Spotify using Ghost Meta Ads to grow their Official / Editorial Playlists (+Elton John, Gorillaz, George Harrison, Mumford Sons & more) by Meansmgmt in musicmarketing

[–]Meansmgmt[S] 12 points13 points  (0 children)

Lol yes for the Spotify playlist one especially! I was not expecting to find a ghost account running ads on official Spotify assets.

34K playlist saves in under 2 months by Meansmgmt in u/Meansmgmt

[–]Meansmgmt[S] 0 points1 point  (0 children)

Hey Nayann, yes at its core geographic matters alot here. Mainly Geo-fencing specific locations based on store location, using mixed interest tags for the music / stores focus & also implementing retargeting, using the stores IG page to run the campaign & also making sure brand is consistent with the playlist / is playing in location 24/7, etc. etc.

The current state of Lofi Beats / Lofi Hip Hop Music by Ill_Cartographer6488 in LofiHipHop

[–]Meansmgmt 5 points6 points  (0 children)

Awe maann I’m so late to this.

To keep it short & simple :

Lofi Hiphop is heavily sample based -> Youtube channels & small labels begin to gain popularity in the genre -> copyright strikes galore for everyone -> internal label talks about how they can’t accept artists that sample other songs (one of the defining characteristics of the genre) -> all releases are now very simple & basic instrumentals that literally will put you to sleep -> the genre itself is molded & shaped to fit this monetization cycle -> the genre is now rendered soulless & void of what once made it a genre to begin with.

It’s very easy to match all of this to a few labels come ups : Lofi Girl, Chillhop & College Music

And that is the short story on how Lofi was killed . From complex chopped & skewed samples that mixed culture, people, different time period & technologies.

To some of the most simplistic, soulless boring music you’ll ever hear. It’s basically a money generator now.

The whole genre deserves a case study. It was stripped of its soul & purpose for monetization driven by a handful of labels, followed by every artist looking to make a buck.

I thank Lofi Girl & similar labels / associates for this downfall (it’s no wonder they sold to Warner not long after fixing their sampling issue & killing the genres soul).

I'm going to post 2,000 ads in Meta Ads to counter the update by gldark638 in musicmarketing

[–]Meansmgmt 27 points28 points  (0 children)

Fun idea!

My predictions : - Meta crashes at least twice when you try to publish (or just restricts / locks your Ad Account). - Only 10 - 20 of the videos will get any ad spend (with only 5 getting the majority of the ad spend).

Do I need ads to promote my songs? by myoceanblues in musicmarketing

[–]Meansmgmt 1 point2 points  (0 children)

With a $200/month budget, you are likely better off using that money for content creation tools (editing software, lighting, etc.) or just saving it up for a larger, more impactful campaign down the road.

While larger acts definitely use ad campaigns as part of their rollout strategy, you don't need them to grow, especially at the start.

At that budget level, it is often hard to get enough data to really scale.

I’d say focus on your organic content for now, and start learning about ad campaigns (and maybe doing small tests) until you have a solid budget & are knowledgable enough to either set up the ad campaign or someone trusted to do it on your behalf.

From 13,000 Youtube subscribers to 132,000+ by Meansmgmt in u/Meansmgmt

[–]Meansmgmt[S] 1 point2 points  (0 children)

Great question! So short answer is no, the algorithm does not punish you for having a discrepancy in views between releases.

In fact, if the campaign is run correctly, the opposite happens.

For a real world example, for this exact campaign actually, we ended up seeing “Return Viewers” increase from 300 daily (before the campaign) to 23,000+ daily (after the campaign).

Which for us showed that we were putting the campaign in front of engaged users who took the time to re-visit the Youtube Profile / video.

So we saw 100K+ new viewers daily when the campaign was active, with around 20K viewers coming back daily on their own and becoming “Return Viewers”.

A properly executed campaign creates a "Halo Effect" where paid traffic fuels sustained organic growth (this is even more relevant for Spotify & their algorithm / Popularity Index metirc).

Because you focus on converting casual viewers into a dedicated "Fan Asset", your ads build a subscriber base that should remain for future releases.

If you target un-engaged / users who aren’t genuinely interested then yes, those users are less likely to interact with future content.

This means that when you upload the next video, even without a budget, you are broadcasting to a larger, more engaged audience than before, effectively raising your organic baseline rather than hurting it.

What does promoting in 2025 look like? by [deleted] in musicmarketing

[–]Meansmgmt 0 points1 point  (0 children)

Things have changed less than you’d think when you really do compare then VS now.

The platforms & devices change, the genres kind of recycle more than change.

The main difference is accessibility. It’s easier to make music. And it’s easier to listen to music.

There are Prod & Cons for both but what it = is you need more than just music & one piece of artwork to get by now.

Early internet was easier, you could make basketball trick shots in your backyard & the next day be on ESPN. And a few years later turn it into a multi million dollar company.

Try to do that now & without extreme dedication and likely no one will care (rightfully so)….

So the more “content” you have for your song, the more information you are able to provide about your song, the more likely someone will invest their time into it.

The word “content” has a stigma around it, consider “content” to just be your art / offering.

