Review (Semester 1)

During Semester 1, my primary role within the group development project was managing the financial aspects of the proposed scheme-which I presented under the section titled ‘Financial Plan’ during the PowerPoint. My responsibilities included estimating projected costs, analysing our potential sources of revenue, and ensuring that the proposed budget remained realistic (in reference to our artists means) and achievable within the scope of the project objectives. This role required strong organisational and analytical skills, as financial planning plays a significant role in determining the feasibility of a longer term project such as this.

In addition, I collaborated closely with other group members to ensure that the financial decisions ideas aligned with the overall marketing strategy and did not clash with or enter another team members focus area. Throughout this process, I developed a greater understanding of budgeting importance and realistic cost forecasting.

My primary areas of responsibility during both the planning stage and final presentation focused on social media management through Meta services, the development of physical promotional media, specifically business cards, and the financial considerations associated with music distribution, comparing the benefits and drawbacks of various distributor services- in regards to both their services and costs (in this case Distrokid, Ditto, CDBaby and AWAL). These areas formed an important part of the group’s wider strategic plan, as each element contributed towards the goal of increasing the artist’s visibility, strengthening a clear sense of identity, and improving audience reach across digital platforms.

In relation to social media, my role involved researching and planning how platforms associated with Meta Services (including Instagram and Facebook) could be used effectively to promote our artist and engage with potential listeners. This required consideration of our target demographics (a feature available to Meta advertising users), posting consistency (in the interests of engaging the algorithm), audience interaction (active engagement), and the potential benefits of paid promotional tools available through Meta’s advertising services (within our artists budget). By focusing on digital engagement, the strategy aimed to support the artist’s short-term objective of building a recognisable online presence but also interest in recording – covered in greater depth by other members of my group.

Additionally, I contributed to the cost estimates of physical promotional materials, in this case- business cards, which were intended to provide a form professional representation of the artist on paper during both networking opportunities and live shows, easily distributable and relatively low cost – they were an ideal target. Although digital marketing formed a major component of our campaign plan, the inclusion of physical media demonstrated an understanding of the importance of maintaining both online and offline methods of promotion within the music industry.

(Pictured below Myer poster in relation to appearing on the bill of Liverpool’s Sound City festival – “since exploding on the UK festival scene in 2008, Sound City has established itself as one of Europe’s leading independent music festival and conference. Uniquely placed in Liverpool, we energetically uphold the city’s global reputation as the world centre of pop music.

Fiercely independent and with an unmistakably northern attitude, we consistently programme the most exciting and innovative acts irrespective of genre, country of origin or protected characteristic: if it’s going to set the world on fire in years to come you’ll find it at Sound City first.”) – taken from Sound City’s website as of 2026

MYER Bio for Sound City as displayed on Leeds Conservatoire’s website –

MYER is a 20-year-old multi genre artist from East London currently residing in Leeds. Moulding her eclectic sound from inspirations that range from Amy Winehouse to Nine Inch Nails and Sneaker Pimps, she uses music and poetry to express complicated inner dilemmas. Her dark lyricism pours out not only in the soundscapes that she incorporates when producing her own instrumentations, but also by creating a captivating and emotionally intense performance at all times. MYER draws imagery from forms of fashion, drawings, paintings and scenery to enhance her creative sides and create a new feel in every visual and sound that she is working towards and warps this in now as she works on her debut released project, which is something to look out for in the near future. 

 

 

Analysis of strategy outcomes

Moving forwards to the outcomes of the strategy implemented during Semester 2, the increased consistency of posting across social media platforms we recommended, particularly through the use of short-form video content such as ‘Instagram Reels’, positioned MYER in a considerably stronger place in relation to audience engagement and online visibility, as requested during our meeting in Semester 1. A major objective identified within the original strategic plan was to improve the artist’s digital presence by maintaining regular interaction with audiences and creating a more active and recognisable online identity. This was considered especially important within the contemporary music industry, where audience attention is heavily influenced by the social media activity of artists/creators and consistent digital promotion.

The decision to prioritise reels content on platforms such as Instagram was influenced by current industry trends and platform algorithms, which often favour short-form video content due to its high engagement potential and increased discoverability, modern social media platforms now being updated to better fit a ‘TikTok’ style of content spamming engagement. As a result, the implementation of a more structured posting schedule (ideally at least 3 times a week in some form – be it ‘Stories’, posts or ‘Reels’) enabled MYER to maintain stronger form of communication with existing followers while also reaching wider audiences beyond the artist’s immediate social/professional networks. Content included promotional material, behind-the-scenes footage (such as the rehearsal pictured below), live performance clips (both from stage performances and home), and updates relating to ongoing projects and future performances, all of which contributed towards building a more authentic and accessible artist image.

In comparison to the initial stages of the project, where posting activity was less consistent and audience interaction remained relatively limited to pre-existing followers/listeners, our revised strategy demonstrated measurable improvements in both engagement and interactivity across the board. Increased interactions through likes, comments, shares, profile visits and the newly fangled ‘repost’ suggested that audiences were responding positively to the more active online presence. Furthermore, the use of reels allowed content to benefit from algorithm-driven exposure, meaning posts had greater potential to appear on Meta discovery pages and reach users who were previously unfamiliar with our artist.

One significant outcome linked to this increased online engagement was the emergence of new live booking opportunities, including involvement with events such as Sound City. The opportunity to engage with recognised music industry events represents an important development within the artist’s progression, as it provides increased exposure, professional networking possibilities, and the potential of long-term career benefits, ideally with interest from groups such as record labels, A&R and management.

While it would be difficult to attribute these opportunities exclusively to social media activity, the stronger digital presence likely contributed towards improving the professionalism and visibility of the artist’s brand in the eyes of booking agents. In the current music industry environment, promoters and event organisers frequently assess artists’ online engagement and audience interaction when considering bookings, meaning the improved consistency of content may have positively influenced perceptions of MYER as an active and developing artist.

However, despite the positive outcomes associated with our strategy, several limitations also became apparent throughout the process. Maintaining consistent content production requires significant time management and creative planning from an artist, particularly when balancing a desire to focus on recordings (particular the number of tracks MYER was hoping to record). Additionally, engagement figures did not increase evenly across all forms of content, highlighting the unpredictable nature of social media algorithms. Certain posts generated considerably stronger responses than others, suggesting that audience preferences must be continuously monitored in future and posts adapted in order to maintain effectiveness going forward.

In reflecting on the overall successes of our the strategy, the increased emphasis placed upon consistent social media activity can be viewed as a valuable contribution towards MYER’s artistic and professional development. The project demonstrated how digital marketing strategies can directly support audience growth and improve visibility within an increasingly competitive industry. Furthermore, the experience provided practical learning curve and insight into the importance of adaptability, personal branding, and audience engagement within contemporary artist management, reinforcing the increasingly central role of social media promotion within the music industry.