THE IMPACT OF SOCIAL MEDIA ON THE ROLES OF INDEPENDENT
ARTISTS AND RECORD LABELS FOR MUSIC MARKETING AND CREATING
ARTIST BRAND
Lappeenranta–Lahti University of Technology LUT
Master´s thesis
Master’s programme in International Marketing Management
2025
Justus Rikka
Examiners: Postdoctoral Researcher Jaakko Metsola
Assistant Professor Jarkko Niemi
ABSTRACT
Lappeenranta–Lahti University of Technology LUT
LUT School of Business and Management
Business Administration
Justus Rikka
The impact of social media on the roles of independent artists and record labels for
music marketing and creating artist brand
Master’s thesis
2025
87 pages, 3 figures and 1 appendix
Examiners: Postdoctoral Researcher Jaakko Metsola & Assistant Professor Jarkko Niemi
Keywords: social media, personal branding, music marketing, digitalization, record label
This master’s thesis examines the impact of social media on the change of roles of
independent artists, label artists, and record labels in music marketing and creating artist
brand. The aim of the study is to explore the opportunities that social media has brought to
independent artists and record labels, and to compare the views of these parties on the impact
of social media on today's music marketing and personal branding. The study discusses
whether it is profitable for artists to remain independent or sign a contract with a record
company.
The research is conducted using qualitative research methods, as a multi-case study. The
study interviews six people involved in music marketing. Two of them are independent
artists, two are record label artists, and two are record label representatives. Semi-structured
thematic interviews are conducted based on a theoretical framework, focusing on social
media, personal branding, and the roles on music marketing.
The research complements previous literature by presenting the impact of social media on
music marketing, as well as the importance of artist branding in today's music industry. The
results give added value to those working in music marketing, emphasizing the role of artists
in social media marketing, and providing insights into how the role of record labels is
changing. At the end of the research, practical implications and opportunities for further
research are presented.
TIIVISTELMÄ
Lappeenrannan–Lahden teknillinen yliopisto LUT
LUT-Kauppakorkeakoulu
Kauppatieteet
Justus Rikka
Sosiaalisen median vaikutus itsenäisten artistien ja levy-yhtiöiden rooleihin musiikin
markkinoinnissa ja artistibrändin luomisessa
Kauppatieteiden pro gradu -tutkielma
2025
87 sivua, 3 kuvaa ja 1 liite
Tarkastajat: Tutkijatohtori Jaakko Metsola & Apulaisprofessori Jarkko Niemi
Avainsanat: sosiaalinen media, henkilöbrändäys, musiikkimarkkinointi, digitalisaatio,
levy-yhtiö
Tässä pro gradu -tutkielmassa tutkitaan sosiaalisen median vaikutusta itsenäisten artistien,
levy-yhtiöartistien ja levy-yhtiöiden roolien muutokseen musiikin markkinoinnissa ja
artistibrändin luomisessa. Tutkimuksen tavoitteena on selvittää mahdollisuuksia, joita
sosiaalinen media on tuonut itsenäisille artisteille, sekä levy-yhtiöille, sekä verrata näiden
osapuolien näkemyksiä sosiaalisen median vaikutuksesta nykypäivän musiikin
markkinointiin ja henkilöbrändin luomiseen. Tutkimuksessa pohditaan sitä, onko artistien
kannattavaa pysyä itsenäisinä, vai solmia sopimus levy-yhtiön kanssa.
Tutkielma
toteutetaan
laadullisia
tutkimusmenetelmiä
hyödyntäen,
monitapaustutkimuksena. Tutkimuksessa haastatellaan kuutta musiikin markkinointiin
liittyvää henkilöä. Näistä kaksi ovat itsenäisiä artisteja, kaksi levy-yhtiöartisteja ja kaksi
levy-yhtiön edustajia. Puolistrukturoidut teemahaastattelut toteutetaan teoreettisen
viitekehyksen pohjalta, keskittyen sosiaaliseen mediaan, henkilöbrändäykseen, sekä
musiikin markkinoinnin rooleihin.
Tutkielma täydentää aiempaa kirjallisuutta, esitellen sosiaalisen median vaikutusta musiikin
markkinoimiseen, sekä artistibrändin tärkeyteen nykypäivän musiikkiteollisuudessa.
Tulokset tuovat lisäarvoa musiikkimarkkinoinnin parissa toimiville henkilöille, painottaen
artistien roolia sosiaalisen median markkinoinnissa, sekä tuoden näkemyksiä siitä, miten
levy-yhtiöiden rooli on murroksessa. Tutkimuksen lopussa kerrotaan käytännön ehdotuksia,
sekä mahdollisuuksia jatkotutkimukselle.
ACKNOWLEDGMENTS
I would like to thank all the people who made this thesis possible. Thanks to the people who
agreed to be interviewed and provided interesting discussions and insightful thoughts. I want
to thank my supervisor, Postdoctoral Researcher Jaakko Metsola, who guided me through
my bachelor's thesis and master's thesis, offering motivating development ideas. A huge
thanks also to music and the artists who make it, for inspiring me to fulfill myself.
The almost six years spent at LUT University, as well as my exchange studies at the Athens
School of Economics and Business, have given me a lot of knowledge, understanding and
experience. However, the most important gift I have received is all the wonderful people I
have met and become friends with. I would like to express my deepest gratitude to my
girlfriend Carita, my family, and friends for all the support I have received throughout this
journey.
