The ULTIMATE Music Marketing Roadmap

On this channel I talk a lot about different music marketing tactics. Most of them involving ads in some form, but many of you might know me as the Meta Ads for Spotify promotion guy because of how many tutorials and case studies I have in that area. Sam Duboff, the global head of marketing and policy at Spotify, even mentioned my tutorials in an interview he did with Ari Herstand, and I had Sam in my podcast this year. But I feel like it's important to remind people that these ads are almost always part of a larger strategy. Most people don't just run ads to their Spotify and do nothing else. It's just one piece of the puzzle that helps them get to where they want to go. For example, I've had people hire me either for consulting or to run their ad directly that just want to get their streaming numbers up to make it easier for them to get show bookings. They don't actually care about the streaming itself. Uh but what most people are actually looking for is they're just looking for fans. It just happens to be that music streaming is where fans are first falling in love with new music that they discover. Uh so anyways, this video is a big picture look at how these individual music marketing strategies fit together and how they can change depending on what type of music artist you are. Andrew [music] [singing] Southworth, the music marketing guy. >> All right, so the first thing we have to talk about is your release strategy. This is something that I've talked about on this channel ad nauseam, but I will repeat it here just in case you haven't seen that before. So, typically the thing you're going to hear most recommended online is release your music every four to eight weeks. Every so often you'll hear someone say you should release as much music as humanly possible, even going as far as releasing a new song every single week. Then you have the other extreme of people saying just release music when it's ready. And in my opinion, the the correct answer is is kind of both of these, but there is a limit. So, for example, you don't want to release music that's bad. That's you never want to do that. You don't want to release music before it's ready because once it's out, it's out forever. So, it's you know, but also you don't want to let perfection be the enemy of complete. A lot of artists do obsess over things and then they never put their music out there when they they could have and kind of grown an audience as they've grown and mastered and matured their sound. It's not unusual to see artists start completely different or way worse than where they are now. Um for example, Protest the Hero, their first record is the first EP is pretty rough and then even 3 years later it's like, "Whoa." And and then another example, Bring Me the Horizon. I I believe their first completely different trajectory as a band um from where they started to where they are now and how much they've matured and developed their sound over the years. And there's there's millions of other examples like this. So, the answer is in the middle. You you don't want to put out crap, but you also want to put music out there. And in my opinion, the 4-8 week recommendation is the sweet spot. Not everyone can make music that quickly though. And if you can't, you're going to want to batch create music. So, meaning don't make a song and then release a song and then while you're waiting the next 4-8 weeks, make a new song and then release that song. Uh it's not unusual for artists to go through release cycles, meaning they will release music for example, uh 8 months out of a year and then take a few months off and they'll kind of restart the next year. Or they'll do something like they'll have, you know, uh seven singles and an album drop and then kind of just disappear for 6 to 8 months. There's different cycles that can exist. But for example, imagine you have no music ready and you want to start releasing every 8 weeks. And you know that it takes you longer than 8 weeks to get out a single, uh whether because you're busy or because your music's more complex in the recording process, whatever it is, right? Batch and get five songs done before you start. This gives you 10 months to get new music ready, right? Because all that music's done. So, it however long it takes you, right? It What I'm saying is it's better for you to batch create those songs first and then once you start your release cycle, have it be that consistent every 2 months instead of trying to keep up with it if you know you can't keep up with it from the get-go. And then you're kind of building in this buffer that allows for mistakes and for life to happen. So, when the inevitable happens of, "Oh, I have to work extra to pay bills. Oh, I have this family trip I wasn't thinking of. Oh, whatever." You have this buffer built in and you're giving yourself permission to let the music come to you to a degree. So, get in a schedule, buffer, or make a batch if you need to. Um but do pick a schedule and do try your best to stick with it, but keep in mind that you can have on and off periods. Be on release cycle, be off release cycle. Just don't like vanish for a year and don't have like I'll drop three singles in a row and then disappear for 6 months and then do three singles in a row and then vanish. That's not good. Next thing we have to talk about is the social media strategy. And this is everyone's least favorite topic. The answer here really for social media is post as much content as you can. And this can mean different things for different people, but you can't really post too much. You could post five times a day on social media and it would not be too much. You would not annoy your followers. And in fact, there are people out there who will create five different social media sets of pages. They'll have their main page and then they'll have like four alt accounts and they'll post multiple times a day on every single one of those accounts just to get more volume out there. So, that's what you're competing against. I don't want to make music a