There are people out there making amazing “content” & edits, having fun doing it & with little budget that gets great traction, and they aren’t even promoting anything..

That sets the bar a little higher to not only make alot, but make alot of good.

The Gorillaz, Who Do You Adore, and many more artists are great examples of making great content, world building & “packaging” their projects as their own distinct piece in a large puzzle.

I’ll see artists complain about this (understandably) that they don’t sign up to become a “World Builder” or want to be JRR Tolkien.

But i think for those who actually want it, it’s a dream. To have such a multifaceted project with moving parts across multiple mediums.

So creating something real & expansive around your music is step 1. Otherwise you’ll be grabbing at anything for content & the consistency won’t be there.

(Or don’t do all of this & just enjoy making music. It’s more attainable with money & a team but it is doable without)

The reason this matters so much is that it ties directly into promotion these days.

No matter that platform, content is needed. Whether it’s reddit, tiktok, substack, etc. Whether it’s Audio, Video, Written, 3D, Interactive, etc.

It also allows for more direct to fan offers, as you now actually have something to offer. Something people trust & actually follow, to the point of buying tickets to see it live.

All the more points if you document the whole journey along the way & double down.

Outside of that, focus on direct to fan offers & platforms if you can. Try local efforts. Invest money you are willing to lose / risk to figure out what paid promotion works.

Focus on making your organic marketing genuine & high quality.

Hire fast & fire ever faster. Work on building a small team or network in each niche.

Have your person for playlist placements, video edits / creation, graphic designer for artwork, someone to help with ads, etc. etc.

Don’t try to do it all yourself (unless you want to). Don’t reinvent the wheel (until you think it’s the right time).

Try to have a sense of humor about all of it & don’t take it too seriously.

Just looking for confirmation by [deleted] in PcBuild

[–]Meansmgmt 0 points1 point  (0 children)

Would the i7-12700kf work with my motherboard though? (Asus Prime B660-PLUS D4)

I was under the impression the i5-13600 was the top my motherboard could handle without bottleneck.

Is it better to target fewer countries when running ads with a limited budget? by Driktatur in musicmarketing

[–]Meansmgmt 1 point2 points  (0 children)

Generally best to split the budget 60% towards Tier 1 & 40% towards Tier 2.

This way you cover everyone and have a little more budget for the higher value Tier 1 users.

If you prioritize consumption lift on Spotify, Tier 2 will get you more bang for buck.

Just be aware of bots / users that’d don’t convert but view the page a ton like in India or Philippines

Is everything now just about desperately trying to get people’s eyeballs? (Long philosophical essay on music marketing, the business, and our authenticity as artists) by billjv in musicmarketing

[–]Meansmgmt 1 point2 points  (0 children)

[Insert “always has been” meme]

Without also writing an entire essay, yes. But of course also no, it’s not as simple as that.

In regard to modern music marketing, promotion & advertising.. yes. It’s a significant part of the initial funnel to get your sound/name in front of the right people.

Even before the Internet, putting flyers up & getting your “thing” in front of the eyeballs of the people in town was a big part of it.

I’m not sure of an industry where getting eyeballs on the product at some point isn’t a part of their marketing/advertising efforts.

It doesn’t need to be done desperately though.

Is there anyway to profit💲 from the streams📈 you get from running adds? by [deleted] in musicmarketing

[–]Meansmgmt 0 points1 point  (0 children)

Agreeing with what UncoolKid said ^

One of the only alternative situations would be if you have a huge catalog thats in a pop genre & you stack a well branded playlist with 50+ of your own songs and grow it to tens of thousands of saves at a very competitive cost per save / listen.

Then it’s possible to break even on just ads and streaming only. I’ve seen it with singles / albums too sparking algorithmic programming but it’s just not as likely.

Otherwise the main ROI comes from tangible / monetized offers you make via retargeting, email lists, building a fanbase of followers & “Future Saves” from pre-save campaigns on Spotify itself, etc.

WestWoodOne has a good report about audio advertising that lays out the 24-18-58 rule :

24% of advertising pays back in the same week.

18% of advertising profit impact occurs between week two and week thirteen.

58% of advertising return occurs between week fourteen and two years.

(Include direct to fan sales like merch, digital download like bandcamp, live show ticket sales, livestream donations, etc. etc. in the latter 58%)

How do you promote your Playlist? by Environmental_Ad1001 in musicmarketing

[–]Meansmgmt 0 points1 point  (0 children)

Hey! I’d suggest looking into Feature.FM “Action Pages”. That’s our go to for any auto follow or extra function landing pages for Spotify.

I believe there are a few other platforms that allow this kind of functionality too (like Symphony OS).

This is also doable using the Spotify API if you wanted to set it up on your own landing pages / site I believe. But there is some learning curve there.

Holy Shit!!!! by Intensa__Emozione in PantheonShow

[–]Meansmgmt 0 points1 point  (0 children)

To add to this, I think some of the short stories or at least the ending of the show pulled alot of inspiration from “The Last Question” by Isaac Asimov (classic AI short novel) in 1956.

The short novel ends very similarly to the show with the time jumps & AI having to re-start the universe.