According to a report by Music Business Worldwide, TikTok has over 1 billion active users, making it a pivotal platform for music promotion. This staggering number highlights the app’s vast potential as a promotional tool for artists. Supporting this, data from Spotify reveals that tracks going viral on TikTok see a significant increase in streams on Spotify, demonstrating the power of cross-platform promotion.

Establishing a Strong Foundation

Before diving into specific platform strategies, it’s crucial to lay a solid foundation for your music promotion. This involves understanding the unique aspects of each platform and tailoring your content accordingly. High-quality music production is non-negotiable; your tracks must stand out in both creativity and production value. Recognizing the audience demographics and content preferences on each platform can significantly influence your promotional tactics.

• Creating music that resonates with your target audience ensures engagement.
• Researching and understanding each platform’s audience helps tailor your content effectively.
• Consistently producing and sharing high-quality content builds a loyal following.

Understanding the nuances of TikTok, SoundCloud, Spotify, and similar platforms is the first step. Each has its own culture and preferred content style, which must inform your promotion strategies. Tailoring your approach to fit these preferences maximizes your chances of success.

Platform-Specific Strategies

TikTok

TikTok’s unique ecosystem thrives on trends, challenges, and collaborations. To leverage this, artists should engage actively with current trends and consider creating their challenges to promote their music. Collaborating with other TikTok creators can also introduce your music to a broader audience.

• Participate in or initiate trending music challenges to gain visibility.
• Collaborate with influencers to reach a wider audience.
• Utilize TikTok’s features, such as duets and stitches, to increase engagement.
• Share your tracks across your social networks and consider using a QR Code Generator for your TikTok profile for easy sharing.

SoundCloud

SoundCloud’s community-centric platform offers artists a great way to engage with listeners directly. Making use of tags, and descriptions, and engaging with the community through comments and messages can improve your music’s discoverability and foster a supportive listener base.

• Engage with your audience and other artists to build a community.
• Use detailed tags and descriptions to improve your music’s findability.
• Share your tracks across your social networks and consider using a QR Code for your SoundCloud profile for easy sharing.

Spotify

For Spotify, getting your music featured on popular playlists and optimizing your artist profile are key strategies. Spotify for Artists provides tools for pitching to playlist curators and insights to help understand your audience better.

• Pitch your music to playlist curators to increase your visibility.
• Optimize your artist profile with engaging bios and photos.
• Analyze your data with Spotify for Artists to understand your audience.
• Share your tracks across your social networks and consider using a QR Code Generator for your Spotify profile for easy sharing.

Cross-Platform Promotion

Promoting your music across multiple platforms requires a cohesive and integrated approach. Utilizing social media to drive traffic to your music on Spotify, SoundCloud, and TikTok amplifies your reach. Additionally, leveraging your website and email list to share new releases and upcoming shows keeps your audience engaged and informed.

• Integrate your social media efforts with your music on streaming platforms.
• Use your website and email list to announce new releases and shows.
• Engage with fans across all platforms to build a community around your music.

Promoting your music across TikTok, SoundCloud, Spotify, and other platforms is a multifaceted effort. It requires a deep understanding of each platform’s audience, leveraging trends, and engaging directly with your listeners. By applying these strategies, artists can significantly enhance their visibility and connect with a wider audience, paving the way for greater success in the music industry.

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When The Kills found a reputable label that agreed to collaborate with them (Domino Records), they immediately started recording songs. In 2002 the band released their EP “Black Rooster”. In the USA Dim Mak Records distributed the EP. The record was something different from what Hince and Mosshart did in their previous bands, reminiscent more of Lo-Fi. In the music press, the young The Kills were immediately compared to The White Stripes, mostly because of the boy-girl format. The comparisons increased when The Kills recorded their first album “Keep On Your Mean Side” in the same studio (Toe Rag Studios) where The White Stripes recorded their famous record Elephant (in the same year of 2003).