competition because it's not. We're not like artists aren't taking fans away from each other. People can love infinite artists essentially. So, it's not a competition, but that's what you're fighting for attention for on social media. And so, you have to play that volume game. The good news is you don't have to make beautiful pieces of art on social media. It's not really about that. Um the exact strategy changes constantly that works in terms of content online. Right now, it's vertically formatted video content that's between 15 seconds and a minute long depending on exactly what you're doing. Um and specifically it's TikTok, Instagram Reels, Facebook Reels, and YouTube Shorts. And right now, this kind of casual phone raw content is doing best. So, for example, just a a video of you lip-syncing your song in a cool-looking location. That's very common. Another very common thing I've seen a lot in the last several months or even longer is someone will literally just be standing there or walking around, not even lip-syncing, and there'll just be a text hook on it. I saw one today where someone said something like, uh I just wish it was the year 2005 again. And cuz their song is very nostalgic 2000s-esque. And they were just staring dull-faced at the camera, walking around, and that was the post. And they were doing this every 2 days. So, um that's the content's minimal effort. Um of course, there's things that you could do that are more effort, but you you want to think back like social media is is about stuff that can be interesting, but what people find interesting on social media will surprise you. And there's no way for me to give you a big catchall that applies for every type of artist you are. So, what I what I encourage you to do here is look up 10, 20 different artists in your genre, niche, microgenre that are of different sizes so that you get a feel for what they're doing. Look at the big artists, yes, but a lot of times big artists have an advantage in that they can just cover their tour their their touring schedule and post content from their tour. So, they have like infinite content from their tour. You probably don't have that advantage. And also, you're not super famous most likely. So, you want to look up some medium artists because medium artists uh typically don't have all the advantages a large artist do, but they've probably figured out what works pretty well. And so, they they can be kind of the best ones for you to model what you're doing off of. And when I say model, you can copy what people do on social media without copying them, right? You can look at what types of videos people are making and just straight up do the exact same thing. And no one's going to say anything. And if they do, they're just jerks because you're not taking their video content, you're taking the ethos of what they're doing, right? This is what like music is all about. You're inspired by other things and you go and do it. It's just like that with social media. So, go find those people. And also, look at some smaller kind of budding artists to see what they're doing, too. And take all that into account and come up with what what you can do that you think will work, but also what feels comfortable and real for you to do, right? If you don't feel comfortable dancing on camera, you're going to look like a fool dancing on camera. So, don't try to force that. Now, on a very related note, don't feel like you have to just go and do TikTok and nothing else because it's all about TikTok. You've probably heard people talk about TikTok for the last 6 years saying how it's the most important platform. And it might be for you, but it also might not be for you. I know people who do better on Facebook than TikTok, Instagram than TikTok, YouTube than TikTok. And I even have a test I'm doing now that I will very likely have a video about where I for for my band, we posted seven videos on all four of those platforms and then measured what were the views and likes and comments on each video we got on different platforms. For us, Instagram was the dominant winner and then YouTube under it and then way below it was Facebook Reels and then a little bit below that was TikTok in terms of views. So, TikTok was our worst. And there's there's a few reasons for that which I'll cover in a future video when I'm actually talking about that that data. Um but you need to take the same approach. All the content you're making, it can go on all these platforms. And we those seven videos that I posted, we got 15,000 views on from these videos. So, pretty low like less than 30 minutes of effort to make these videos, 15,000 views. Something like that. It was like 14,600 and something. Uh back when I measured it, they probably have a little more now. So, you want to take a very cross-platform mentality and you want to take the mentality that this is about the overall lump sum, not about the video. You're not trying to go viral. You're most likely not ever going to go viral. Um you're looking for Okay, it's been a year and across these four platforms I've posted 500 videos, right? Because you're you're duplicated times four. So, even if you just post a video every 3 days across four platforms, that's that's five about 500 videos across the year and that adds up to whatever tens of thousands, hundreds of thousands of views that you ended up getting, right? That's a lot of impressions and new people hearing your music even if you never had a single video get more than a thousand views. Right? If you have 500 videos get a thousand views, you get 500,000 views. So, keep that in mind. That's a mentality and that's my overall overarching social media strategy. And in my opinion, you shouldn't do advertising if you're not going to do any social media strategy in most cases. And so, the next thing we're going to talk about now is every song you put out, you should promote with meta ads driving people to streaming platforms. And the content that you just are making there in your social media strategy is what you can use for your ads. >> [laughter] >> And there