Making great music is only half the job. Getting people to actually hear it is the other half, and that’s the part most musicians never really get taught.
Here’s the thing: when musicians look for marketing ideas, they almost always look at other musicians. That’s a small pond to fish in.
Painters, authors, chefs, game developers, they’ve all had to solve the same basic problem you have: how do you get someone to care about what you made, then care enough to pay for it, then care enough to tell their friends?
Some of the best answers to that question have nothing to do with music at all so with that being said, here are ten worth stealing.
1. Build a body of work, not just singles
Visual artists rarely release one painting and move on. They build a series, develop a style, and let each piece add weight to the ones before it.
- Keep a consistent production style or sound across releases so people recognize your work before they even check who made it
- Tie your artwork, videos, and promo material together visually instead of treating each release like a separate brand
- Treat your streaming profile like a small gallery: put your strongest work up front
Tycho is a good example here. Same visual language, same evolving but recognizable sound, release after release. You know a Tycho record within a few seconds.
2. Own the relationship with your fans
Authors figured out early that platforms come and go, but an email list is yours. They build direct lines to readers instead of relying on an algorithm to introduce them.
- Run a newsletter that actually gives people something (behind-the-scenes, early access, an exclusive track), not just “new single out now”
- Offer a few tiers of access for the fans who want to go deeper
- Reply to people personally when you can, especially the ones who show up for you consistently
Amanda Palmer is the go-to case study. She built such a direct relationship with fans that she raised $1.2 million on Kickstarter for an album, book, and tour. That kind of number doesn’t come from ads. It comes from people who feel like they already know you.
3. Give people a story around the music
Filmmakers understand that the world around a film, the trailers, the interviews, the behind-the-scenes footage, can be as engaging as the film itself.
- Film your process: writing sessions, studio time, the messy parts
- Build a proper teaser campaign before a release instead of dropping it cold
- Let your videos connect into one story instead of existing as separate clips
Beyoncé’s “Lemonade” is the obvious one. It wasn’t just an album, it was a film, poetry, and visual work that gave people a lot more to talk about and dig into than the songs alone.
4. Make listening an experience
Chefs know a meal isn’t just about the food. It’s the room, the pacing, the moment. They design for all of it.
- Run listening sessions where the setting is part of the plan, lighting, space, no phones
- Keep some shows small and intimate on purpose, not just because the room was cheap
Sigur Rós have done real work here, building scent and sound experiences (including their own line of candles) to go with the music. It sounds like a stretch until you realize it’s just giving people a reason to sit with the album instead of skimming it.
5. Test your material before you finalize it
Theater has previews for a reason: audiences catch things a rehearsal room never will, and early buzz makes the real opening bigger.
- Play new songs live before you record them and pay attention to how a room reacts
- Roll releases out regionally instead of everywhere at once, if that fits how you tour
Radiohead have long tested songs live before committing them to record, letting the material shift based on how audiences actually respond to it.
6. Show up consistently
Comedians live and die by how often they put out specials, clips, or podcast episodes. Staying in someone’s feed takes repetition, not a big splashy moment once a year.
- Set a release rhythm you can actually keep, even if it’s small
- Run a recurring series, a monthly cover, a studio diary, something people can expect
John Mayer’s “Current Mood” Instagram Live series is a solid example. It kept him around in fans’ feeds between albums without needing new music to justify showing up.
7. Collaborate outside your lane
Fashion designers team up with people who have nothing to do with fashion, and it works because it puts them in front of a completely different audience.
- Look for genuinely cross-genre collaborations, not just the obvious feature swap
- Partner with brands or makers that actually fit who you are, not just whoever will pay
Run the Jewels partnering with craft breweries on a branded beer is a good example of stepping into a product category that has nothing to do with music, while still reaching people who’d probably like the music.
8. Build a community, not just an audience
Game developers know that a passionate community does more marketing than any campaign. Letting people in on the process turns them into advocates.
- Release stems and let people remix your work
- Give fans a space to actually talk to each other, not just to you
- Ask for input on real decisions sometimes, not just as a gimmick
Imogen Heap has done this well, releasing stems and staying open about her process in a way that turned listeners into active participants rather than passive ones.
9. Lock in a visual identity
Photographers spend years developing a style so distinct you can spot their work without a byline. Musicians can do the same with far less effort than people assume.
- Pick a color palette and stick with it across covers, videos, and social
- Keep a consistent look for press photos instead of reinventing it every cycle
Jack White and Third Man Records are the clearest example: black, yellow, and white, everywhere, every time. You know it’s Third Man before you read the label.
10. Use scarcity
Craftspeople have always known that limited runs and handmade touches create a different kind of value than mass production ever could.
- Put out numbered or limited vinyl runs with something worth collecting
- Make some merch only available at certain shows
- Sign or personalize small batches when you can
Nine Inch Nails took this further than most with “Ghosts I-IV,” offering everything from a free download to a $300 signed deluxe box. Different entry points for different fans, and real revenue from the collectors at the top.
Where this leaves you
The artists who do this well usually aren’t doing all ten, they’re picking two or three that actually fit who they are and going deep on those, not spreading themselves thin trying to cover every base.
So don’t force a chef’s approach onto a bedroom pop record, and don’t force scarcity onto music that’s meant to be given away freely.
Look outside music for ideas because I can guarantee that most of your competition isn’t.