Positioning themselves as a band opposed to the music industry, The Kills rarely gave interviews, but regularly invited the press to their private shows. Mosshart smoked cigarettes when she wasn’t singing, occasionally exchanging a few phrases with the audience, while Jamie silently played her parts, sometimes singing along to Alison. The second album, No Wow, released in 2005, contained fewer of the heavy guitar riffs that were so intrinsic to their first record, was made with a claim to a more “artistic” performance. The first single from the album, “The Good Ones,” was released on February 7, 2005 and reached number 23 on the UK singles charts. In 2007 The Kills wrote on their blog that work on the new album was finished. The first Single from the album was played on BBC Radio One on November 1. The record itself was released in 2008 and was called “Midnight Boom”.

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Both of the band’s albums have been critically acclaimed. Their debut, Funeral (2004), reached number one on MTV2’s 50 Greatest Albums of the Year list and received two Grammy nominations. The second, Neon Bible (2007) topped the album lists in Canada and Ireland, climbed to No. 2 in the U.S. and the U.K. and reached No. 1 on Q Magazine’s Best Albums of 2007 list. In 2008, the album was nominated at the Brit Awards and won the Juno Awards for Best Alternative Album of the Year.

Win Butler was born on April 14, 1980, in California (his father worked for an oil company and his mother played harp in an orchestra) and spent his childhood years in Woodlands, a suburb of Houston, Texas. Along with his brother Will, he attended the prestigious Phillips Exeter Academy (where writers John Irving and Gore Vidal, among others, came from), where his favorite subjects were literature and photography. He studied the same at another equally reputable institution, Sarah Lawrence College, where (under the influence of early The Cure and Radiohead) he first began recording on 4-channel equipment.

With Regine Chassagne (b. August 18, 1977 in Quebec to a family of Haitian descent) he met at the opening of an art exhibition at Concordia University in 2002, where, as a student, she was performing jazz standards on stage. Quickly becoming inseparable, Win and Regina moved to Montreal’s Mile End neighborhood, setting up an impromptu recording studio on the top floor of the house. In 2003, Butler and Chassein were married: the ceremony took place in August on a country farm.

In the summer of 2003, Arcade Fire was formed: in addition to the founding duo, the lineup included Tim Kingsbury, Richard Reed Perry, and Brandon Reed (for a while Josh Dew and Kim Kyle played there: the latter now performs with Wild Light). Soon the lineup was reformed to include Will Butler, Sera Neufeld, and Jeremy Gara. With their own money, the band recorded the album Funeral, drawing the attention of Mac McCaughan (frontman of the indie punk band Superchunk) of Merge Records. The band insisted on meeting in person and traveled from Montreal to Northern California to play for Mac at The Cave club, where about fifty people gathered. In McCaughan’s words, they “just destroyed everything around them.”

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All of the band members were associated in one way or another with vocalist and songwriter Julian Casablancas.

We can say that the band’s genesis began within the walls of the Dwight Private School, which has educated the children of prosperous New Yorkers since 1980. The Strokes themselves call “Dwight” simply – “A school for rich jerks.

Casablancas, Nick Valensi and Fabrizio Moretti met at Dwight in the mid-’90s and quickly bonded over a shared obsession with music. The three were united by a natural rebellious spirit that separated them from the school crowd. Unlike most of their classmates, whom they described as a bunch of nerds and five minutes fans of Eminem, the friends had little attraction to gangsta rap. On the contrary, the guys listened to alternative bands of that time – Nirvana, Pearl Jam, and a lot of other music: from New York punk bands of the 70s to Bob Marley. The Velvet Underground was particularly influential in shaping their musical taste.

Nick Valensi described the situation at the time, “I don’t know if we were outcasts, but there was definitely a group of ‘cool’ kids at school and we weren’t one of them.”

The trio learned to play together; Valensi devoted himself to the guitar, which he first picked up at age 5; Moretti honed his drumming skills in a soundproof bathroom in his mother’s apartment.

Even before he met Valensi and Moretti, Casablancas had left to study at the Le Rossi Institute in Switzerland because he had behavioral problems and an addiction to alcohol in his youth, which caused Julian to do poorly at school.

At Le Rossi, Casablancas met Albert Hammond Jr., most likely because they were both Americans. They were not particularly close friends because Hammond was two years younger than Casablancas. After six months of studying in Switzerland, Julian returned back to America.