are nuances here depending on what type of artist you are. You might be like a ad-only artist, right? I've worked with sleep music artists, I've worked with different instrumental artists, I've worked with different people who have different niches and hybrid things they're doing where it makes sense for them to be mainly just an ad-driven artist. But, for the vast majority of you watching this, you want that social media thing and that social media thing is going to feed this ad strategy not just in content, but also in data. Because all that people interacting with the social media site is going to help inform meta of who likes your social media pages that you're running these ads through and it's going to help you long term. So, every song you're going to promote with meta ads using a conversion campaign. I'm not going to cover this in this video. I I somewhat recently did a 45-minute video here going through the intricacies of how to do that from start to finish. I'll link to it up there and I'll try to remember to link to it in the description as well because that's the campaign you want to run. So, it it's that conversion campaign Spotify growth campaign that you've seen me do tons of times and you've probably seen many other people talk about it as well. But, what the reason why you want to do that is because you never know what song of yours is going to be a winner. If you're releasing new music every 6 weeks on say your average, every 6 weeks is a new chance at bat to see if you have a potential winner. Some songs are going to do bad. That's just the truth. You can't make songs do well and that's a misconception a lot of people have when they start getting into this is that every song should just do well, right? That everything is going to work and and no matter how many times I say it, a lot of people get disappointed when they get a song that doesn't work. They go, "Andrew, you said this was going to work." Yes, it works, but not every song is going to work well. So, you promote every song even if it's just for a little bit. Like let's say you have a decent budget. You have you say, "I'm going to put $500 per song promoting my music." Don't spend $500 per song. $500 is just the average. When you have a bad song, maybe you're killing it at $100. And therefore saving $400. Meaning when you have a winning song and if you had a couple losers before that, maybe now you can afford to do $1,300 because you had a couple losers followed by this winner. And then if a future song does bad, you can reallocate that money back to this song. So, you want to put more money in the winning songs and less money in the losing songs. And if you really want to try your best to not let your your ego or your attachment to these songs that you feel like are your babies into influencing the marketing and money side of it as much as you can. It's hard. I'm an artist, too. I promote my own music. It's a hard skill to learn to not let the fact that you think this is your best song ever, but it's doing horrible influence the decisions you make with your actual marketing dollars. You should put your money behind the data, the things that you're you're seeing people actually respond to in that way. And also keep in mind, you might have songs that pop off socially that don't work well on ads. So, also look at the different strategies that are working and lean into things that are working for you. Every artist that's successful has a different story of what made them successful. You'll see most of them have tried everything and may have even had success with everything, but along the way they find these couple little things that they find when I do that and I keep doing it, it gives me the most results and that's different for everyone. You know what? Another very related note to the ads is in between your main releases, you should have some small campaigns running all the time that are promoting these little targeted playlist in your very like micro-specific niche of your music. So, for example, this I have this playlist called 2000's older brother core new metal {slash} alt metal. Very very specific and this is probably more specific than it needs to be. It could be as simple as this is a new metal playlist, an alternative metal playlist. Um, I haven't promoted this playlist with ads, but I have a bunch of playlists like this that I that I have. And the nice thing about playlists like this is you're putting music your music with other similar artists in here. And this isn't the most dense example. I have my band's music at number three and then I have another one like pretty far far away. So, this is not the best example ever, but I happen to have it open. Um, sometimes I'll quite literally have my band's music at slot two, five, eight, 11, 14, like pretty dense squeezed in there. But, the idea is you can make ads for playlists like this using your music in the ad, but advertising the fact this is a playlist on this theme. So, often what it does is it gets the cost way lower because people see music that they know and they come into the playlist and they listen to a popular song that they love. And then they only progress further in the playlist to your song. Let's say let's say your song is slot number two. In this case, mine's number three. They only get to your song if they like that first song meaning you know for a fact they are the right fit for your song assuming you made the playlist good. So, there's a few reasons why you're doing a playlist like this. And there are downsides to this. So, this is why I don't think this is something you should put all your dollars behind. This is a small campaign you're running in the background even while you're stopping which single is your main promotion song, you're reallocating budget. This is something you run at like five bucks a day just all year. And this really depends on your budget, right? If if you have 500 bucks a month, it's very different than if you have 5,000 a month. So, think about what it makes sense. So, but like you might do a campaign like this even at just $2 