Hamina, 19.3.2025
Justus Rikka
Table of contents
1
2
3
4
5
Introduction .................................................................................................................... 1
1.1
Research questions and objectives ......................................................................... 2
1.2
Literature ................................................................................................................ 3
1.3
Theoretical framework ........................................................................................... 4
1.4
Research methods .................................................................................................. 6
1.5
Limitations ............................................................................................................. 7
1.6
Concepts relevant to research ................................................................................ 8
1.7
Structure of thesis .................................................................................................. 9
Social media as a marketing tool .................................................................................. 11
2.1
Viral Marketing.................................................................................................... 12
2.2
Content Marketing ............................................................................................... 13
2.3
Influencer Marketing ........................................................................................... 14
2.4
Social media channels .......................................................................................... 16
2.4.1
TikTok ............................................................................................................. 16
2.4.2
Instagram ......................................................................................................... 17
2.4.3
YouTube .......................................................................................................... 18
2.4.4
Facebook .......................................................................................................... 18
Personal brand .............................................................................................................. 19
3.1
Building a personal brand .................................................................................... 19
3.2
Brand trust............................................................................................................ 22
3.3
Brand equity ......................................................................................................... 23
3.4
Brand engagement ............................................................................................... 24
The digital transformation of the music industry ......................................................... 26
4.1
The relationship between record labels and social media.................................... 28
4.2
The roles in music marketing on social media .................................................... 30
Methodology................................................................................................................. 32
5.1
Qualitative research method ................................................................................ 32
5.2
Case study ............................................................................................................ 33
5.3
Data collection ..................................................................................................... 34
5.4
5.4.1
Details of interviews ........................................................................................ 35
5.4.2
Profiles of intervieews ..................................................................................... 36
5.5
6
Theory-driven content analysis ............................................................................ 38
Empirical analysis and findings.................................................................................... 40
6.1
The change of music marketing in the digital age ............................................... 40
6.1.1
The significance of social media in marketing ................................................ 40
6.1.2
Strategic approach to music marketing on social media.................................. 44
6.2
Social media as a brand tool ................................................................................ 48
6.2.1
The development of a personal brand in the music industry ........................... 48
6.2.2
Brand management in social media ................................................................. 52
6.3
The roles of the artist and the record company .................................................... 55
6.3.1
The impact of social media on the role of the record label .............................. 56
6.3.2
The impact of social media on the role of the artist ......................................... 58
6.3.3
The power and responsibility of the artist and the record company ................ 60
6.4
7
Conducting interviews ......................................................................................... 34
Factors explaining differences in views ............................................................... 63
Discussion and conclusions .......................................................................................... 65
7.1
Practical implications ........................................................................................... 74
7.2
Limitations and suggestions for future research .................................................. 75
References ............................................................................................................................ 77
Appendices
Appendix 1. Structure of interview
Figures
Figure 1. Theoretical Framework
Figure 2. Conceptual framework for personal brand management (Waller 2020, 11)
Figure 3. Adapted process diagram for theory-based content analysis
1
1 Introduction
Social media as a phenomenon has significantly changed modern marketing and advertising.
The role of traditional media is constantly diminishing, while digital marketing tools and
channels are taking up more and more space. Social media makes it possible to spread
advertising on a global level, basically without any separate costs. (Singh & Diamond
2020). At the same time, people's consumer behaviour, habits and culture have been shaped
to be more compatible with digital content. On the other hand, digital content is in many
ways easier and more flexible to produce, modify and target to serve consumers' wants and
needs. (Close 2012)
Because content creation in social media platforms is easy and free, the traditional line
between producer and consumer of advertising has faded, and marketing has become even
more two-way. The number of social media influencers and content producers is constantly
increasing, and consumers are no longer as much controllable by companies and advertisers.
(Bloom 2006; Gamble & Gilmore 2013) At the same time, an individual's social media
presence and personal brand also play a bigger role in marketing.
While digitalization has affected marketing and advertising, it has had a revolutionary effect
on the music industry. Today, music is mostly consumed in digital form through streaming
services, and artists get to show their life more than before on social media channels. (Byun
2016) Producing, publishing and promoting music is easier than before, which has increased
especially the number of independent artists. At the same time, this increases competition,
in which case the utilization of the right marketing tools, channels and methods is essential
for an artist's success. The power position of consumers has grown so much that they do not
have enough time or interest for the content and music of all producers. Therefore, the role
of marketing in distinctiveness and reach is vital. (Essling, Koenen & Peukert 2017)
The transition of the music industry to an almost completely digital format has enabled artists
to take a bigger role in publishing and marketing their own music. When an artist has the
resources to make quality music, publish it on streaming services, and create a marketing
campaign that basically has the potential to spread globally and be accessible to everyone
with a smartphone, the question arises as to what the role of a record company is today.
There are already examples in Finland, where an independent artist reaches the top of the
2
official album chart and dominates the Spotify´s Finnish top positions (IFPI 2023; YLE
2023). What kind of extra value can record company give to artist, who already has a
knowledge and skills to market their own music?
1.1 Research questions and objectives
This thesis examines the impact of social media on the roles of independent artists, as well
as the record company and its artists in music marketing and the creation and development
of an artist brand. The purpose of the thesis is to find out, how an independent artist should
use social media in marketing their music and compare it to the way a record company and
its artist market on social media. The purpose is to identify the opportunities that social media
has brought to the independent artist and to consider whether it is worth it for the artist to
remain independent, or whether there will be a limit at some point, when signing to a record
company makes more sense. The thesis also examines the structure and role of today's record
company as a music publisher and marketer and reflects it to their point of view on social
media marketing. The research considers, for example, whether the record company can
offer the artist a longer career or is it independently possible to create a long career instead
of a momentary trend, using mostly digital marketing on social media. The aim of the thesis
is to answer the research question:
How social media has impacted on the roles of independent artists and record labels for
music marketing and creating artist brand?
The concept of "artist brand" is approached via building a personal brand and brand
engagement. The thesis examines the development of social media and reflects it on the
music industry. The aim is to observe different social media channels, identify the most
relevant ones, and focus more closely on them. The thesis aims to identify opportunities and
stumbling blocks that the artist and record company should be aware of. Through these
themes, the thesis tries to identify the impact of social media on the possible change of roles
of the artist and record label in music marketing and growing the artist's personal brand. The
study also examines the differences of opinion between the record company and the artist.
3
The study also examines the differences of opinion between the record company and the
artist. The research question is supported by three sub-questions:
How, and with which tools music is being marketed on social media?
How has social media affected on the importance of artist brand in music marketing?
How has social media created opportunities and challenges for independent artists and
record labels on music marketing?
1.2 Literature
In this thesis, the marketing of the artist's music is approached very much through the artist
brand. Artist brand refers to image associated with the artist, the artist's personality, the
consistency and quality of the music catalogue, and the artist's general brand. Because of
this, it is most profitable to study the artist brand with the help of a personal brand. In addition
to this, the artist's music is also considered as a separate digital service, which is used to
create experiences for the listener.
Hartman (2011) describes personal brand as the mental image with certain values and actions
that other people see and associate with the person. He highlights the personal brand as a
combination, where values, visibility and strengths are multiplied by engagement (Hartman
2011). Visual images are easily left in people's memory, and that is why Waller (2020)
mentions, that a logo, for example, can be a possible way to stand out from others. However,
a personal brand refers to an image aimed at one person, which is why the traditional brand
idea of a logo and slogan does not necessarily work in the same way as when branding a
company or product (Kortesuo 2011). Of course, logos and phrases that are associated with
a person can strengthen the brand, but the personal brand is more often shown in the person's
actions, relationships, and personality. Because of this, it can be challenging for an external
operator to build a personal brand for another person. This can appear, for example, as a
challenge where the record company has a different view of the artist's image than the artist
itself. Waller (2020) noticed that there is no comprehensive theoretical framework for
personal branding, and there are research gaps in the topic.
