. appeals a final determination of the Copyright Royalty Judges (“CRJs” or “Judges”) setting the default royalty rates and terms applicable to internet-based “webcasting” of digitally recorded music. We find we need not address Intercollegiate’s argument that Congress’s grant of power to the CRJs is void because the provision for judicial review gives us legislative or administrative powers that may not be vested in an Article III court. But we agree with Intercollegiate that the position of the CRJs, as currently constituted, violates the Appointments Clause, U.S. Const., art. II, § 2, cl. 2. To remedy the violation, we follow the Supreme Court’s approach in Free Enterprise Fund v. Public Company Accounting Oversight Bd., 130 S. Ct. 3138 (2010), by invalidating and severing the restrictions on the Librarian of Congress’s ability to remove the CRJs. With such removal power in the Librarian’s hands, we are confident that the Judges are “inferior” rather than “principal” officers, and that no constitutional problem remains. Because of the Appointments Clause violation at the time of decision, we vacate and remand the determination challenged here; accordingly we need not reach Intercollegiate’s arguments regarding the merits of the rates and terms set in that determination."

The future of the music industry, streaming services, and intellectual property rights as a whole is still hard to determine as newer technologies keep changing the intellectual property landscape. One thing is certain, change is bound to happen soon.