a day and pull pull it down super low and then you have like $10 a day going to your singles. It obviously is going to depend on your overall spend. But, the play on a playlist like this is get your cost per conversion down, one. Two, associate your music with these similar artists in this like super specific as you can think like niches that you know for a fact are accurate. It could be as broad as like this is an R&B playlist but it'd be much better if it's like this is a a romantic book talk R&B playlist. Like that's more specific and and generally is going to be better and then you have a very tightly curated and this is just something you run all the time. So, lower cost associating the algorithm inside of Spotify to your music, getting people to save this playlist and you own the playlist so you can change the music. And since you're promoting all the time, when you drop a new song, you just plop your music in the playlist. And you can experiment with different playlists like this over time. So, you might launch five of these and then see the cost per conversion and the listener data of all five and then pick the best ones and keep the best two running and abandon the other three. And then every few months you'll try a few new ones and turn off the bad ones and keep the good ones and turn off some old ones, etc. So, this can be a very long play and there's a lot of things you can test with it. But, it's a cool strategy and it works very well alongside of everything that we've talked about, but especially with the regular meta ad strategy that we've already done. All right. So, the next thing we're going to talk about is that you ideally should be playing shows. And for a lot of you that might seem obvious. Like obviously we're playing shows. We're a band. But, the reality is a lot of people don't either because they don't want to or just because they don't think they can. Or they don't think they're ready yet. And playing shows is is if you're in that camp is a fantastic way to deepen the relationship with your audience and find new people as well. Because if you're getting yourself out there, you're finding bands that you can open up with, you're finding venues you can play at, you're actually pulling people into your shows. You're I've just found more likely you're going to have more super fans long term. And also you're going to be finding new fans from that. And you're just way more likely to succeed. A lot of people brush it off as something to do later. But, it can be this like superpower. I've seen bands become successful solely off the fact they are just they play great live and they're fantastic at meeting people and drawing people into these live shows and they suck at everything online, but they're fantastic at this real life thing. Right? Which surprise, surprise, real life stuff still matters. Uh, this this is an example of that. Now, of course, you can do everything online and then you can eventually translate into doing shows eventually when there's enough demand and there's plenty of people who have done that. When you hear these horror stories of artists with 2 million monthly listeners and a million TikTok followers didn't even sell out their 300 cap venue, right? That's a super common thing that everyone in the industry hears about all the time. That's a real thing. You do also have the opposite of people who crush it on shows and they have embarrassing numbers online and that that actually hurts their live show potential, which is why some bands run those streaming ads just to help their live game. Um, but that's actually a better situation to be in than the super good online and nothing in real life world if it's something you want to do. Not every artist wants to go that route. It's obviously very different from an EDM DJ compared to a metal band. But, I want to bring that up. And when you're in person at these venues, it's in my opinion very important to network with people, whether it's the bands or go around talking to fans, get get QR codes printed, get people to join your list and and pitch them why they should join it right on the spot. That can be a very scrappy way to to to do things. And also DMing fans to get them to come out to your shows if you know they're in the area can also be another scrappy thing you can do to get an edge above a lot of other artists. And of course, you can run ads to promote these shows. In fact, I really recommend that you do because if you're touring or just playing shows, people are often going to be like, "I didn't know you were coming here." And you're going to be like, "I've been talking about this show for 6 months. How did you not know I was coming to your city? I'm not going to be back there for another year." And this is another reason why even if you even if you don't like like the idea of running ads. There's a lot of people that don't like the idea of running ads in the music world and they still run show ads because of the fact that like it's social media platforms make it very hard to get the word out about your shows because you do all your content talking about your music, whether you're lip-syncing or it's music video clip or performance thing. And the second you try to do this promo thing like, "We're coming to your thing." The social media platform like, "People don't want this promotional stuff." and they throttle it because they don't respond to it as much. So, this is where the retargeting your audience with ads becomes like a super important part of what everyone that's that's doing shows. You're retargeting your fan base or people who live in these areas cuz you can do that on social media and and like meta ads for example uh to show them an ad to come to the show and buy a ticket and and and do that. So, make sure you subscribe. I'll probably have some content about doing that in the future. I've made some videos on on the past, but and I do have some content planned for kind of an updated way of promoting live shows. Now, just like in the live section, I mentioned that you could be walking around with a QR code