In 1998 Casablancas met Hammond again in New York and offered him to join the band, which at that moment already included Nick Valensi and Fabrizio Moretti, as well as the bassist Nikolai Freichur, with whom Julian had been a friend since the age of six. In the same year, after changing several names (such as De Niros, The Motels) the band got its final name “The Strokes”.

In fact, The Strokes’ meteoric success is the result of at least three years of hard work. One can understand why the musicians pay particular attention in the press to how much effort and time they devoted to their first album: The Strokes spent countless late-night hours reworking and improving musical material in a smelly and shabby rehearsal room they rented in Manhattan for $300 a month.

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The story of Arctic Monkeys creation reminds a Christmas fairy tale about how British teenagers Alex Turner and Jamie Cook made their dream come true, getting electric lead guitars from Santa Claus. After mastering their instrument techniques, the boys decided to form a band and began playing tunes by popular musicians.

Soon the friends were joined by like-minded Matt Helders and Andy Nicholson, who supplemented the company with a drum kit and bass, and their mutual acquaintance Glen Jones was the first vocalist.

Some time later, when the guys decided on a name and drew a poster with the Arctic Monkeys logo, probably borrowed from a popular 1960s band, the singer considered the creative process childish and handed the microphone to Alex, who later became the permanent lead singer.

The lineup of the band has not changed much since then, except for the case when in 2006, according to the official version, bassist Andy Nicholson got tired of touring and was replaced by Nicholas O’Malley, who continued the nearly failed North American tour.

The creative career of Arctic Monkeys was successful from the very beginning, as the first serious rehearsals were held in the professional studio Yellow Arch. There they created a 17-track demo recording that was released on a reusable CD titled “Beneath the Boardwalk”.

The songs “Bigger Boys And Stolen Sweethearts”, “Fake Tales Of San Francisco”, “A Certain Romance” and “Bet You Look Good On The Dancefloor” quickly gained popularity and appeared on the fan page on the Myspace platform. And after promotion in the North of England, the band earned the attention of BBC radio DJs and print publications interested in new artists.

At the same time, photographer and cameraman Mark Bull shot a pirated video of the team’s club concert and posted a music video for the song “Fake Tales of San Francisco” on his own page. Moved to the Arctic Monkeys’ account, the clip garnered thousands of views and as a result was a good follow-up to the debut professional single “Five Minutes with Arctic Monkeys”, released in 2005.

The record, containing the hit “Fake Tales of San Francisco” and the novelty “From the Ritz to the Rubble”, was issued in limited editions on CD and vinyl and got into the hands of the founder of the British company Domino, who signed contracts with musicians who deserved personal sympathy. Thanks to his offer of cooperation the young Sheffield team released the singles “I Bet You Look Good on the Dancefloor” and “When the Sun Goes Down”, which with minimal publicity in the media took the top places in the British charts.

In 2006 Turner and his company released another 10 fresh tracks and recorded a full-length album, Whatever People Say I Am, That’s What I’m Not, which sold over 360,000 copies in an instant. Becoming the fastest-selling debut release ever, the record received positive reviews and, upon its release in the United States, took the authors to the next level, reaching number 24 on the Billboard 200 charts.

It is true that the musicians were repeatedly criticized for promoting smoking because of the picture of a young man with a cigarette placed on the cover, but after a successful tour of America the talks calmed down and the record entered the list of “500 greatest albums of all time”. In addition, Whatever People Say I Am, That’s What I’m Not won awards in the UK, Japan and Ireland and in 2007 won two prestigious national BRIT Awards.

To build on their success Arctic Monkeys recorded the EP “Who the Fuck Are Arctic Monkeys?”, which due to profanity only received internet rotation, and then began work on their second studio album “Favorite Worst Nightmare”.

The official release on the 18th of April 2007 was preceded by the presentation of the single “Brianstorm”, which managed to overtake the competitors and made its way to the top of the national audience ratings, paving the way for the success of the other compositions on the album.

