by Mayuyuka

After Silas' exploration of Vic O as a branding genius, and TNG's informatve pieces on how to be a rapper from the ground up. I penned this piece as a fleshed-out rant regarding the risks associated when  a hackneyed approach to once unique methods is employed by up and coming rappers. This is not a how-to though, it's a are-you-sure-you've-thought-this-through?

Guerilla marketing is a really creative way to reach new customers. It involves utilising unconventional ways of attracting the public's  attention and offering the audience a unique experience along with that of the product or service. Without getting technical, let's consider an artist a brand and their music a product that entertains.

 Enticing fans through airtime bundles, cash prizes, meet and greets or the sheer quality of  your previous work as an artist are always viable options to get your name trending on social media.  There are plenty of organic ways to go viral and generate interest in what you're offering.

Word of mouth still remains a very key aspect of extending an artists reach. Only now the power of the mouth is augmented by social media outlets like Facebook, Whatsapp and Twitter. Force-feeding the twitter streets seems to be a really popular go-to nowadays and can come off as a little crass... especially if it's not part of a more nuanced marketing strategy.

Promo twitter is largely effective, if the right influencers are punting your song (and they should get theirs). But what happens when these influencers lose the audiences trust? What happens if promotion on twitter becomes the sole reserve of all those who couldn't trend organically? These are mostly rhetorical question to consider, with the general answer being: have a Plan B.

The area of who an artist is associated with on Twitter is murky. From fan accounts being able to peddle information despite not being official mouthpieces, to fans poking and prodding other artists in search of their next serving of beef... an artists name can get dragged through the most with or without their knowledge. In light of this, the next question to consider is whether this form of promotion is sustainable for your particular brand.

Your possible fans might feel the need to download your work out of curiosity, or a sense of FOMO, but... it this has to be backed up by you delivering on your promise. My belief in my trusted influencers doesn't reduce the need for a quality product from an artist. The ultimate moment of truth is when your prospective fans first listen to your song after reading how it's “a banger, a smash, lit AND being inundated by fire flame emojis on their TL. If the music doesn't add up to any of these adjectives... you could've possibly lost a potential fan and have gained a hater!

Although most rappers feel as though having haters is a sign of progress: there is now sufficient research in this field that suggests that even non-talented or unsuccessful people have haters too. It simply isn't a barometer for how well you're coming along.

The power of these haters though, is that if they feel duped, they will remember your brand as one that oversold and under-delivered. They will remember forever, and they will share this insight. And if Twitter has shown us anything... it's easier to trend when your ' haters'  unite against you.

That is why it is essential that the product match the amount of effort made to push it. The music has to be good, even better than before Twitter; because next week I'll be fan-boying over a new track my favourite influencer is pushing. The fact is Promo Twitter is a nifty tool worth exploiting, and with the percentages of unemployed youth across the continent it provides artists and listeners tangible benefits... honestly anything that alleviates the youth's struggle is a bonus.