Why Marketing to Superfans May Not Be The Best Tactic

Superfans are often defined as the most loyal, passionate, and engaged customers of a brand or a product. They are the ones who will go the extra mile to support, promote, and defend their favorite brand, even without being asked or rewarded. Superfans are seen as the ultimate goal of marketing, as they can generate positive word-of-mouth, increase brand awareness, and drive sales. However, marketing to superfans is not always the best strategy for a business. In fact, it can be a waste of time and resources for several reasons.

Much has been written regarding the effectiveness of marketing to Superfans - regardless of product or service.

Superfans can best be described as a person who has an extreme or obsessive admiration for a particular person or thing. The number of Superfans for optimum business growth is arguably 1000 or 1500.

But is marketing to such a select group of consumers the best approach?

First, superfans are not representative of the majority of customers. They are a small and niche segment of the market, who may have different preferences, needs, and expectations than the average customer. Marketing to superfans may lead to creating products or services that are too specialized, too expensive, or too complex for the mass market. For example, a video game company may focus on developing features or content that appeal to the hardcore gamers, who are willing to spend hours playing and mastering the game. However, this may alienate the casual gamers, who are looking for a more accessible and enjoyable experience. By marketing to superfans, the company may lose sight of the bigger picture and miss out on opportunities to expand its customer base.

For the music industry,marketing to superfans may be a waste of time because that approach may neglect the potential of other customer segments, such as the casual listeners, the new fans, or the cross-genre fans

. These segments may have different tastes, preferences, and behaviors than the superfans, but they may also contribute to the growth and diversity of the music industry. For example, according to a report by CompareCamp, U.S. K-Pop fans outspend the general population on total music spend and listen more to music than the average American. They also use social media to look for new music by 31% of all teens. Moreover, R&B/Hip-Hop with a 26.7% share was the most-consumed genre in 2022. These statistics show that there is a huge market for music genres that may not have a large or vocal fan base, but still have a loyal and engaged audience.

Marketing to these segments may help the music industry reach new customers, increase its revenue, and diversify its offerings.

Second, superfans are not easy to identify or reach. They are often hidden among the millions of followers, subscribers, or customers that a brand may have on social media or other platforms. Finding out who they are, what they want, and how they behave requires a lot of research and analysis. Moreover, superfans may not be responsive to traditional marketing methods, such as advertising or promotions. They may be more interested in authentic and meaningful interactions with the brand, such as feedback, recognition, or co-creation. Marketing to superfans requires a different approach and mindset than marketing to regular customers.

Third, superfans are not stable or loyal. They may change their preferences, opinions, or behaviors over time due to various factors, such as personal circumstances, social influences, or competitive offerings. Superfans may also become dissatisfied or disillusioned with the brand if it fails to meet their high expectations or if it deviates from its core values or identity. Superfans may also switch their allegiance to another brand if they find it more attractive or appealing. Marketing to superfans is not a guarantee of long-term success or retention.

Bottom line: marketing to superfans is not a wise strategy for most businesses. It can be a waste of time and resources that could be better spent on understanding and satisfying the needs and wants of the larger and more diverse customer segments. Superfans are not the only source of value or growth for a brand. They are not the end goal of marketing, but rather a by-product of creating products or services that deliver value and satisfaction to all customers.

Traditional Music Testing vs. On-demand Research

Music testing and on-demand streaming are two of the most widely used methods of measuring the success of music in the radio industry, used to gain insight into listener music preferences.

Music testing has been in use for decades, and it is the process of testing a new song or album by playing it for a group of individuals who represent the target audience.

On-demand streaming music research, on the other hand, involves collecting streaming data from streaming platforms such as Spotify, Apple Music or Amazon music.

And because on-demand music streaming allows a consumer to listen to music whenever and wherever they want, the information is more relevant to actual consumption.

Each research method measures different behaviors and each offers radio programmers variances on preference.

Traditional music testing generally rates songs by consumer response to short 7-10 second “hooks” or usually the most familiar portion of a song such as its chorus. The theory is that upon hearing this familiar segment of a song, the consumer reacts in a positive or negative way and scores the song based on this subjective reaction. Our analysis has shown that the “rating” achieved from this method reflects attitude about the “hook” and does not represent how a listener consumes music in real world circumstances.

On-demand music streaming research is pure data which represents true consumption of songs.

