Ariana Grande closed out her One Love Manchester benefit concert with an emotional rendition of “Somewhere Over the Rainbow,” a tribute to the 22 people killed in the terror attack in the British city less than two weeks ago.
Near the end of the song, Grande became overcome with emotion and had to stop the performance before the cheers of the crowd powered her toward the finale of The Wizard of Oz classic.
Grande was a fixture throughout the three-hour concert, performing alongside Cyrus, Coldplay, Black Eyed Peas, Mac Miller, Victoria Monet in addition to playing her own hits.
According to the Red Cross U.K., the benefit concert raised over $9 million. “Well, the fantastic news is we’ve already raised around 7 million pounds [$9 million],” chief executive Mike Adamson told the Associated Press. “And we expect to raise another one and half million pounds from ticket sales tonight and then further funding from the TV rights and merchandising. So, we’re really looking to appeal that’s going to move towards 10 million pounds.”
The all-star One Love Manchester concert’s second-to-last song featured many of the artists involved – Ariana Grande, Coldplay, Katy Perry, Miley Cyrus, Pharrell Williams and more – joining Grande onstage for “One Last Time,” with the artists clapping and cheering along to the My Everything song:
Politicians, motivational speakers and sports coaches all use music to energize, motivate and inspire their audiences. The Sync Project takes a look at some of the best examples of our time.
In the wake of the unprecedented events of the recent US election, it’s worth listening to the music that each of the two candidates used to inspire their audiences. Hillary Clinton’s team even released the Official Hillary 2016 Playlist, packed with millennial-appeal tracks like Demi Lovato and Jason Derulo’s Together to back up the “Stronger Together” message of her campaign. Contrast this with the music played by president-elect Trump at “Make America Great Again” rallies, with tracks like John Mellencamp’s R.O.C.K in the USA and Born on the Bayou by Creedence Clearwater Revival.
Politicians are not alone in this use of music to inspire and carry a message. Another great example of someone who uses this technique is American motivational speaker Tony Robbins. Before and during his live events — which consistently sell out to massive crowds — Robbins uses music to build energy, unleash emotion and draw the crowd together. Music is so much a part of Robbins’s shows that his website even has a list of tracks commonly used at his events. It features familiar songs like American Pie by Don Maclean (universally appreciated and likely used to bring the crowd together as one); Jump Around by House of Pain (perfect for when energy levels start to drop and you want everyone to, well, jump around); and Clocks by Coldplay (for those moments of euphoric epiphany that are the reason people go to see Robbins the first place.)
Robbins is in fact not the only one to have used Coldplay for motivational effect. During the European professional soccer season of 2008–2009, coach Pep Guardiola chose Coldplay’s track Viva La Vida to inspire the FC Barcelona team before games. With its upbeat pace and feeling of gathering momentum, the track appears to have been a smart choice as that season Barcelona won all six competitions they could possibly have played in — a feat that no team had ever pulled off before.
DON’T LET THE DOPAMINE DROP
It must have been a tricky gamble for Guardiola, because we all know that feeling of “oh no not again” when a song is overplayed. As Psychology Today points out in an article from 2012: “Predictability… can make songs you love seem mundane by reducing anticipation and creating a rut. Randomness in music has been linked to increases in dopamine.”
Guardiola thought was using the track as part of a self-reinforcing virtuous circle: the team listened to it, got psyched up, and went out and won the game — week after week after week. Rather than getting tired of the track, the players presumably came to associate it with winning, and with a pre-game feeling of “we can do this, we’ve done it before, now let’s go and do it again.”
Fortunately, there’s a bit of research to backup the intuitions shared by sport pros about the power of music. Studies have examined the support of music during sports and athletic training, all the way from warm-up, exercise and recovery, and shown it has real physiological benefit.
Scientists have studied runners and cyclists during their exercise routines and shown that movement to so-called “motivational” music helped runners have lower lactate levels. Cyclists completing high-intensity interval training showed felt less tired after giving it their all when music was used during the exercise. Sync Project launched it’s first study last year with Hintsa Performance to evaluate the effects of personalized music on high-intensity interval cycling.