The result was a heavier, more aggressive sounding album that included “Old Yellow Bricks” and “Only ones who know”, again scooped many UK Music Awards, and the Arctic Monkeys were voted Best Rock Band at the 2007 Brit Awards.

However, the members ignored the event and sent a thank you video instead of attending in person, where they were dressed up as characters from The Wizard of Oz.

Some listeners saw this behavior as mockery, but most respected the band’s decision and attended their 2007-2008 concerts in Dublin, Manchester and Britain’s largest festival, Glastonbury.

After a short break, during which Alex Turner was engaged in The Last Shadow Puppets project, the drummer of the main band was interviewed by journalists and announced the new album. And in June 2009, the single “Crying Lightning” and a 3 track EP of “Catapult”, “Sketchead” and “Fright Lined Dining Room” appeared on the web and radio after the “Humbug” title presentation.

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The band was founded by gifted musicians – songwriter and vocalist playing the piano, Stephen Morrissey, and guitarist John Maher, who renamed himself Johnny Marr after a while, as he was the full namesake of another popular musician. The duo was the beginning of a band that opposed the very popular punk rock movement in Great Britain at the time, as well as the New Wave that was still going strong in the 80s.

In 1984 The Smiths added the missing members to the band: bassist Andy Rourke and Mike Joyce, who played drums. It was after that that they gave the name to the band, using a simple and clear word “Smiths”, which means “The Smiths”.

Interesting! Thanks to the extravagant, daring behavior of the band’s frontman and provocative lyrics, the first singles made it to the national hit parade. After that, the guys began to rapidly receive offers from record companies.

On February 20, 1984 the band released their debut album of the same name. It became popular at once – for almost 33 weeks it topped the charts. But it did not do without scandals: tabloids found in the lyrics of “The Hand That Rocks the Cradle” support of pedophilia, which was resentfully denied by the frontman.

In 1985, the group’s second album, Meat Is Murder, was released, which featured more pronounced social and political statements. The main song was a protest against the killing of animals, it had bright vegetarian overtones. Nowhere Fast” voiced republican ideas. And the lyrics of “Headmaster Ritual” and “Barbarism Begins at Home” raised always relevant themes of physical abuse of children at home and at school.

Following his beliefs in the songs, Morrissey stated in interviews that all band members were vegetarians. That is why he forbade each of them to eat meat products in public in order not to be caught by the camera lenses.

In the same 1985 the band was on a long tour in the USA and Great Britain. At the same time they were recording their third album, which was released in the summer of 1986. Alain Delon is depicted on its cover. At once the record took the second place in the British charts.

During this period, the atmosphere within the band became complicated. Legal problems with the record company delayed the release: the album was ready in the end of 1985, but it was released a few months later than planned. Because of the lengthy tour Marr very tired, fell into depression, began to abuse alcohol, felt like a sick man.

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Godforsaken Manchester at the time of the birth of the future founders of Oasis was still far away from the status of the capital of music. The childhood and youth of brothers Liam and Noel did not foreshadow that soon the whole nation would be obsessed with them.

The Gallagher family was working class, with no prospects for a better life. Only music and soccer helped distract the brothers from their grim reality. Liam and Noel’s ultimate charisma and religious conviction to inherit The Beatles. The brothers loved the Liverpool Four, preferring idols to neighborhood bands.

Liam later said: “Until we signed to the label, our life looked like this: play soccer, get an allowance, buy another record, then get dope, drag yourself home and get stoned.”

Manchester’s dull reality changed when, in 1991, the Gallagher brothers formed a rock band, originally called The Rain.

At the origins of the musical collective were:

Liam Gallagher, lead vocalist;
Paul “Bonehead” Arthur, guitarist;
Paul “Guigsy” McGuigan – bass guitar;
Tony McCarroll – drums.

Noel Gallagher, who later joined the guys, saw the band as a way to promote his own songs. The first performance of the musicians took place in August 1991 on the stage of Manchester’s Boardwalk Club.

Oasis are the conflicted Noel and Liam, the elder of whom is the vocalist and guitarist, songwriter, ideologist and producer of the band. The younger Liam is the songwriter and main performer. Of the entire collective, only two brothers have made it from the release of the first compilation “Definitely Maybe” in 1994 to the completion of history and “Dig Out Your Soul” in 2008, while regularly hitting tabloid pages with a reputation as “bad guys.”