4
In order to understand the personal brand, this thesis must also take into account brand
building. A brand is a set of associations, commitment and values that are reflected in
operations, visuality and reputation. A strong brand requires loyalty and commitment, which
is created through the brand trust and brand affect (Chaudhuri & Holbrook 2001). Adamson
(2008) points out that although marketing and branding tools have changed with
digitalization, certain principles have remained the same. It is therefore interesting to study
how social media affects the building of a personal brand.
One aspect in the thesis literature is social media and its impact on music marketing. Social
media has given consumers a platform to communicate, create and share content, and build
networks. This creates new opportunities for marketers, but at the same time poses
challenges, as individuals are more brand aware than before. (Sharma & Verma 2018)
Kotler, Armstrong & Opresnik (2018) say that today's marketing is "customer-engagement
marketing", where the individual has even more power. Because of this, marketers should
no longer try to sell the brand to the customer but integrate the brand as an important part of
consumers' lives (Kotler et al. 2018). Because of the changed structures, the competition is
even tougher and, for example, in the music industry, artists and record companies must
compete for attention and streams (Essling et al. 2017).
The topic and, for example, the tools used in music marketing have been studied relatively
little, considering how much social media has affected the music industry specifically.
Nwagwu & Akintoye (2024) studied how the use of social media is manifested among
musicians, and why musicians use social media in their marketing. In addition, Brusila,
Cloonan & Ramsted (2021) highlight the importance of implementing technological
developments for the success of individuals, for example, the importance of understanding
social media for record labels and artists. Despite this, academic studies regarding the roles
of record labels and artists, or the impact of social media on them, have not been conducted
almost at all.
1.3 Theoretical framework
The theoretical framework of this thesis examines the influence of three different factors on
each other. The first factor is social media, which as a phenomenon includes social media
development, trends, tools and channels. The second factor is the music marketing, which is
5
a focus in the thesis. The third factor is personal branding, which includes factors that can
be used to build a strong personal brand. These sub-factors are, for example, brand trust,
brand equity and brand engagement. The thesis examines the relationship between these
three factors, as well as the total sum. (Figure 1)
The relationship between social media and the music marketing examines the impact of
social media and digitalization on the music industry, its structural changes, operating
methods and especially marketing. The relationship between social media and personal
branding explores social media as a branding tool, as well as the creation of a personal brand
in a digital environment. The relationship between personal branding and the music
marketing examines the roles, responsibilities and views of the artist and record company in
creating and developing a personal brand. The relationship between these three factors tells
about the influence of social media on the roles of the artist and the record company in music
marketing and creating an artist brand. (Figure 1)
Social media
The change of the music
marketing in the digital age
The social media as brand tool
Music
marketing
Personal
branding
The roles of the artist
and the record
company
Figure 1: Theoretical Framework
6
1.4 Research methods
This thesis is implemented as a qualitative study that utilizes non-numerical data. Nonnumerical information can be, for example, from interviews, surveys, or written documents.
(Saunders, Lewis & Thornhill 2009) In this research, the main source of information is
personal interviews, from people who work in music marketing and artist brand
development. The interviews are conducted as semi-structured themed interviews, where the
structure of questions is the same, but the answers of the interviewees determine how the
interview proceeds.
The aim of the thesis is to bring out the viewpoints of artists working under a record
company, and independently, on the responsibilities and freedom of music marketing and
brand development. For that reason, the interviewees are representatives of both sides, as
well as people working in the record company, who can bring out a perspective that the
artists themselves do not take into account. The artists have been chosen so that the people
are at roughly the same level in terms of their careers or social media, still realising the fact
that it is difficult to measure the "level" of an artist's career with just the metrics of social
media or streaming services. The popularity of a musician and personal brand development
can be influenced also by other factors, such as the music genre, which can be more
mainstream, or a niche genre intended for a smaller audience. In addition to that, whether is
the subject a solo artist or a member of a band can influence the person's role in music
marketing and brand building. A qualitative research method is suitable for this study, to
interview both artists and representatives of the record company. By interviewing several
different parties, it is possible to identify certain differences of opinion, as well as points of
mutual understanding, and to create a discussion about the roles of music marketing.
In addition to interviews, the research utilizes secondary data from the internet, as well as
scientific literature related to social media, the music industry, and branding. The research
also uses quantitative, i.e., numerical data, such as social media numbers of the artists as
well as numbers measuring listening. Social media numbers relevant to the study include,
for example, the number of followers, views, likes and shares. Numbers related to listening
can be, for example, streams on different platforms, monthly number of listeners, and the
number of playlists containing songs. This kind of data is a good numerical support that can
7
be used to show, at least in certain areas, how an independent artist can succeed and compete
with record companies.
1.5 Limitations
This research is limited to focusing on the Finnish music industry. This is because the study
interviews Finnish artists working in Finland, as well as the record company. The research
utilizes academic literature, secondary sources found on the internet and news based on
foreign and international music fields, companies and artists, but this research itself does not
aim to generalize the research results to an international scale. Of course, the use of social
media as a marketing channel and in the development of an artist brand is basically the same
in the international market as in Finland, but the other resources that the record company can
offer internationally to big artists is so much greater than in Finland that the purpose of this
study is not to try to investigate the phenomenon on an equally large scale.
In terms of time, the research is not so strictly limited, but since it is about the development
of social media as a marketing tool, the main temporal focus of the research is from the
2010s onwards. Music marketing in social media has also experienced big changes with new
channels, tools and methods in the late 2010s, and due to the development of digitalization
caused by the Covid-19 pandemic in the early 2020s, so it makes sense in the research to
focus on this period.
In addition, the research is limited to examining artists who are approximately at the same
career stage and use certain social media services. The research aims to find differences and
similarities, especially in the use of social media, which is why every other aspect of the
artist's marketing and operations is not taken into account as strongly. The objective of
research is to find differences on views between the record company and the artist, where
for example the size of the record company, resources, age, goal orientation and genre limit
the research.
8
1.6 Concepts relevant to research
Social media
Social media refers to internet-based channels and platforms which people can utilize to
communicate with each other, create their own content, and share it to other people in social
media services.
Langmia (2014) describes social media as a form of electronic
communication that allows you to communicate and share information on many different
levels. It enables individuals to communicate and connect regardless of geographic location
or time, providing a platform where people can share ideas, discuss and create content
(Langmia 2014). Social media is also sometimes referred to as Web 2.0. Common social
media channels in music marketing are, for example, TikTok, Instagram and YouTube.
Brand
Kotler et al. (2018, 264) describes the brand as "a key element in the company's relationships
with consumers", which reflects the perspective of a customer. The purpose of the brand is
to create images of the product or service and thus distinguish it from other similar goods.