The benefits also extend to warm-up routines where music raised heart rate and increased peak anaerobic power during their workout. It turns out music can even make you like exercise: a recent study showed when people listened to music or watched music videos when exercising with considerable effort they reported more enjoyment than without it. Research has also shown that music can help with recovery after strenuous exercise, by motivating listeners to move after their workout and reduce lactic acid buildup.
Some tracks seem to become forever associated with sporting prowess and success, such as the title tune from the 1981 historical drama “Chariots of Fire.” The film is about two British athletes competing in the 1924 Olympic Games — one of whom is running against all odds — but it’s the theme by Greek composer Vangelis for which the film became iconic. Vangelis in fact won an academy award for the film’s musical score, the title track of which has been associated with the glory of sporting achievements ever since. It was even used during the opening ceremony of the 2012 Olympic Games in London, having seemingly made a leap into popular culture forever.
Written by Marko Ahtisaari, CEO and Co-founder Sync Project
Originally published at syncproject.co on November 23, 2016.
Music automatically moves us. Even if you are sitting absolutely still, your motor cortex is still active when you listen to music.
This special link between movement and sound is thought to have been around since music began. It has been proposed that through its capacity to synchronize movements of individuals, music made it possible for us to cooperate more efficiently and thereby survive as a species. Music can therefore be thought of as an inherently social phenomenon, and as something that exists to move us in synchrony, in order to help us bond.
This aspect of music perhaps explains why one of the most common ways of enjoying music is at a concert setting, or at a dance party where we are also able to move together. But what actually happens when we move together to music? Is the thought of bonding through dance just a theory or is there evidence to support that dancing truly makes us closer to one another?
A recently published study¹ revealed the surprising effects of merely moving together in synchrony.
In the study, 94 participants first learned four basic dance moves. Then, they were asked to dance together with three unfamiliar individuals. Each participant had their own headphones through which they heard music, as well as short instructions on which pre-learned dance moves they should execute. This use of individual headphones made it possible to look at the effects of synchronized movement independent of the effect of study participants all being exposed to the same sound stimuli. (As a side note, having people listen to music from headphones but still dance in the same space is called “silent disco”. And it seems to be getting quite popular at the moment!)
Study shows dancing in synchrony increased pain threshold ratings
The silent disco created in this study had three different conditions for dancing together: in the synchrony condition, all participants executed the same dance moves to the same music. With the partial synchrony condition, the participants danced the same movements to the same music, but at different times, meaning that no two individuals were doing the exact same move at any point. In the asynchronous condition, the participants danced completely different moves, meaning that each individual’s dance had a completely unique set of moves. In addition, in the asynchrony condition, the music pieces were not played at the same time for any participant.
Before and after the dancing session, the participants were asked to rate the amount of social closeness they felt towards the other participants they had danced with. In addition, as a more objective measure of bonding, the pain thresholds of the participants were measured before and after the silent disco.
Why did the scientists measure pain thresholds? Interestingly, elevation of the pain threshold may be used as an indicator of social bonding. According to the article, previous research has shown that synchronous activity with others like group exercise or synchronous rowing elevates pain thresholds; implying the group activities actually made it easier to deal with pain. It has been suggested that this happens because such activities activate the endogenous opioid system — triggering release of our body’s own painkillers. The release of these endogenous opioids has in turn been associated with feelings of closeness towards others.
According to the results of the study, dancing in synchrony with others increased pain thresholds, and also resulted in significantly higher ratings of closeness, than dancing in partial synchrony or asynchrony. In other words, moving together to the same music in synchrony made the participants feel closer to each other and also increased their tolerance for pain, possibly signaling an increased release of the body’s painkillers in the synchrony condition.
In summary, moving together with others to music can act as a quick icebreaker — making you feel closer to previously unknown people. As an added bonus, as well as a potential mechanism for increasing closeness, synchronous movement may also increase your pain threshold. This finding is an important addition to the body of literature showing that music listening can be used for pain management. Perhaps including a social aspect to enjoying music could increase its analgesic effects?