The band’s two debut compilations, “Definitely Maybe” and “(What’s the Story) Morning Glory?”, are considered the peak of their creativity and have become Brit-pop classics. In the mid-’90s, these records sparked the famous phrase “British Invasion.”

In August 1994, after the appearance of the single “Live Forever”, which entered the top ten of the British chart, everyone knew about the musicians. The underrated classics “Champagne Supernova” and “Slide Away” are still perfectly listened to today.

The landmark 1996 Oasis concert in Neboort sold more than 250,000 tickets. This one band performance is considered the biggest in the history of the country. Requests to travel to Nebworth broke records, with more than 2.5 million people applying.

The zenith of Oasis fame on “before” and “after” divided the music industry, after Nebworth everything changed dramatically. Noel’s statement in 1996 that Oasis was more popular than The Beatles was a grand mistake and the reason of the band’s decline in popularity.

In the beginning of 1997 they recorded Be Here Now, their third studio album. The album “D’You Know What I Mean” went to the top of the charts in many countries. The 423,000 copies of Britain’s biggest-selling compilation sold out on its very first day.

The breakup of Oasis
By August 2008 the relationship between the brothers finally soured, and Noel announced that he was leaving the band. The other musicians continued to perform under the name Beady Eye.

At the BRIT Awards on February 16, 2010 Oasis received the award for “best British album of the last thirty years”, which Liam won alone.

Oasis has enough compositions where the lead vocals are sung by the author of most of the compositions. After the breakup Noel put together a band of “flying birds” (the band is literally called Noel Gallagher’s High Flying Birds), in which he sings himself.

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Indie rock.
Towards this end of the spectrum, artists tend to use traditional rock band instruments: electric guitar, electric bass, analog drum kit, and synthesizer/digital piano.

Classical guitars are the most popular in this genre, with Stratocasters, Telecasters, 335s, Les Pauls, and Jazzmasters being the most common. The traditional single-cutaway sound can set the tone for most indie bands.

Acoustic guitars are also common for a more intimate sound on select tracks, but are not as commonly seen as electric guitars.

Bass guitars used in indie music are usually Jazz Bass or Rickenbacker, but a P-Bass or Bronco can produce sounds very similar to Jazz Bass. Synthetic basses are less common. 808 basses are almost unheard of on this side of the spectrum.

Analog drums are much more common on the rock. Even if you don’t play the drums yourself, using an analog VST sample rather than an electronic 808-based kit will give you the sound.

Indie pop
This style is usually lighter than rock or rap and more flexible in its instrumentation. Artists range from guitar to synthesizer harmonies, and the drums are usually loops with analog or digital kits. Piano is becoming more prominent here, as well as digital bass tones.

Guitars are still widely used, and they still have classic shapes such as Stratocasters and 335s. Acoustic guitars are very much in use, especially among the “singer-songwriter” types whose musical focus is on melody and storytelling rather than expansive arrangement.

Pianos and synthesizers are often used to complement the chords and bass. Expect to hear ambient pads or reverb-heavy electric piano emulations.

Digital bass is becoming increasingly common in pop music as we move away from traditional rock bank formats, as most indie pop artists are solo musicians who add bass lines during production or “in the box” (meaning electronically in the DAW itself, rather than using analog equipment that must first be recorded). Bass lines are likely to be instant retro grooves played on synthesized slap bass presets, compressed digital piano notes, or thick, buzzy square waves.

Digital drums are likely to be programmed into the DAW as basslines, but many indie pop artists still work with analog samples to get a more traditional rhythmic tone. Electronic samples are common, but they follow simpler patterns than rap, especially for hi-hats.

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Post-punk revival movement: influenced by the new wave, 1970s punk and 1980s post-punk of The Clash, Gang Of Four, Television, Wire, it became popular thanks to bands such as Franz Ferdinand, Arctic Monkeys, The Libertines, Dirty Pretty Things, Babyshambles, Razorlight, Editors, Bloc Party and The View.