A brand can be created around several different actors, such as a company, person,
commodity, or event. A brand is an entity that usually includes, for example, a name, design,
logo, or sound.
Artist brand / Personal brand
In this study, the term "artist brand" refers to the personal brand and the realization of the
artist's own vision. A personal brand refers to mental images associated with an individual,
which appear outwardly as traits specific to the person. Khedher (2015, 19) describes
personal branding as "a new marketing phenomenon related to the marketing effort that a
person adopts in order to promote oneself in the market."
9
Music industry
The music industry refers to a sector that is making music and its by-products into a business.
Its purpose is to transform the artists and their music to a sellable product and service. People
working in the music industry act in their role with the aim of generating financial benefit
from working with music, as well as generating some kind of financial value for the music
product. (Byun 2016; Wikström 2020) In this research, the music industry focuses mainly
on music marketing and related factors. The music industry is a large industry with many
different actors that can be used to add value, but in this study the focus is on artist branding,
music as a digital service and music marketing.
1.7 Structure of thesis
This thesis is roughly divided into seven larger sections. The first section, the introduction,
presents the background of the research and the phenomenon discussed in it. In addition to
this, the introduction introduces the research question and three sub-questions, the purpose
of which is to clarify the structure of the research and make it easier to answer the research
question. The introduction briefly tells what happens in the research, shortly presenting the
idea of the literature review, theoretical framework, research methods, research structure and
limitations. At the end of the introduction, a few concepts are explained, which are good for
the reader to understand on the subject. This is because it is easier for the reader to understand
the research.
After the introduction, the study continues with a literature review. Its purpose is to present
in a short form the information that is already known about the phenomenon and how it has
been studied. The literature review will focus on social media marketing, personal branding,
and music marketing. Based on the studies in these three areas, a theoretical framework for
the study is created, which is used as a frame for observing and analysing the research results.
Chapters two, three and four focus on literature reviews of different areas of the thesis. These
areas are the basis of the theoretical framework.
The fifth section explains in more detail the research methods of the study, why they were
chosen, and how they will be used. In this step, the study tells more about the data collection
methods, as well as how the collected data will be analysed. The fifth section also examines
10
basic information about the subjects to be interviewed, as well as what kind of supporting
numerical data has been chosen.
In the sixth section, the opinions, views and differences of the interviewees are opened,
which are compared to the numerical data. The research aims to create multi-voicedness
from different areas and examines what is the same and what is the different between their
views. The section also discusses the reasons that influence these differences.
The last section summarizes the research results into final conclusions. The results are
analysed with the help of literature review, answering each sub-question, and through them,
the research question. In addition, the section presents the practical implications, as well as
possible further research opportunities. The last section answers the research questions, as
well as highlights possible shortcomings or limitations that appeared in the research.
11
2 Social media as a marketing tool
Social media as a marketing tool has been studied a lot. The development and expansion of
social media into a major global phenomenon has changed the way consumers relate to the
information that is shared with them. The one-way communication of traditional media is no
longer as effective for marketers, because the two-way conversation made possible by social
media and the huge amount of marketing communication has brought consumers even more
power compared to marketers. (Sharma & Verma 2018) Moriuchi (2016) states that the
marketing environment has changed by social media to consumer generated, where internet
users are not only potential customers, but also content producers and conversationalists.
Sheldon (2015) points out that there are also disadvantages in the power of consumers, such
as the fact that the consumer can freely choose what information to read and believe on social
media, which can cause, for example, polarization. At its worst, social media is a powerful
instrument of power that can be used to spread violence and extremism (Leitch & Pickering
2022) That's why people must be careful about what kind of communication they engage in
on social media. Salo, Lankinen & Mäntymäki (2013) emphasize especially the importance
of dialogue between companies and consumers in social media marketing, as well as
consumer-oriented content production. Juslén (2009) mentions that the role of marketers has
changed in the digital age from a message transmitter to a content producer.
In addition to challenges, social media has brought many new opportunities with which
marketers can reach consumers. However, this requires the marketer to have new skills in
marketing content production, but the principles of marketing communication are still the
same as in traditional media. (Schmidt & Ralph 2011; Adamson 2008) Social media enables
a completely new kind of communication, whereby consumers' needs and preferences can
be better identified (Mangold & Faulds 2009). In addition, reaching potential customers on
a larger scale is easier and cheaper, because the internet has enabled smooth communication
and trading regardless of geographical location, language or time (Langmia 2014; Moriuchi
2016). Salo et al. (2013) highlight the need for consumers to belong to a group, which social
media makes possible in many cases.
Geho & Dangelo (2012) highlight the ease of collecting and using data as benefits of social
media. With the help of the Internet, it is possible for companies to get very accurate
12
information about their customers and their customer behaviour, and thus create customer
clusters and target marketing precisely. It is also possible for companies to improve their
visibility and business through, for example, conversions, search engine optimization and
product insights. With social media, it's easier for consumers to discuss product reviews and
the pros and cons of companies. Because of this, feedback and reviews have a significant
impact on the company's success. (Moriuchi 2016) The electronic word-of-mouth effect is
very common in social media and affects the purchasing decisions of many consumers (Akar
& Topcu 2011).
In addition, social media has brought new ways in which marketing can be implemented.
Akar & Topcu (2011) say that before social media and the Internet, there has not been a
similar environment where content can be connected to each other so effortlessly. Corstjens
& Umblijs (2012) mark that companies should understand the impact of social media on
product and brand success when creating social media capabilities so that they know how to
focus on the right factors. Davis, Piven & Breazeale (2014) present a theory according to
which, for consumers' brand consumption in social media to be effective, marketers should
use the opportunites of five areas: functionality, emotionality, self-orientation, sociality and
relationality. Social media has generalized marketing methods such as viral marketing,
content marketing and influencer marketing.
2.1 Viral Marketing
Viral marketing is based on the term "virus", which refers to rapid and widespread spread
(Miquel-Romero & Adame-Sánchez 2013). The idea of viral marketing is to get a marketing
message to spread quickly among consumers in a word-of-mouth style. The purpose is to
produce a content that catches the attention of consumers and social media users in such a
way that they themselves want to spread it to their own social network. When enough people
spread the company's advertising message, it creates a viral phenomenon that expands
effectively. (Petrescu 2014) Wilde (2014) emphasizes the importance of the social network
in viral marketing and the spread of innovations. A social network can be defined as the
social connections between nodes. These nodes can be, for example, social media users, and
social connections are the communication between them and the spread of the viral
phenomenon, which ultimately creates a social network (Wilde 2014).