WRITTEN BY KETKI KARANAM AND MARKO AHTISAARI
- Tarr, B., Launay, J., & Dunbar, R. I. (2016). Silent disco: dancing in synchrony leads to elevated pain thresholds and social closeness. Evolution and Human Behavior. DOI:/10.1016/j.evolhumbehav.2016.02.004
Originally published at syncproject.co.
At Slush 2016 in Helsinki we announced Sync Music Bot for Slack. This first of a kind chatbot delivers daily sets of music to help you work, relax and exercise. You can install it at syncmusicbot.com.
The daily music sets are personalised to you and are based on a combination of millions of crowd-sourced health playlists and acoustic analysis. Over time, as more data becomes available from wearable sensors, the bot will learn from your physiology.
Over 100 slack teams globally have been testing the chatbot over the last month and we’re grateful for all of the feedback and suggestions we’ve received. As a result, the bot includes a lot of delightful details, like social features baked right into Slack, for easy sharing and reactions to music. Read more about the design of Sync Music Bot here.
We all know the feeling when a day starts well, when we are proactive and productive. Music plays an important role in motivation and focus. Today, we want to share Sync Music Bot with Slack teams all around the world who love music. This is the next step on our quest to unlock the personalized health effects of music.
PS: We love Slack!
Music Journalists Wanted
Do you have a great music story you want to share with the world?
Maybe you want to flex your journalistic muscles and get something off your chest?
At Freedom For Musicians, we are always looking for guest bloggers and contributors who would like to post on our website.
You will be fully acknowledged and can include your bio, links, vids, pics etc.
Get writing now and let the world see your words
To take part, simply send your stuff to:
For more about FFM, click here
A Time to Kill iTunes
“It’s like giving somebody a glass of hell in ice water.”
Okay, so the quote above isn’t actually a quote. Well, I said it on Twitter, but it’s not a famous quote. Nor does it technically make sense. But it is, of course, a play on a famous quote.¹
A decade ago, on stage at the (then-called) D conference, Steve Jobs was asked by Walt Mossberg about Apple’s decision to bring iTunes to Windows. “It’s like giving a glass of ice water to somebody in hell,” Jobs quipped.
It was and remains a great line. But times have also changed.
Today brought the news that Apple would soon be distributing iTunes through the Windows Store for the first time. This may not seem like a big deal — again, iTunes came to Windows over a decade ago — but it is a big deal in the context of the forthcoming Windows 10 S operating system, which will only be able to run apps distributed through the store. So, without this move, every iPhone user who buys one of the new Surface laptops wouldn’t be able to sync it with their machine.
Anyway, the jokes came fast and furious on Twitter after the news was announced. But what’s actually funny here is that the jokes are basically the exact opposite of the one Steve Jobs made. Whereas Jobs noted that many Windows users would write to Apple to tell them that their favorite software on Microsoft’s OS was iTunes, no one says that anymore. In fact, no sane macOS user, myself included, would dare say such a thing about iTunes. Because it has been awful for the better part of this past decade now.
In fact, at this point, it’s old hat to rag on iTunes. It has been so bad, for so long, that the joke is stale. And yet, somehow Apple doesn’t seem to be in on the joke. Because if they were, surely iTunes would no longer exist.
Yeah, yeah, I know such software has to exist for a huge number of users. Mainly those who still want to sync their music (and/or files) from their computer hard drives without using the cloud. It is 2017. And yet this is still a thing. And it is a thing for many people.
But there’s no reason that such software has to be iTunes. Apple could easily make a more svelte piece of software that handles the syncing tasks. And they should. Because iTunes is a bloated piece of junk.
Most of the time when I listen to music these days, I do it through my iPhone. This is true even if I happen to be using my computer. It’s just so much easier and better to play music through my device than through my desktop. Earlier this week, I found myself loading iTunes for the first time in a while to try to listen through my MacBook and it was a comedy of errors.
