How New Age Musicians @RickyKej and @WouterKellerman Won A Grammy

Ricky Key and Wouter Kellerman

In fall of 2014, I interviewed New Age artists Ricky Kej and Wouter Kellerman about how they marketed their newest collaboration, Winds of Samsara. The album debuted in July at No. 1 on the Billboard New Age Chart, and then spent the following 12 weeks in the Top 10.

****** UPDATE!! February 8, 2015 – Kellerman and Kej WON a Grammy for Best New Age Album at the 57th Grammys. Congratulations! It couldn’t have gone to two nicer musicians and a harder working team. ******

Ricky, Wouter and their team are a hybrid indie artist marketing model: neither the artist nor the label does 100% of the marketing. Most of the marketing strategy, however, is planned and driven by the artists and their managers, with similarities to how Macklemore (Ben Haggerty), Ryan Lewis and Zach Quillen drove the charting success of The Heist in 2013.

Ricky and Wouter signed this project with a label, but they recognized from the start that their label wasn’t going to do everything needed to promote the album. The artists themselves needed to pitch in, especially with social media promotion. That is the powerful story here – all the incredible networking and promotion this team did for the album, in addition to using key industry resources at their label to help strategically promote the album in distribution and on the radio.

I’ve seen first hand on social media how Ricky, his wife Varsha Kej, Wouter, and Wouter’s manager, Tholsi Pillay, persistently promote Winds of Samsara. All four fluidly mix the creative with business. In addition to being Wouter’s manager, Tholsi played keyboards and synth on the album, and Varsha is Ricky’s manager as well as a sitar player. 

I wanted to hear more about how this marketing dynamo planned and executed their marketing, and what has gone into debuting and maintaining Winds of Samsara’s Billboard chart status over the past weeks and months. I also wanted to know what kind of promotional team they have behind them (distributor, PR, etc.)

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Walking The Dog Episode 19: Interview With Musicpreneur Aaron Bethune

Aaron Bethune

In today’s 35 minute episode I talk with my friend, music business consultant, newly published music marketing author, and just a lovely, genuine, and interesting human being, Aaron Bethune (@PlayItLoudMusic).

Aaron and I talk mostly about his new book, Musicpreneur: The Creative Approach To Making Money In Music (you can get a few chapters for free by signing up on the book website).

Eric Alper, Director of Media Relations for eOne Music Canada, has said, “This book might just be all you’ll ever need to read.”

Aaron and I discuss what makes his book different from most of the other music marketing books I’ve read, including:

  • Why Aaron started the book with a personal story about the time he came within 200 meters of one of the world’s seven summits, Cerro Aconcagua, and what that has to do with a career in music
  • Fan profiling, storytelling, being authentic and how to connect with fans
  • The reason 99% of musicians don’t manage to make a living in the music business, and how to be one of the 1% who do
  • The biggest obstacle to success for most indie musicians
  • Real life examples of how Aaron approached marketing two very different musicians whose music is in the same genre or format
  • How to identify possible sponsorship opportunities

[Tweet “Who cares if you have a million followers if you’re not reaching your fans”]

I think you will enjoy our conversation as much as I did. Let me know in the comments!

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The Grammy® Awards and Indie Music Marketing

Sometime in the summer of 2013, I decided to join The National Academy of Recording Arts and Sciences (NARAS), AKA The Academy®. I had heard it was a great way to network with other local musicians – including Seattle’s own Grammy®-winning writers, producers and artists like Sir Mix-A-Lot, Eric Tingstad and Sue Ennis.

Then, in the fall, on a lark, I decided to see what it was like to submit my music for the 56th (as they call it) Grammys. Just for fun, mind you, and to learn. I have no delusions of grandeur left about the music industry. Well, maybe a few.

The Grammys are the biggest honor in music you can get. I thought it would be interesting to participate in the process and see how it really works first hand, for an indie and from the inside. No PR machine, no label, no manager.

First, I did some research on indie artists who have gotten nominated. There’s been a lot of controversy in recent years, with EDM artist Al Walser and Americana artist Linda Chorney top of mind. This post is not about the controversy of the voting process, however. Believe it or not, this post isn’t even going to cite Macklemore and Ryan Lewis, although Seattle’s own hometown indie artists were nominated for seven (seven!) Grammys, in case you’ve been living under a rock this year.

What is most interesting to me are two things I discovered.

One is a shift, at least for the indie artists, away from the private Grammy365 website to social media sites like Facebook to promote their nominations. Social media is having an effect even on crusty and fairly closed organizations in the music industry like NARAS.

Second is the sheer explosion in both the number of Academy members and number of submissions for nomination, as more and more amateur recording artists and producers have begun creating and marketing their music. This has created not only technical issues for the Academy and its members’-only website, Grammy365.com, but it has also made the annual listening and promotional process within the voting members much more challenging.

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