One significant difference in reliability of the streaming data as a research tool is that on-demand music streaming data reflects songs actively chosen and consumed by the user. Traditional music testing uses pre-selected lists of songs radio programmers are interested in learning about.

Both methods have their advantages and disadvantages, and as such, the results of each method may vary. This report aims to explain the reasons why traditional music testing results may differ from on-demand streaming data.

1. The sample size The sample size used in traditional music testing is usually smaller than charts composed of the number of people who stream music on-demand. Music testing may involve testing a new song on a group of people who represent the target audience or utilize a small sample of listeners who are directed to an on-line music test website where songs are rated and typically involve 100 or more songs. In contrast, on-demand streaming data includes millions of listeners who may have different tastes and preferences. As such, the sample size of traditional music testing may not accurately represent an overall targeted population's preferences.

2. The testing environment - Traditional Music testing is usually conducted in a controlled environment, such as a testing facility or hotel meeting room, where the participants are given specific instructions and asked to rate the music based on different criteria. On the other hand, on-demand streaming data is collected in real-life situations in which listeners are free to choose the songs they want to stream. This freedom may result in listeners choosing songs that they would not have chosen in a music testing environment, leading to different results.

3. The time frame - Traditional Music testing is usually conducted weekly if online or a couple of times a year if conducted in a hotel ballroom. Another approach tests songs before a song or album is released to the public. On-demand streaming data is collected continually. As such, traditional music testing may not accurately predict how a new song or album will perform in the market. On-demand streaming data provides real-time information on how the music is consumed in the market, and as such, it is a more accurate representation of the public's preferences.

4. Demographics Traditional music testing may not accurately represent the diversity of a target audience. Music testing may involve a specific group of people who represent the target audience, but this group may not be diverse enough to represent the different age groups, genders, races, and cultures that make up the overall population. On the other hand, on-demand streaming data includes millions of listeners with diverse backgrounds, providing a more accurate representation of the population's preferences.

5. Technology - Traditional music testing can be conducted in a variety of ways from old school pencil and paper questionnaires to website interactive sessions or high tech hand-held devices that consumers use to track their impressions while listening to music. On-demand streaming is more straightforward in which a listener visits favorite streaming platform - either desktop or mobile - and streams music on their own schedules. This ease-of-use aspect removes bias associated with consumers proactively traveling to a hotel or website to provide opinions about a song’s personal appeal.

In addition to the factors that may cause traditional music testing results to differ from on-demand streaming data, some songs may perform better with traditional music testing than they do with on-demand streaming data. Here are some reasons why:

1. Familiarity bias Traditional music testing may favor songs that are familiar to the test audience. In a controlled environment, test participants may have a bias towards songs that they have heard before, leading to higher ratings for those songs. However, on-demand streaming data provides a more accurate representation of how a song performs in the real world, where listeners are free to choose songs.

2. Niche appeal Some songs may have a niche appeal that may not be reflected in traditional music testing. For example, a song may appeal to a specific subculture or group of people who may not be represented in the traditional music testing audience. In contrast, on-demand streaming data allows for a wider range of listeners, including those with niche tastes, to access and enjoy the song.

3. Timelessness Traditional music testing may favor songs that are trendy or currently popular, while on-demand streaming data allows for the discovery and continued enjoyment of songs over time. A song that may not have performed well in traditional music testing may gain popularity over time and become a hit through on-demand streaming.

4. Emotional connection Traditional music testing may not accurately capture the emotional connection that listeners have with a song. A song that may not have performed well in traditional music testing may still have a strong emotional connection with a particular group of listeners, leading to continued streaming and success on on-demand platforms.

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This example of a popular song from 2022, “Numb Little Bug” by Em Beihold, reveals how this song’s appeal based on actual streaming consumption reduced over time, while airplay exposure on radio increased due to traditional music testing results.

While traditional music testing and on-demand streaming data are both useful methods of measuring a song's success, there may be instances where a song may perform better in one method over the other. Understanding the reasons why a song may perform better in traditional music testing can help music industry professionals make informed decisions about how to promote and distribute the song to a wider audience.

Conclusion:

Traditional music testing results may differ from on-demand streaming data due to several factors, including the sample size, familiarity bias, the testing environment, the time frame, and demographics. On-demand streaming research sourced to local radio station listeners reflect actual consumption, not just opinion.