Indietronic: In the early 1990s, Stereolab and Disco Inferno inspired a genre that would evolve through technological innovation in the new millennium, with bands like Broadcast, Justice, Lali Puna, The Postal Service, Ratatat and the BOBBY Project. In the UK, this mixture has become known as new rave, a genre that includes bands such as Klaxons, Trash Fashion, New Young Pony Club, Hadouken!, Late of the Pier, Test Icicles and Shitdisco.

Baroque pop, inspired by the folk music of the 1960s, and the Pet Shop Boys record Pet Sounds. This subgenre includes quiet vocals and orchestral arrangements in bands such as Arcade Fire, Danielson Famile, Sufjan Stevens, The Decemberists, Broken Social Scene, Islands and Stars.
A new program, a complex, experimental, sophisticated style of rock music with bands such as Mew, Muse and Porcupine Tree.

New Weird America or Freak Folk, a more experimental version of New Folk with quirky folk songs and ballads filled with psychology, featuring artists such as Devendra Benhart, Joanna Newsom, Animal Collective and Six Organs of Admittance.
Psych-Folk, a psychedelic New Folk movement that includes avant-garde noise, drones, dissonance and natural field recordings with artists such as No-Neck Blues Band, Brightblack Morning Light, Wooden Wand and Vanishing Voice.

Psychedelic pop, a revival of 1970s psychedelic pop with artists such as The Shins, Of Montreal and The Flaming Lips.
Disco-punk/dance-punk, a combination of new wave music and punk rock aesthetics with LCD Soundsystem, The Rapture, !!!, Out Hud, Liars, Radio 4, Death from Above 1979, Lost Sounds and The Stiletto Formal.

Twee pop with simple sweet melodies and lyrics and jangly guitars with bands like The Boy Least Likely To, Architecture in Helsinki, Belle & Sebastian, Tullycraft, Camera Obscura and Girls in Hawaii.
Bands such as Broken Social Scene, The New Pornographers, Arcade Fire, The Polyphonic Spree, The Brian Jonestown Massacre, dEUS, The Hidden Cameras and Islands.

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And so it came to be that in music, the term “indie” first referred not to genres, but to studios – labels. And only later it began to be applied to the products of such companies.

Many indie musicians even now record albums without help. Their music is considered more free and original, less pop.

It was originally thought that independent musicians created music for themselves and friends, but not for profit and popularity.

The success of indie products was due to the fact that independent labels could create what they wanted rather than what profit-driven corporations dictated. As a result of this, there were musicians on the scene who became world famous. For example, Oasis, Blur and Stone Roses.

The indie trend embraced several spheres, including fashion and film. In 1989 the independent concept released a film made in a different, non-Hollywood tradition, Sex, Lies, and Video, directed by Steven Soderbergh. The picture was considered the best and became a landmark for the underground.

Successful and Sumptuous.
In the mid-1990s there was a strong interest in indie music from corporations. This happened after Nirvana recorded their debut album Bleach, which became mega-popular.

Since successful and independent bands like Oasis and Blur were imitated by many musicians, the tag “indie” was attached to anyone whose sound resembled familiar tunes. And also because the whole independent music movement-parody began and accumulated in Britain, experimental alternative rock music released in England was mostly tagged with the “indie” label.

It is difficult to determine exactly which musicians belong to this genre, as many change their usual sound and experiment within their own styles. However, it is generally accepted that indie is necessarily rock – mellow and unusual.

Indie Rock. Soft rock mixed with Brit-pop, and this is probably the most familiar sound for indie bands. Independent rock has motifs of shoegaze, blues rock, and garage rock. And also this kind of rock has absorbed a lot of other styles, so it’s hard to predict – you can’t buy an indie album and know exactly what it’s going to sound like. It could be punk and post-punk and retro rock and lo-fi.

Indie-rock usually means measured rock – especially in a professional environment. Because of this, not all musicians like to be called indie. For example, if they play neo-rock-n-roll, they have obviously created music not according to the general rules, but it is groovy and expressive, and indie in the general sense is already different.

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