Pop-up alerts galore. Sign in screens. TOS updates. Then came the automatic downloads. iTunes decided I might want to download all six seasons of Lost in HD right then and there. And a bunch of other old shows. Like a terabyte of data. Even more beachballs.
Did I mention this POS (piece of software, of course) is still called “iTunes”? TV shows. Movies. Podcasts. Audiobooks. Apps. iTunes U. Ringtones. They’re all shoved into this one piece of software. “Tunes” are now a minority.
Of course, said tunes are still probably the most useful part of the app. After all, Apple Music is now a part of it as well. That’s the entire reason I tried to load iTunes. 30 minutes later I was still doing tasks and trying to figure out how to actually play music.²
Here’s what Apple obviously — obviously — should do:
- Create the aforementioned new syncing app for those old-school non-cloud users.
- Apple Music should be its own app. This would include streaming music, your music stored in the cloud, and anything you’ve downloaded.
- Then there should be a separate app for the iTunes Store (which should absolutely, positively be rebranded — again, “tunes” are a minority and the concept of buying individual “tunes” is quickly fading into time).
- The macOS App Store app should be expanded to include the iOS App Store (where you could find apps and “push” them to your iOS devices).
- Podcasts should be its own macOS app.
- iTunes U should be its own macOS app.
- Audiobooks go into iBooks.
- Movies/TV should be its own macOS app — on iOS (and Apple TV), this is now called “TV” which is fine I guess because it’s the delivery mechanism typically associated with such content. But something to interplay movies into the mix would be better, honestly. I could see something like “Hollywood” working to some extent (and plays nicely with Apple’s California themes), but it’s also probably too region-centric in an increasingly global world for such content…
In other words, this should all work exactly as it does on iOS. The Apple Music app on macOS would be the same as the “Music” app on iOS (which is also confusing given it has the same logo/branding as iTunes on macOS).
Again, this is all so obvious that I’m sort of dumbfounded it hasn’t happened yet. Instead, we’re left with this bloated piece of garbage humorously still called iTunes that people generally hate.
And now Windows Store users will get to hate it as well. Swell in hell.
If you have a music story you would like to publish with us, click here to find out how.
Arriving one after another, Sean “Puffy” Combs and Celine Dion were a brief respite from the Billboard Music Awards’ relentless focus on chart positions and Vegas-styled MOR pop. Combs took the stage to pay tribute to the Notorious B.I.G., the rap legend who would now be 45 had he not been tragically murdered on March 9, 1997. Combs then invited Biggie’s son C.J. Wallace to speak a few words. Although he ended with an ad for an upcoming iTunes documentary, Can’t Stop Won’t Stop: The Bad Boy Story, the tribute was touching. The same could be said of Celine Dion’s deathless ballad, “My Heart Will Go On.” Amidst a chandelier of sparkling lights, Dion sang a rendition of her theme to Titanic that left much of the audience in the tears; afterward, you could tell that co-host Vanessa Hudgens had trouble resuming her corny antics with Ludacris. Together, Combs and Dion reminded viewers that pop culture has a glorious past worth emulating.
WORST: Cher’s Performance Belies Icon Status
At times, the Billboard Music Awards felt like an advertisement for the Las Vegas tourism board. So why not bring out Cher? The recipient of this year’s Icon Award shimmied gamely through a rote reprisal of “Believe,” her 1998 megahit that now sounds like a premonition of pop’s electronically processed present, and which she recently dismissed as “crap” and a “nightmare.” The pop gadfly re-emerged to perform “If I Could Turn Back Time” while wearing a replica of the famous buttocks-revealing outfit from her classic 1990 music video. It all seemed impossibly gauche and, unlike Celine Dion’s moving appearance, hardly certified her “icon” status. It wasn’t until she finally accepted her award where she shined, paying tribute to Diane Warren and other tunesmiths that are rarely acknowledged during ceremonies like this one. A refreshingly honest and illuminating presence. Maybe she should do a talk show next.