convincing people to join your mailing list. Uh you can also do this digitally and what you want to do to get people to join your mailing list is come up with some type of lead magnet or offer for why someone would join your list. And one super convenient thing to do with this is, "Join our list and we'll send you an unreleased song." And that could be a YouTube unlisted link, it could be a SoundCloud private link. It could be a Dropbox digital download and streaming link. Whatever it is, doesn't have to be fancy. Join our list, join our SMS list or email, doesn't matter, and we'll give you this song download or just streaming. And I want to stress, you want to do this with like an unreleased song and not like a gift card because if you do the gift card, I know people who have done like $500 Amazon gift cards and then this long promotional thing to collect emails for that, you end up with people who don't actually care about your music who just want the free thing. So, unless you can think of a free thing that you can make as a prize, for example, t-shirt giveaways can be can be solid. Other type of merch items can be solid. But a digital streaming file with an unreleased song is free and the prize is literally your music. So, you know for a fact that um they're going to dig it. And it's not even a prize. Every person that enters gets it. So, it's not like people are entering like, "Oh, I don't know if I'm going to get this." They know they're going to get it. So, they're more likely to join it assuming they like your music, which if they don't like your music, you don't want them on your list anyways because it costs money to send emails and text messages to people. So, you really only want engaged people on your list. And of course, if you have this nice offer that you've already figured out how to explain and pitch to people on TikTok and Instagram and put in your link in bio, you can run an ad campaign on this the exact same way. You can make content that you already know is going to work to this offer that you already know is going to work and get people to fill out a form on your website or enter a lead form on on Facebook and do that. I do have a video for that too. If you want to see how you can run ads to grow your email list, check out this video up here. I walk through I believe I walk through an entire example from start to finish um for how to run a meta ad campaign as simply as possible. There's a lot of complicated ways to do it, but this one I did a that video I did a simpler uh version of of like how to get started with this cuz it can get kind of complicated depending on what you're trying to do. Now, depending on what type of artist you want to be and what type of music you do, you might consider doing a free plus shipping and handling funnel. For example, you might do a free plus shipping and handling CD, which I've been doing for quite a while like for my own music I've I've I've sold like 800 CDs or something um of my solo music project and we're doing it again for my band's first album, which is probably is out by the time you're seeing this video. I don't know when this video is coming live. Um but that works. And I've also done it for thousands of other people's music too. They're other CDs and stuff. So, the reason why I'll do a CD in this case for a free plus shipping and handling funnel is this is basically like the cheapest thing you could possibly do where you can charge enough money for shipping and it still kind of makes sense to someone. For example, this CD costs like a dollar and 40 cents to make. It might have actually been less than that. Um and the shipping is a a dollar 81 letter rate with a non-machinable surcharge. And I can charge 7.95 for shipping. So, it's a free plus shipping and handling funnel meaning I'm I'm covering my cost with the cost of the shipping. Typically with a funnel like that, you're going to lose money in the advertising, but you're hoping to recoup it long-term with the customer acquisition. And I won't get into those nerdy details here. I'm planning some content about the rollout for this album in in the coming weeks and months. So, make sure to subscribe if that's up your alley. But doing something like a postcard, you can't charge much for shipping and and you still cost like a decent chunk of money in comparison to CD. You can't do it with vinyl. Vinyl's too expensive. You can't do it with cassettes. Cassettes are too expensive and the shipping for cassettes and vinyl's too expensive. So, the CD is kind of this perfect thing um and 40 million CDs sell in the US alone every year. And this as I already told you, the shipping is dirt cheap. They're cheap to make and they're fast to make. Unlike vinyl, which takes months and it costs thousands up front, you can get 100 CDs made for 200 bucks. So, the the economics just kind of make sense to do with a CD. So, you might hear this and you're like, "This is stupid and I hate you for even telling me about this strategy." Um because maybe you're like an artist where CDs just make they don't make any sense. Um or you just the idea of doing this sounds painful to you. Then don't do it, right? Th- This is not for everyone. Um you know, but you'd be surprised. But if you're like a hip-hop artist and you're younger, it's probably just going to be painful to you and you're going to hate it. But if let's say for another example, you're a hip-hop artist, but you do a little more of a retro sound and you love the kind of old-school physical media thing. Or maybe you're metal artist. Or maybe you're you're a um I'm blanking on what to do. You're like an electronic artist. Right? Depending on what kind of artist you are and what type of um person you are, this might make a lot of sense to you and click especially where a lot of people are getting streaming fatigue and they're going back to physicals. That's been a whole thing lately too. So, anyways, do that if you think it's cool um and don't if you don't. But the advantage of that is you're getting real people paying real money to own your music. So, these