Twitter for musicians – revisited

Three years ago, Steve & Dubber talked about Twitter as a conversational medium, how it had been misrepresented in the mainstream press, and what its potential was for independent music.

Recently, we revisited that conversation, and thought we’d try and bring it up to date. So we did. Only, we forgot to share that with you. Apologies for the oversight. Here it is now.

4 thoughts on “Twitter for musicians – revisited

  1. Jay Stapley says:

    There is an interesting cyclical effect starting to develop in the area of Internet “D.I.Y. Not-for-profit” services. As soon as they reach a certain critical mass of users, a calculation is made by those users in which they balance the usefulness and convenience of the service against the irritation factor of the ads that support that service. If the latter outweighs the former they start looking for the alternatives in which the former still outweighs the latter. Watching the service providers’ attempts to square this circle (keep both these balls in the air, choose your own metaphor…) will continue to be a fascinating thread in the development of the net. There is indeed no such thing as a free lunch, but there are plenty of inventive marketing strategies to make you think you’re getting one…

  2. peter scott says:

    I see the sacked/resigned bankers motto is “Lunch is for whimps” mine is bass solos are for .hmmmnn nup…or maybe there is no such thing as a free bass solo .btw Mr lawson’s tracks are not bass solos . That would be fun eh, bass solos by a solo bassiste. I digress. Otherwise tres helpful particularly the graphic ideas

  3. peter scott says:

    just re-read my bass solo comment. My twisted sense of flattery might be lost, well is definitely lost. I have never heard a bass solo in my life or known a bass player for that matter. i deny it all ,thrice. call me peter

  4. Albert Freeman says:

    This, as with the first video from 2009, is fascinating stuff. I have three observations/questions. Only one of these relates specifically to musicians and twitter. My other two points are more general in terms of twitter and its future.

    I “think”, although I might be wrong, that one of Dubber’s questions was about how a band should use Twitter, when a band can’t have a personality of its own. This is a quandary I’m sure a lot of bands have wrestled with in terms of their twitter use. As having a personality is so key to good Twitter use, should a band’s twitter account be a transparent window into the life of one member, or should band members simply use their personal twitter account, and use the official band twitter account only for collective, impersonal posts? I don’t think there is one right or wrong answer to this. Ultimately, of course, what you need is for several band members to have their own active personal accounts, plus a general band account. This is something Hope &Social do well.

    My second and third observations have ended up being rather long and rambling, so i’ll save the full text for elsewhere, and just briefly make my points here:

    – If Twitter does go further down the ad-funded, promoted tweet, route, and offers a ‘leave me alone’ option for £100 a year, I think the entire model would collapse.

    – When (or how) are we going to get that social media revolution whereby users of different social media platforms can cross-communicate as freely as users of different email services can?