The limits of business logic in music
Five corporate frameworks that kill creativity.
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Let’s dive into today’s topic:
The limits of business logic in music
Some corporate buzzwords should be kept out of the studio.
Why it matters
In past editions, I’ve mapped business frameworks to music marketing, like the Brand Identity Prism, AARRR, Customer-Based Brand Equity, MoSCoW, Make, Buy, Ally, and many more. Models like these can clarify the chaos of positioning an artist’s brand or crafting a release strategy.
But not every tool that works for a fintech startup belongs in the studio. When you try to force-fit corporate logic, your strategy is just noise.
How it works
Here are five corporate concepts to delete from creative strategies, and what to use instead:
Brand promise
Corporate concept: We promise to solve this problem.
Music reality: Artists don’t solve consumer problems. Music is emotional, not rational.
The fix: Belonging. Artist brands offer community and identity. Music may offer emotional states and behavioural responses (e.g. dancing, crying). Do not promise these results explicitly, imply them.
Mission statement
Corporate concept: The “we’re healing the world” paragraph on the company’s About Us page, written by the marketing employee who has just watched Simon Sinek’s ‘Starts With Why’ TED talk.
Music reality: Fans can smell a fabricated mission statement immediately.
The fix: Activism. What are you fighting for or against?
Elevator pitch
Corporate concept: Explain what you do in 10 seconds.
Music reality: While it’s a valuable networking skill for industry mixers, it’s not a branding asset. Fans apply their own meaning to music. If you explain everything, you ruin the magic of becoming a fan.
The fix: World building. Pitch the ecosystem. Fans buy into scenes, stories, and specific worldviews. Let them discover the story themselves.
Unique Selling Points (USPs)
Corporate concept: Identify the one feature that makes us better than the competition.
Music reality: Music is not a zero-sum game. A fan listening to Fred Again doesn’t mean they can’t listen to Burial.
The fix: Flip the script. Similar artists have similar fans. Collaborate with your peers rather than compete with them.
Return on Investment (ROI)
Corporate concept: Every euro spent must yield a measurable financial return within the quarter.
Music reality: It’s impossible to measure the ROI of an underground gig that only 50 people attended, but everyone talks about.
The fix: Cultural capital. Spend budget to build lore. Build market value and reputation rather than chasing quick revenue.
Yes, but..
Don’t ignore business concepts entirely. As I mentioned earlier, I apply many of them to artist strategies daily. Just accept that music isn’t a SaaS startup. You can run your backend like an organised, efficient business while keeping your frontend wild, emotional, and human.
Take action now
Imagine creating a corporate marketing campaign for your artist brand. What does it look like? How does it differ from a regular campaign?
Your thoughts
Further reading
Crafting an artist’s brand personality (The Fanbase Builder)
How to use pirate metrics to set up a fan journey (The Fanbase Builder)
Why strong artist brands matter to fans, not just artists (The Fanbase Builder)
How artists can improve their work priorities (The Fanbase Builder)
When artists should make, buy, or ally (The Fanbase Builder)
Harnessing brand activism for artists (The Fanbase Builder)
Why listeners interpret songs differently than songwriters intended (The Fanbase Builder)
How artists create brand worlds (The Fanbase Builder)
Brand spillover: The hidden brand effect behind artist collaborations (The Fanbase Builder)
Market value is the music industry’s hidden currency (The Fanbase Builder)