are people who want to support artists coming and becoming part of your ecosystem. So, I'll leave it there. I will be making more content on the future. In the meantime, if you want to wet your whistle if I don't have it up by the time you're seeing this video, I do have an old series that I did in the past covering how I pulled off the free plus shipping and handling funnel. And hopefully I'll remember to swap that out with the new video whenever that new video comes out. Now, I want to do some more rapid-fire things. One great thing you could do is collaborate with other artist. If you have a fan base and another artist has a fan base, even if your two fan bases are small, you could smash them together and make a bigger fan base because if it's a good collab where you'll sound good together and your fans would likely both like both your sounds, there's no downside to that collab, right? Because their fans, some of them are going to become your fans, some of your fans are going to become their fans. It's not like either of you lose fans in that process unless you pick someone horrible to collaborate with that has done horrible things that's going to get you in trouble. So, collaborating is great and it's typically just a great time. So, find artists where it makes sense, hit them up, work on some music. I've I've never seen it go bad except in scenarios where you you pick a a bad person to to [clears throat] do your collab with. Uh another thing I'll mention on the bad side actually is this is kind of me rapid-fire is don't waste your money assuming you're a smaller developing artist on radio promotion and PR promotion. That stuff is typically reserved for very specific strategies. There are scenarios when it makes sense to do a radio campaign. There are scenarios when it makes sense to do a PR campaign. Um if you're a newer artist, it probably makes no sense for you to do this now. It When you want to do those things is when you have like a tour plan, you have an album coming out. You have these big things happening and you already have momentum. That's when doing a PR campaign and then doing a radio campaign around like there's a very specific strategy you can formulate there. That's not what I'm talking about. Every time I say bad things about radio or PR, people come at me with these specifics. Those specifics are great. The problem is the vast majority of you watching this don't fall in those specifics. So, the broad recommendation for you is unless you really know what you're doing, don't waste your money on those things. You can literally burn like 10 grand on PR and radio campaigns and have it not give you any streaming numbers or any social media numbers or any actual fans that stick with you long-term. Of course, don't mess with bots and be pretty minimal on the Spotify playlist budget, right? You I talked about running ads to grow your own playlist. You can of course hire other people to get your music on their playlist, whether it's a network or on SubmitHub or stuff. The SubmitHub thing is great. Like you can spend like 50 bucks and get on some playlist, spend 10 bucks and get on some playlist. That's cool. Um but don't go spend like 50% or 100% of your budget spending hundreds or even thousands of dollars getting on other people's playlist. That doesn't get you fans long-term. There is also a very specific strategy with playlisting that can help and there is value to getting numbers and vanity. Um but a lot of artists spend too much money on the the play like paying to get on other people's playlist and not enough money on things that actually move in your long-term like running ads or social media or other types of ads other than the streaming promotion, right? Like the email list and the show promotion. And one huge caveat to everything I've said in this video, which is kind of related to what I just talked about, is these strategies all change depending on really everything about you, but uh mostly what size artist you are. So, these strategies just like I was talking about the PR and the radio, there's a very specific play there. Uh for example, a big artist might be able to get on a talk show, and that's now a part of their strategy, and that change is going to dictate what other pieces of their strategy that you do. Or like if you have $50,000 to promote your album that's coming out, that's going to be a very different play than if you have $2,000 for your album coming out. So, everything I've given you in this video as advice, I've tried to like genericize it as much as possible, but for most of you watching, this is for like you have anywhere from, you know, a few hundred dollars to a couple grand to promote your your new songs, and you're like a developing artist with less than 100,000 monthly listeners or a couple hundred thousand monthly listeners. If you have like a couple million monthly listeners and you're watching this, you already know a lot about what works for you, and you probably don't need this disclosure that I'm about to say. It's really for all the people who are who are under like a couple hundred thousand monthly listeners that see what the bigger artists are doing, and then try to use that as a reason for why they should do what they're doing. But there's a lot of stuff that you can't do that a larger artist can do. And that's really my point with this last point is don't try to base your entire strategy on what a bigger artist is doing unless you've gone through and figured out that like, oh, they're doing that because they're big, and I can adjust that strategy to make it work for me. So, anyway, this video has been going on for long enough. If you want to see how you can promote your music with meta ads, like I've explained a few times in this video, check out this video right here to see that entire process from start to finish. And if you want to see a playlist with a whole bunch of different music marketing tactics that I've covered on this channel, check out this playlist right here. Anyways, thanks for watching, and I'll see you in the next video. Bye.