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As the term suggests, the purpose of viral marketing is to achieve virality. To achieve this,
the word-of-mouth effect has a significant impact on whether the content created by the
brand succeeds in spreading on social media (Barber & Wallace 2010). Word-of-mouth, as
well as its version developed for the digital environment, electronic word-of-mouth, refers
to a phenomenon where a topic or content spreads among people through conversation
(Emerald Group Publishing Limited 2015). For example, if one customer is satisfied with
the product they bought, the company's brand, or the service they received, they can probably
recommend that company to their friends. On the other hand, if the customer feels that they
have experienced injustice from the company, can this kind of information also spread easily
among people, which can significantly affect the brand.
Porter & Golan (2006) say the word-of-mouth effect is a very effective marketing method,
which beats traditional advertising. The reason for this is trust in information, which is easier
to receive from trusted groups, such as friends or family members, than from companies or
advertisers (Nyilasy 2004; Porter & Golan 2006). Word-of-mouth as a phenomenon and
word-of-mouth marketing or viral marketing are not the same thing (Barber & Wallace
2010). According to Kotler, Armstrong, Wong & Saunders (2008) viral marketing is the
utilization of the word-of-mouth phenomenon on the internet, where the aim is to spread
awareness of a company or brand among groups of people through different digital channels.
Barber & Wallace (2010) emphasize that in order to succeed in word-of-mouth marketing,
the company must focus on the quality of the product and customer service, create a clear
plan and message, and gather around people who are ready to sell and testify. In viral
marketing, the aim is to systematically create content that arouses emotions among the
consumers of the content and provokes them to share information about the brand
(Krishnamurthy 2001).
2.2 Content Marketing
Oestreicher-Singer & Zalmanson (2013) mention that people consume more and more digital
content from the internet and social media. Companies and advertisers often try to influence
this target group with the help of content marketing. As the name implies, content marketing
refers to a marketing method which purpose is to produce relevant content related to the
company or its products to the target audience and consumers. The purpose of content
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marketing is to produce interesting and entertaining content that makes consumers interested
in the marketed product and company, as well as to build up consumer trust and engagement
to the brand. (Bly 2020) Harad (2013) emphasizes that high-quality content marketing
should produce either educational information, entertaining viewing, or editorial content.
Bly (2020) as well, says that via content marketing, companies can produce product-related
educational content, entertainment or, for example, product instructions. Common ways of
content production are short videos, blog post podcasts, and image content (Bly 2020).
Well-planned content is often very useful in engaging the audience. According to research
of Oestreicher-Singer & Zalmanson (2013), consumers who are active users of social media
and are willingly consuming company´s content are willing to pay for more expensive
services and products. Good content causes emotions in the viewer, as well as evokes
thoughts. That is why it is more profitable for companies to focus on sending their core
message, values, and brand in their content production, instead of just promoting their
products and their features. (Drossos, Coursaris & Kagiouli 2024; Le, Pratt, Wang, Scott &
Lohmann 2020)
Holliman & Rowley (2014) raise general business objectives, such as creating leads, brand
awareness and engaging consumers through brand trust, as well as building thought
leadership, as the most important goals of content marketing. Sheridan & Kotrla (2017) also
emphasize the importance of the right kind of strategy and goals in content marketing.
According to them, content marketing is useful for the company, for example, in
understanding customers and their needs, as a guide in sales development and training, and
in earning trust (Sheridan & Kotrla 2017). The produced content should be able to
understand the problems and needs of consumers, and offer solutions to them, so that users
take the brand and the content as their own (Harad 2013; Sheridan & Kotrla 2017).
2.3 Influencer Marketing
Influencer marketing is a marketing technique that has developed especially with social
media, where people outside the company, known in social media or elsewhere in the public,
so called influencers, are used as paid advertisers and content creators. In influencer
marketing, it is essential for the company to identify influencers that are suitable for their
brand and target group, so that the advertising does not feel tacked on or forced on the
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viewers. (Backaler 2018) Keller & Berry (2003) describe influencers as people who, with
their own behavior and appearance, are able to influence people's opinions, trends or
purchase decisions. According to Haenlein, Anadol, Farnsworth, Hugo, Hunichen & Welte
(2020), defining a social media influencer can be challenging if you look at just the number
of followers, because their followers may have been bought, or accumulated for reasons
other than the person's work as an influencer. In their opinion, a social media influencer is
defined by the fact that a person has a large number of followers, and these people would
not be known without their active work on social media. In this way, for example, athletes,
actors, musicians or other public figures who have not gathered a follower base thanks to
social media can be excluded from the term. (Haenlein, et al. 2020) Yesiloglu & Costello
(2021) mention that social media influencers are often seen as more approachable among
fans, compared to other public figures.
Influencers are an effective way to market the product, as they often already have a large
number of loyal followers, and the content created by the influencer themselves can bring
new perspectives to advertising. In addition, this saves the company time and effort in
content creation. However, especially very well-known influencers can be expensive and
very selective when it comes to collaborations, in which case it can be challenging for, for
example, smaller companies to utilize the full potential in influencer marketing. (Glenister
2021; Haenlein et al. 2020)
Social media influencers can be divided into two categories, based on the number of
followers, likes and other reactions, as well as on general influence and reach. Influencers
who have a huge number of followers and who are generally known trendsetters and value
leaders with "public figure" status are called macro influencers. Influencers with a smaller
follower base, and often focusing more on niche content, are known as micro influencers.
(Kay, Mulcahy & Parkinson 2020) In influencer marketing, it is especially important to focus
on what kind of influencer would be suitable for a particular brand. Macro influencers are
often able to spread brand awareness and advertising to a wider audience, but if the
company's brand or product does not resonate with this influencer at all, an expensive
influencer marketing campaign can seem tacky and fail. Micro-influencers may not be able
to spread the company's message on such a wide scale, but they may have a loyal audience
focused on a niche theme that resonate with the brand, and the marketing campaign can feel
very natural. (Glenister 2021; Haenlein et al. 2020) Backaler (2018) raises the real impact of
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influencers into three factors: reach, resonance and relevance. People who continuously
cooperate with a certain brand are called brand ambassadors (Glenister 2021).
To choose the right influencer for a marketing campaign, the company must understand its
target group, as well as the influencer's reach and follower base, taking into account the
demographic factors and estimated behaviour (Backaler 2018; Haenlein et al. 2020). In
addition, the company should take into account the social media channels that the influencer
uses, as well as which channels would be the most favorable for the company's target group
(Glenister 2021).
Yesiloglu & Costello (2021) say that the nature and characteristics of the social media
channel create frames for the content an influencer can produce. According to Haenlein et
al. (2020), influencer marketing should not only be a commissioned post, but the marketing
strategy should utilize the influencer's message and advertisement in other advertising
channels. Yesiloglu & Costello (2021) point out that the right influencer should be powerful,
authentic, persuasive, trustworthy, expert, and credible.