BEST: Nicki Minaj Dominates
Nicki Minaj’s opening performance was like a mini-concert that embodied her maddening contradictions. She appeared regally in an ornamented, dominatrix-like outfit for “No Frauds,” then paraded amidst a regiment of dancers as David Guetta pretended to DJ on “Light Me Up.” She observed coolly from a sideline as underrated pop hitmaker Jason DeRulo attempted to wring magic out of “Swalla”; then she sang the treacly ballad “Regret in Your Tears” while a waterfall gushed behind her. Plus, there were gas masks and Lil Wayne in a fur coat. At nearly 10 minutes, the entire set had operatic peaks and decadent valleys that confirmed Nicki as a dominant rap performer of her era.
WORST: Drake’s Speeches
Though Drake secured a record-breaking 13 Billboard Music Awards wins, his speeches were loopy and lackadaisical. When he accepted the Top 200 Album of the Year for last year’s Views, he began by acknowledging how “a friend” didn’t “feel his project.” He appeared on the verge of saying something important but instead went with, “Vanessa Hudgens, you look amazing.” Later, he used his Top Artist speech to recite an Internet meme that got bleeped out during the telecast: “Life is like a roll of toilet paper: You’re either on a roll, or you’re taking shit from some asshole,” he laughed.
BEST: Lorde Takes America to Karaoke
Look, in 2013 “Royals” already sounded like the work of a zealous music fan given a microphone, an audience of a hundred-million strong, and a chance to share secret longings. Performing her Top 20 hit “Green Light” in an expert recreation of a karaoke bar (complete with wasted spectators), Lorde reaffirmed the bond between her and her audience. You know that moment when a friend wows the lounge with her fearlessness and skills? One of our most down-to-Earth pop stars reminds us that she writes and sing hits, thanks.
WORST: The Chainsmokers Get Pitchy
The Chainsmokers attract a disproportionate amount of ire for what is mostly harmless, anodyne electronic pop – though their occasional bro-like antics don’t help. The much-hated-on duo’s performance of “Young” showed why they can’t win when it comes to the critics. Amidst a visual of sunset-illuminated clouds and American West vistas, Andrew Taggert clad himself in a jeans shirt and briefly strummed a guitar. But when he began to sing, it all fell apart. His voice was off-key, he awkwardly moved across the stage, and he sometimes descended into a stiff display jazz hands and wandering in circles. The best moment was when Alex Pall sang the bridge with a Vocoder effect reminiscent of Daft Punk, proving that the Chainsmokers may be great at winning Billboard Awards, but they haven’t quite nailed heartland authenticity.
BEST: Miley Cyrus Goes Country-Rock
“The happiest she’s ever been!” sister Noah gushed while daddy/palooka Billy Ray Cyrus, looking as if he stumbled off the Mulholland Drive lot, beamed. Based on her performance of new single “Malibu,” Miley Cyrus is the world’s happiest SoCal music fan. As the guitars strummed harder than the Chainsmokers’ Andrew Taggart managed 20 minutes earlier, Cyrus belted this valentine to blue skies and guys you imagine enjoying them. The balloons dropped onstage were a bit much – the kind of forced joy that reinforced the contrived casualness of “Malibu” – but at least Cyrus showed up Florida Georgia Line when it comes to summoning the warmth of early Eighties Urban Cowboy country-pop crossover.
WORST: Camila Cabello Goes to the EDM Tiki Room
Flanked by dancers who were clad in Cossack gowns and dowsed in several gallons of mansweat, Camila Cabello recreated the heat of a thousand fires captured on “Bad Things,” her hit with Machine Gun Kelly – only the singer performed before a Temple of Doom stage and a back projection of volcanic fires not seen in her native Cuba since the Mesozoic Era. Visitors to Disney’s Polynesian Village will recognize the feeling when appropriation would rather leap into highly stylized fiction.
BEST: Julia Michaels Method Acts Through “Issues”
Julia Michaels shined with a performance of “Issues” thanks to a convincing channeling of Patti Smith complete with fastidiously deployed fist pumps. Her small band recreated the Top Ten single’s violin plucks as Michaels’ voice cracked and strained to hit the high notes. It was the kind of method acting expected from a veteran Academy Award nominee who has to transcend mediocre scripts.