Both methods have their advantages and disadvantages, and as such, it is essential to have an understanding of what each method measures in order to get a comprehensive understanding of song success. By understanding the factors that contribute to the differences in results, music industry and radio professionals can make informed decisions about music appeal and song passion and whether audiences will respond positively.

For a deeper dive into Bridge Ratings’ on-demand streaming music research service, StreamStats, contact Dave Van Dyke at dvd@bridgeratings.com or 323.696.0967.

Let’s discuss your music research needs with a short conversation and how our StreamStats music streaming research can help align your playlist to your audience’s actual preferences. Read more here. A StreamStats Overview

Radio's Dilemma: Too Much Music

The music industry is thriving, and every day, new songs and albums are released. With so much new music being produced, radio stations can struggle to keep up with the demand. This problem is particularly acute for smaller, independent radio stations, which often have limited resources and manpower to manage the volume of new songs. In this article, we'll explore the challenges that radio stations face in managing the volume of new songs and how they can meet this demand.

The Challenges Radio Stations Face

One of the biggest challenges that radio stations face is simply the volume of new music being released. In 2022 alone, over 44,000 albums were released and nearly 1 million songs were uploaded to streaming platforms, and this is expected to continue to rise in the coming years. With so many new songs and albums being produced, it can be difficult for radio stations to sift through them all and find the ones that will resonate with their listeners.

CEOs for both Universal Music Group and Warner Music Group at industry events in September estimate that 100,000 songs were uploaded daily in 2022.

Another challenge is the competition for airplay. Major labels and artists have significant resources at their disposal to promote their new releases, making it even harder for independent artists to get their music played on the radio. As a result, radio stations can feel overwhelmed with music from established artists, making it harder for independent musicians to get their music played.

The Reality

"Hit" Culture is Dying?

It comes down to a theory called “The Long Tail”. This is when the total sum of less popular products match or outsell the more commonly praised products (hits) in their respected industry. This presents a significant problem for radio which has long been known for playing the hits - the most familiar songs regardless of genre.

On-demand streaming has made it easy for the consumer to access less popular titles or deepest part of music available. This “long tail” represents songs that micro life groups are consuming and in today’s streaming world more and more of these smaller “fandoms” of less popular genres like Afro-pop or EDM, are spending time away from the hits.

How Radio Stations Can Meet This Demand

To meet the demand for new music, radio stations can employ a variety of strategies. One of the most effective is to establish partnerships with record labels and distributors - not to influence what music is played. By working with these organizations as a marketing partner, radio stations can gain access to new releases before they hit the market, giving them a head start in identifying the songs that are likely to be popular.

Another strategy is to use data analysis tools such as on-demand music streaming analysis to identify trends and patterns in music consumption. With these tools, radio stations are able to quickly identify which songs are trending and adjust their programming accordingly. By doing so, they can ensure that they are playing the songs that are most likely to resonate with their audience.

Radio stations also leverage social media to stay on top of new releases. Many artists and labels use social media to promote their new releases, so by monitoring these platforms, radio stations can identify new songs and albums before they are even released. This can give them a head start in identifying new music that is likely to be popular.

Finally, radio stations can work with independent musicians to help promote their new releases. By featuring new and emerging artists, radio stations can provide a platform for independent musicians to get their music heard. This can help level the playing field and ensure that the best new music is being played, regardless of the resources of the artist or label.

Conclusion

The volume of new music being produced can make it challenging for radio stations to keep up with the demand. However, by employing the strategies outlined above, radio stations can stay on top of new releases and ensure that they are playing the music that their audience wants to hear. By working with record labels and distributors, using data analysis tools, monitoring social media, and promoting independent artists, radio stations can meet the demand for new music and provide their listeners with the best possible listening experience.

Notes

Global on-demand music streams (for audio as well as video) hiked by 25.6 percent to crack 5.3 trillion during 2022, as stateside on-demand streams grew by double digits to surpass 1.3 trillion.

• Domestic on-demand song streams (audio and video) increased by 12.2 percent year over year (YoY) in 2022 to hit 1.3 trillion.

• In 2021, over 1.2 million albums were released globally, according to music industry data provider MRC Data.

• In 2021, the global recorded music market generated over $25.1 billion in revenue, up from $21.5 billion in 2020, according to Statista.

These statistics illustrate the massive volume of new music being produced and the importance of streaming services in the music industry. They also suggest the challenges that radio stations face in keeping up with the demand for new music.