2.4 Social media channels
Social media channels refer to platforms and sites that people use to communicate, as well
as produce and share content on the internet (Law Insider 2024). Different social media
channels have their own characteristics and features, so you have to approach them from
different perspectives. The same type of content production is not suitable for all social
media channels, so when marketing, you must choose suitable channels based on the target
audience and the style of content production. (The Pixel 2024) This section introduces four
social media channels that play a significant role in terms of this thesis: TikTok, which
focuses on short videos, the image service Instagram, the video service YouTube and media
service Facebook.
2.4.1 TikTok
TikTok is a social media platform founded in China in 2016, owned by the ByteDance
company, which in recent years has become one of the most popular social media services
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around the world. The idea of the service is to produce short videos that consumers can watch
many times in a short time. Usually, the service's content combines music with videos, thus
creating entertainment. (Wikipedia 2024) TikTok is the world's leading social media channel
focused on short videos, and its purpose is to inspire people to produce creative content and
spread joy (TikTok 2024).
In the characteristics of TikTok, the operation of its algorithm must be noticed. Unlike many
other social media services, producing popular content on TikTok doesn't require a large
following as often, but the platform's For You Page allows people who don't follow the user
to easily see the video produced by the user. (Jordan 2024) According to Haenlein et al.
(2020) study, TikTok is a very popular social media service especially among people in their
twenties. Jordan (2024) points out that the algorithms used by TikTok and YouTube have
transformed social media channels from mass production to highly personalized
entertainment, where users are shown content that the algorithm has identified the user wants
to consume.
2.4.2 Instagram
Formed from the words "instant" and "telegram", Instagram is a social media service
founded in 2010 whose idea is to share pictures that other users can like and comment on.
(Gilliard, Baalbaki-Yassine & Hoffman 2023) Users can easily edit and filter images or short
videos, as well as attach captions and hashtags to the posts, with which the user's followers
or non-followers can find the post (The Pixel 2024). In 2012, the social media giant
Facebook, now known as Meta, bought Instagram, after which many new functions and
features have been added to the platform, such as a business profile, external links, and
Instagram stories that are visible for 24 hours (Gilliard et al. 2023).
It is common for social media channels to adapt certain features that are trending in other
channels. In addition to the Stories feature adapted from Snapchat, Instagram has added
Instagram Reels as a feature, which is very similar to TikTok in terms of operation
(Instagram 2024). Instagram is also a handy tool for companies to promote their brand and
products. Herman (2018) highlights two ways to advertise on Instagram: promoting posts
and creating an ad in Meta's Ads Manager. Casaló, Flavián & Ibáñez-Sánchez (2020) say
that Instagram is the most common social media channel among opinion leaders, because it
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allows influencers to create communities among their followers and to be very present and
close to followers.
2.4.3 YouTube
YouTube is a video service founded in 2005, which was bought in 2006 by the huge internetoriented company Google. The platform is one of the first social media services, from the
time when user generated content began to become common among internet services.
Despite its long age, YouTube has maintained its position as one of the most popular social
media services, and especially platforms focused on the production and sharing of videos.
(Arthurs, Drakopoulou & Gandini 2018) YouTube (2024) emphasizes that its goal is to offer
all users a platform where they can get their voice heard, emphasizing that the world will be
better if people listen, share and build community.
YouTube was one of the first social media services where people started to become "known"
for public audience, precisely because of its user orientation. The subscription feature of the
platform allows you to create communities and visibility around certain people, as well as to
communicate with other content producers. (Arthurs et al. 2018; The Pixel 2024) YouTube
has also introduced a short video feature called YouTube Shorts, as well as using
personalized content offerings thanks to algorithms (Jordan 2024).
2.4.4 Facebook
Facebook is a social media service founded in 2004, where users can communicate through
text posts, image posts, and video posts. In addition, the service allows you to communicate
through messages. (Hall 2025) The service also offers companies and other operators the
opportunity to advertise on the platform with paid advertising. In 2021, the company
changed its name to Meta, under which several social media services, such as Facebook and
Instagram, operate (Meta 2021).
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3 Personal brand
The term "personal brand" is originated in the late 1990s, when Peters (1997) introduced the
idea of an individual's own personal brand. The idea of an individual's own personal brand
and image has become more common, especially in the digital age, when social media has
enabled a platform and wide visibility for public figures and ordinary users (Tarnovskaya
2017). Often, a personal brand is used to refer only to well-known businessmen, artists,
athletes or other public figures. However, the term refers to how individually we all have an
image that we convey to other individuals. This means that each individual has their own
personal brand, according to which they communicate to others. (Khedher 2015) Brown
(2016) emphasizes the influence of social media and mobile phones in how easy it is for
ordinary people to build a functioning brand around themselves. He mentions that basically
everyone has the opportunity to grow their brand, start a company, and share their opinions
and thoughts on a global level (Brown 2016).
Hartman (2011) reminds that an individual should take care of their own personal brand, just
like companies, because their image is visible to the outside in any case and affects their
reputation. A personal brand should be thought of in the same way as a company or product
brand, because the same principles apply to them in a certain way. However, Way (2011)
emphasizes that traditional rules do not necessarily directly apply to personal branding, but
individuals are able to market themselves very creatively in their own style. Additionally,
she reminds that people market themselves and their brand, even without realizing it, when
they create content, share information and opinions or discuss on social media (Way 2011).
While everyone has a personal brand, not everyone manages it strategically (Waller 2020).
If the goal is to use the personal brand for commercial success, the personal image must be
treated as a brand and actions must be taken to promote it.
3.1 Building a personal brand
Building and developing a personal brand is a process that can be approached in many ways.
Hartman (2011) presents five areas to consider as a prerequisite for personal branding:
visibility, uniqueness, credibility, value generation, and emotional connection. Waller
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(2020) says that personal branding insists the intersection of technology, business and
communication knowledge. Despite the differences between theories, the key to creating a
personal brand is developing the identity into a productable form.
In the central of the brand building is the development of brand identity, which means the
creation of brand associations in the desired way. Once the brand's internal identity has been
clarified, i.e. defined, what the brand is like, which values it reflects and which actions guide
it, it is possible to move on to presenting the brand to external actors, such as consumers or
stakeholders. (Black & Veloutsou 2017) Chaudhuri & Holbrook (2001) mention that in order
to create a strong brand, consumers and customers must be engaged to the brand, which
requires the creation of long-lasting brand trust.