WORST: Imagine Dragons Shouts
The American Top Ten is full of white bros affecting hip-hop cadences to show the world that their feelings matter as much as wearing sneakers without socks. When those hip-hop cadences fail Imagine Dragons’ Dan Reynolds, he can shout. And shout he did.
Crowdfunding can be one of the most effective ways for musicians to fund a new project, whether it be the production of an album, a tour, or other recording projects, while also creating a strong community of fans and supporters.
Many musicians, however, make mistakes in their crowdfunding efforts, and their campaigns are often plagued with unrealistic goals and expectations. Despite this, there have been plenty of successful, impressive and innovative crowdfunding campaigns for musicians.
Melbourne-based Colombian band Amaru Tribe began running a campaign on the crowdfunding site Pozible in March 2017, with the aim of raising money to fund the manufacturing and launch of their album.
In a video posted to the band’s YouTube channel, they outlined their reasons for the campaign, how their fans could help and the benefits their fans would enjoy from supporting the project. The band utilised social media to gain more supporters for their campaign and successfully hosted their album launch in Melbourne in April.
After achieving a successful album launch in just over a month through crowdfunding alone, here are Amaru Tribe’s top 5 tips on how to pull off a successful crowdfunding campaign.
How to crowdfund an album successfully
1. Have a clear vision of what you want to achieve
If you’re in a band looking to produce, launch and release an album, you will need to sit down and look at the numbers; your fan base, the venue size etc. Write a list of what the most important costs are and what are the things you can really do yourself.
Record? Mix? Printing? Promo? Making as many tasks as you can DIY, will really reduce the cost of the project and can help create a more realistic campaign
2. Timing is key
Look around at what’s happening during your campaign; what other gigs are at a similar time and the popularity of these other musicians. Other gigs can really affect the support you receive for a campaign as potential supporters may be interested in buying tickets to a well-established band playing on the same night.
Being able to promote your campaign in an appropriate time frame, where there may not be many big names touring or even bands attempting to achieve similar goals as your band is crucial for your campaign being a success. The more opportunities you get to promote yourself the better.
3. Make a short, interesting video for your campaign
A funny and engaging video is the best tool for promoting your campaign to your fans and potential supporters. However, it can get boring if you try to explain the entire campaign from start to finish, as well as explaining why you need funding.
Sometimes it is better to leave the finer details out and focus on what fans need to do and what the end result of the campaign will be. Often these factors are what makes a campaign more effective as it is streamlined and easy to remember. Make it the video short and easy to understand, 2 -3 mins max.
Amaru Tribe’s Pozible crowdfunding campaign video
4. Give yourself enough time to prepare after your campaign finishes, but not too much!
Probably no more than a month’s planning, no further than 6 months after the campaign. We had a pretty tight schedule after our campaign which wasn’t the best idea, but after all, it was really good to use all the promo we had from the campaign for the launch.
If you wait too long it loses momentum. Creating a timeline for your band’s launch is important to ensure there is the perfect amount of time to spend planning and putting together your album launch as well as maintaining the hype you generate from your campaign
5. Don’t give up. Ask friends and family for support.
Things might look cloudy in the middle of your campaign. We had some tough moments when we thought it wasn’t going to happen, and even close friends telling us it was too much. We didn’t pay attention to any of that and sent emails and personal messages to our friends to remind them about the campaign. Many people are too busy and can forget, but they always want to support you if they know the campaign is for a good cause.
Strong and consistent promotion of your campaign is just as important as rallying support from those closest to you and your band. These people are important to recruit in gaining support for your campaign as they will see your vision and feel the passion for your project.
If done right, crowdfunding can be hugely successful. Connecting and engaging with your fans is a key part of the process.
Make sure you have a clear vision of what you want to achieve from your project and promote yourself with a campaign you are confident in and know your audience will support. Good luck with your crowdfunding campaign!
