April 14, 2025

Street Team Promotions – Lost Art?

In today’s music industry much has changed from the antiquitaded past, and nothing more drastically than the street team. Prior to the year 2000, Street Promotion budgets were many times the single largest expense on a record budget behind radio.  Whole businesses and teams were created to give the grassroots efforts needed to take an album or single to nationwide or worldwide acclaim.  This business created jobs for thousands of aspiring music business execs and gave a great starting point for anyone looking to get into the music industry.

Today, the art of the street team and physical promotions is all but lost in the age of the internet. While the internet gives individual artists much greater access to build a grassroots following on thier own, I believe there is nothing better than a physical interaction with an artist or brand.  Today’s street team model is having fans sign up for an artists’ email list and then the artist choosing one or two fans per month to send some free swag, ie. T shirts, etc.  While this is great and gives the artist far more control over their fanbase, there is still something missing in this interaction, it is personal yet impersonal.  I believe there is room to revive some of what made a traditional street team, to give fans physical interactions that will in turn bring them back to the website and web presence, to build a much more complete brand around and artist.  Imagine having a branded team give away 10,000 flash drives with some exclusive content, that when put in the computer automatcially connect the fan to the mailing list and website while giving them access to exclusive content.

Today the art of the street team has been revived by some, such as Rick Ross and MMG, who take to the streets of Miami and Atlanta in wrapped trucks handing out thousands upon thousands of free mixtapes and other promotional items. As you can see, this model works again as it did in the 90’s, with Rick Ross and his MMG affiliates constantly outshining many major label releases through diligent online efforts as well as street teams in some of the key marketplaces.  This model is alive again!

I recommend all artists and labels reconsider the benefits of street marketing as it is easier than ever to integrate into other digital promotions and measure a ROI on these promotions.  People love free stuff and always will so whoever figures out how to get that to them effectively while maintaining a cohesive digital plan alongside will reap the benefits tenfold as the street promotions uncover great word of mouth evangelists for the artist or brand.  These personal connections are irreplaceable and bring the promotion full circle in today’s market!

Recently we partnered with Miami Promo at the Coast 2 Coast Convention 2012 event and saw first hand how a great marketing plan can come together with street promotions. Specifically the Miami market is PRIME for street team, as people from around the world gather on the beaches to get a taste of Miami and America.  Every one of these fans could be YOURS! Now get out there and take advantage by making Miami Promo and street promotions part of your next budget!

SoundExchange – Digital Performance Royalties

SoundExchange is the non-profit organization that has been created by congress to collect and distribute digital performance royalites from the use of copyrighted music. In this day and age the performance royalties from online and digital sources is quickly rivaling the amounts generated from traditional avenues such as TV, Radio and more. SoundExchange currently represents over 3,500 record labels and over 31,000 featured artists and whose members include both signed and unsigned recording artists; small, medium and large independent record companies; and major label groups and artist-owned labels. They have distributed over $90 million in royalties to artists like yourself!

Check out the short video below to see how SoundExchange can help you and make you some money$$

In summary, SoundExchange handles the following:
•    collects performance royalties from the statutory licensees;
•    collects performance royalties from reciprocal agreements with foreign collecting societies for featured artists and labels;
•    collects and processes all data associated with the performance of the sound recordings;
•    allocates royalties for the performance of the sound recording based on all of the data collected and processed;
•    makes distribution of the featured artist’s share directly to the artist;
•    makes distribution of the SRCO’s share directly to the copyright owner;
•    makes distribution of the non-featured artist’s share to AFTRA and AFM’s Intellectual Property Rights Distribution Fund; and
•    provides detailed reports summarizing the titles, featured artists and royalty amounts for each of the sound recordings performed by the statutory licensees.