Waller (2020, 11) presents a framework based on Aaker's (1995) theory about brand
management, where brand equity can be created by dividing brand building into three
phases: analysing, positioning, and implementing a brand's identity. Based on Aaker's (1995)
brand thinking, Waller (2020, 11) presents framework for personal brand management
(Figure 2) and divides the development of personal branding into four phases: strategy,
implementation, management, and audit, in the first phase of which the development and
positioning of the personal brand is approached with the help of person analysis, market
analysis, and competitor analysis. In the second phase, the personal brand is grown and the
strategy is implemented with the help of marketing activities. These can be, for example,
establishing likeability, content creation, and content distribution on different channels. With
these activities, the personal brand can be monetized, for example as information, services
or products. (Waller 2020, 11)
The third phase of Waller's (2020, 11) framework (Figure 2) focuses on managing and
protecting the personal brand. Protecting the personal brand can be carried out against both
external and internal threats that are a danger to the brand's reputation. These actions can be,
for example, legal actions, such as protecting a trademark, and reputation management, such
as building trust. The last phase of the framework (Figure 2) is the audit, where the personal
brand is examined, areas for development are looked for, and corrective actions and possible
rebranding are carried out. (Waller 2020, 11)
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Figure 2: Conceptual framework for personal brand management (Waller 2020, 11)
22
3.2 Brand trust
Kenning (2008) emphasizes that trust plays a significant role between parties of transactions.
Brand trust refers to how strongly consumers and customers believe that the brand can keep
its promises and offer what they claim to be able to offer (Chaudhuri & Holbrook 2001).
Strong brand trust often strengthens brand loyalty, which means consumers' intention to use
the products of a certain brand, and not, for example, switch to a competitor's products
(Habibi, Laroche & Richard 2014). Apenes Solem (2016) says that brand loyalty means the
intention to behave in a certain way in relation to the brand and its services.
Brand trust is an important part of building a brand and creating a brand identity. According
to Delgado-Ballester & Munuera-Alemán (2002), the brand trust of a company or person
can be viewed on how the brand makes a promise to the consumer about its future
performance. If the consumer feels that the brand has not been able to keep its promises, this
can cause challenges with brand engagement, as well as cause harm to the brand, for example
due to the word-of-mouth effect (Kim, Sung & Kang 2014).
Khan & Rahman (2016) point out that with digitalization and social media, a new
phenomenom has emerged alongside brand trust, called E-brand trust. Its nature differs from
traditional brand trust through business factors typical on the internet and social media. The
transactions that take place on the Internet and social media do not include the face-to-face
interaction of people same way than on traditional business, which can challenge the creation
of brand trust. Additionally, the physical distance between the trading parties, as well as
between the buyer and the product, can make it difficult to earn trust. (Yousafzai, Pallister
& Foxall 2003; Khan & Rahman 2016)
Social media has additionally brought new opportunities for independent artists to create
brand trust with their listeners and followers. Laroche, Habibi & Richard (2012) are of the
opinion that in order to obtain strong brand trust, the brand must be in constant close contact
with consumers and create relationships with them. For this, the new social media channels
are an effective tool, where you can communicate with your followers constantly, and show
yourself more than usual (Whateley 2023).
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3.3 Brand equity
Brand equity means the brand's market value, social value, and how it can be used
commercially. In practice, it means how valuable the brand is. Brand equity consists of
factors that strengthen or weaken the brand. These are factors that can somehow be
connected to the brand, its symbol, name or anything else that creates mental images related
to the brand. (Keller 1993)
According to the theory created by Yoo, Donthu & Lee (2000), brand equity is a
multidimensional concept that includes three dimensions of brand development, which are
brand awareness, brand quality and brand loyalty. This theory is a developed version of the
theory created by Aaker (1991) according to which the factors affecting brand equity are the
brand loyalty, the quality associated with the brand and its products, brand recognition,
associations that consumers have about the brand and other brand equity, such as trademarks.
Brand awareness means how the consumer is able to recall the brand in a certain product
category based on previous experiences (Keller 1993). Brand quality refers to how highquality the consumer perceives the brand as a whole (Yoo et al 2000). Brand loyalty means
how committed the consumer is to a certain brand (Aaker 1991; Yoo et al. 2000; Guzman,
F., Veloutsou, C. & Pappu, R. 2017).
Keegan, Moriarty & Duncan (1995) describe brand equity as the value attached to the brand,
which is created between the customer and the brand, and developed over the long term.
Falkenberg (1996) emphasizes that it is the most important factor with which the company
is able to produce positive images of the brand for the consumer. In order to create strong
brand equity, it is important to also utilize non-product-related means to strengthen the
brand's position and message. By understanding consumers' desires, needs, values and
interests, the brand has the opportunity to connect these images to its own brand, which
allows it to stand out from competitors and gain a competitive advantage. (Keller &
Swaminathan 2019)
The formation of brand equity includes, for example, how the consumer recognizes,
perceives and becomes loyal to the brand, as well as how the consumer perceives quality
and service (Qualtrics 2024). In order to increase brand equity, an independent artist must
take these factors into account, as well as consumer preferences. Kotler et al. (2018)
emphasize customer satisfaction in creating brand success. Allan (2015) points out that
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combining an artist's music with a brand has in several situations been of great commercial
benefit. Since a lot of music is published these days, it is a prerequisite for marketing and
brand creation for an artist to identify potential listeners, as well as strive to stand out from
competitors, creating positive images in the minds of consumers (Rast Sound. 2024).
3.4 Brand engagement
Kotler et al. (2018) describes brand engagement as implementing the brand as an important
and relevant part of customers' lives by enabling the customer to participate and influence
the brand and the surrounding discussion, community and experiences. Brand engagement
refers to how effectively a brand creates commitments with consumers, in which case
customers want to consume the brand's products and content. Habibi et al. (2014) believes
that brand commitment has a moderating role when one wants to change the effect of brand
community elements into brand trust.
Hollebeek (2011, 790) understands brand engagement as "the level of an individual
customer's motivational, brand-related and context-dependent state of mind characterized by
specific levels of cognitive, emotional and behavioral activity in direct brand interactions”.
She divides customer groups into four segments, based on customer loyalty and brand
engagement. If customer loyalty and brand engagement is low, these customers are "Exits",
if loyalty is low, but brand engagement is high, these customers are "Variety seekers".If
loyalty is high but brand engagement is low, customers are "Apathists", and if both loyalty
and brand engagement are high, customers are "Activists". (Hollebeek 2011) In this way,
different customer groups can be identified, and the necessary changes affecting to brand
engagement can be made to identify the needs of customer groups.