Have you carried out a successful crowdfunding campaign before? Got any great tips to share with other artists? Let us know in the comments below and share this advice with your fellow musician
You’ve made a great playlist and you’re really excited about it! But you want other music lovers to listen to it, right? Luckily, there are plenty of ways to get more Spotify playlist followers organically. Here’s how:
How to get more Spotify playlist followers
1. Plan your campaign & don’t stop plugging
The best way to earn new followers and listeners is to push your playlists online as much as possible, whilst continuously taking inspiration from what’s trending on social media. Plan how you’ll advertise and plug your playlist in advance and try lots of different ways to win new followers.
The follow-for-follow technique is a one way to connect with other curators whilst also checking that your playlist ideas haven’t been used before, but there are plenty more options to attempt.
2. Advertise it to your personal network
In the same way social media users increase their followers on Facebook, Instagram and Twitter, aim to get your playlist popular amongst Spotify users.
A quick way to do this is to use simple promotional tools like sponsored posts to reach out to your social media network. Your playlist could also be advertised personally. Contact your local venues, bars, independent shops and cafés and ask them to shuffle it.
3. Reach out to playlisting sites
Playlists.net is connected to the ‘Playlist a Day’ app, which is compatible with iPhone and Android. It randomises Spotify playlists and sends users one themed playlist a day. It’s also free to download from iTunes and Google Play.
Connect your playlist to the Playlist a Day app
4. Post on Reddit
Reddit’s Spotify Playlists subreddit hosts a competition every month for the best playlist created within a theme. Alternatively, you can simply upload to this subreddit which helps to bring the power of Reddit’s ranking algorithm to Spotify playlist discovery.
The We Are the Music Makers subreddit is another online community perfect for playlist exchanges. There are different competitions every week to create a buzz, where users post comments and regularly check out the work of others.
5. Spotify Playlist Exchange
Join the Spotify Community! Log in with your Spotify username/password and post your playlist to the Spotify Playlist Exchange with a brief description informing other users of the genre, why you created it and whether you’re going to keep it updated or not. Remember to tag related genres in case users search for particular music through the playlist exchange.
You can also rate playlists submitted by other curators, comment on their threads with your playlist attached and encourage them to follow it.
6. Collaborate with other playlist curators
Create a playlist that’s mutually beneficial; with the help of these platforms, it could rank highly on Spotify searches. Send in a proposition along with your playlist idea via email or through the websites. Remember to advertise yourself as a curator who can work professionally and within a deadline.
Submit your playlist to Indiemono’s playlist community
7. Contact artists on your playlist
Speaking of platforms, contact the artists you have playlisted and ask them to share with their fans. If you don’t know them personally or don’t want to get in touch via their management, then the best way to do this is through Twitter. Attach a link and playlist artwork in case they re-tweet!
8. Make use of blogs and influencers
Contact popular music bloggers and work on a collaboration or a playlist takeover with them. Have the blogger post about it to their social media profiles encouraging fans to share.
An easy way to contact influencers is through Famebit. It’s free to sign up and you can meet tastemakers worldwide who post daily on YouTube, Twitter, Instagram and Facebook. Alternatively, create your own weekly blog post and keep it fresh with new music and update it with your own playlist links.
9. Share with Spotify Codes
Make your playlists more shareable with Spotify Codes. You can get your friends and followers to scan your playlist code on their phones to instantly play music. You’ll find your playlist’s code by clicking on the ellipsis (…) menu, and the code will be attached to the bottom of your playlist artwork. You can then save it to your camera roll for easy sharing.
You could also upload a photo or screenshot of your playlist code to Instagram for your followers to scan using the new camera icon situated to the right of the Spotify searchbar, or include it on any flyers, posters or promotional material.
10. Keep creating new playlists
Why stop there? Create more playlists! Consider mood and genre, which artists are popular and most importantly, your own tastes. Put together music you’re proud to promote and you’re currently excited about.
Although you may be curating playlists with music created by other artists, there are lots of ways to keep it original. Try to create your own unique themes and set yourself apart from other Spotify playlist-makers.
Do you curate and promote your own playlists on Spotify? How do you increase your followers? Let us know in the comments below and share these tips with other Spotify playlist makers.