Apenes Solem (2016) emphasizes that in the era of social media, the utilization of new
channels has become part of marketing and brand building. This has been attracted by, for
example, the large number of users of social media, as well as an effective way to create
customer engagement (Apenes Solem 2016). In their research, Samarah, Bayram, Aljuhmani
& Elrehail (2022) raise interactivity, brand involvement, brand trust and behavioral brand
loyalty as key tools for a company to develop brand engagement in social media. Gligor,
Bozkurt & Russo (2019) also emphasize the social media´s interactive characteristics as an
effective way for companies to increase brand engagement among consumers by
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strengthening customer relationships and interacting with consumers. Brand involvement
refers to how a person feels the brand meaningful, based on the consumer's values, needs
and interests, but it differs from brand engagement in that brand engagement includes
behavioral and emotional factors in addition to the cognitive aspect (Zaichkowsky 1985;
Hollebeek 2011).
Nowadays, it is easy for an artist to create a community around them through social media
that is very engaged and even "hooked" on the artist's social media presence and content.
When a brand produces content on social media that constantly interacts with consumers and
that creates a positive state of engagement, it can be assumed that brand engagement and
loyalty are very strong (Apenes Solem 2016).
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4 The digital transformation of the music industry
The development of technology, the emergence of streaming services and the marketing and
communication channels of social media have had a significant impact on the structure of
the music industry. Nordgård (2018) says that digitalization was already present in the music
industry before the development of social media, but only after the internet revolutionized
the structure of the music industry, has the commerciality of digitalization been noted in the
music industry. Byun (2016) also reminds that the structure of the music industry and record
companies has changed so that the resources previously offered are no longer as extensive,
which also affects contracts. Before the birth of streaming services and the promotion
opportunities created by social media, an artist or band often needed financial support from
the record company in advance, with which the record could be produced. Then the record
company recovered the money through record sales, from which the artists themselves
received royalties. (Byun 2016) This kind of procedure still exists, especially with big record
companies and artists, but with digitalization, music can be produced and marketed more
cheaply, in which case the budget provided by the record company is not necessarily needed.
Cahalin (2020) mentions that in the 2020s, several independent artists who produce and
market their music themselves have proven that it is possible to create successful career
without label support.
Brusila et al. (2021) mention that technical innovations often lead to structural changes in
industry, which creates new opportunities for operators who manage to utilize the potentials
it creates. At the same time, this causes difficulties for actors who are not able or willing to
adapt to the change (Brusila et al. 2021). When thinking about the music marketing, for
example, artists using new social media services have possibilities to increase their number
of followers and listeners through the channel, produce new types of advertising content,
and reach a target audience that has not been successfully reached before. At the same time,
artists who are not ready to accept the change in music marketing and adapt to new channels
and methods may not be able to maintain, let alone increase, their popularity. Whateley
(2023), for example, emphasizes the importance of TikTok as a marketing tool for today's
music. He emphasizes, how almost every short video you see on social media has a song
playing. In addition, the application enables the spread of music with the help of TikTok's
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algorithm and trends and makes it easy for the artist to do content marketing or paid
influencer marketing. (Whateley 2023)
Byun (2016) highlights that the transition of the music industry to the digital age has
revolutionized the possibilities of an independent artist or band to succeed without a record
company. Still, some musicians rely on record labels for music marketing, label recognition
or the potential magnitude of radio plays, but with today's technology, artists are able to
promote their own music, themselves, tours and merchandise without the traditional music
industry network. The old distribution channels, where the record companies have had a
great advantage, have changed to the fact that the artist can publish their music without
sharing a share of it with an external company. (Byun 2016) Nordgård (2018) also feels that
as the music industry has entered the digital era, the role of record companies has become
obsolete.
Wikström (2020) says that social media and the digital era have also made the role of record
companies in controlling the music industry more complicated. With social media, so much
information is circulating among consumers that it is no longer possible to control it in the
same way as before (Wikström 2020). So, in practice, record companies no longer have the
same power to decide what kind of music is popular and good, but social media communities
are able to influence the emergence of new musical trends, to which independent artists have
a more flexible opportunity to adapt faster. It is particularly difficult to create trends by
oneself, so keeping up with them and being constantly present is essential in developing an
artist brand. Social media trends often spread also to streaming services. Whateley (2023)
says that, for example, trending songs on TikTok usually also gain popularity on streaming
services and charts. Essling et al. (2017) emphasizes that record companies and independent
artists have to constantly compete for the attention of consumers, where, for example, the
release of singles instead of just an album is important in terms of popularity.
Byun (2016) says that music is a product that the consumer must be able to sample before
making a purchase decision. When physical record sales were still prevalent, this meant radio
play, or the possibility of listening via other media, such as music videos. Today, consumers
can listen to snippets of a song or album through social media, where the song can be
promoted and played a lot even before its official release. (Byun 2016) Essling et al. (2017)
say that due to technological development, the production of music videos has become
significantly cheaper. This enables especially independent artists to get access to high-
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quality and visually good-looking production, for which they did not have the resources
before.
4.1 The relationship between record labels and social media
In February 2024, a significant moment occurred for the music industry, when the world's
largest record company Universal Music Group and the social media channel TikTok, which
is essential in the marketing of music, could not reach an agreement on a license agreement,
according to which TikTok could be used for the distribution and promotion of songs by
Universal Music Group artists (Chuh 2024). The end of the license agreement resulted in
TikTok no longer being allowed to share the music of any artist belonging to the Universal
Music Group, which had a significant impact on the amount of music shared on the platform,
as the Universal Music Group includes a huge number of internationally known big artists.
This also meant previously released songs that were removed from the platform. (Kandelaft
2024)
The dispute between the parties regarding the license agreement and its pricing lasted for
about three months, until in May 2024 the companies reached an agreement and the music
belonging to Universal Music Group was returned to TikTok. In the publication, the
companies emphasized that the new license agreement brings a strategic advantage and fairer
monetization to the record company and its affiliated artists and songwriters. (Universal
Music Group 2024) However, the exact price of the contract and its effect on the artists were
not made public (Gerken 2024). According to the BBC reporter Gerken (2024), the
companies' agreement also focused on the responsible use of artificial intelligence tools in
music marketing, which had earlier been a problem on a platform.
Although the companies reached an agreement and Universal Music Group's music was
returned to TikTok, it raised the influence possibilities of the artists under the record
company to promote their own music and develop their artist brand as a relevant topic. Grant
(2024), editor of the news magazine Forbes, points out that the lack of music by Universal
Music Group artists brings more space and visibility to artists from other record companies,
and especially to independent artists. At the same time, for example, the position and
treatment of songwriters who have produced songs for Universal Music Group but are not
officially attached to the record company in the music industry received less attention
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(Israelite 2024). Additionally, the case raised the question of the role of record companies as
music marketers (Grant 2024).
This is not the only time major record labels have had problems with social media channels.
According to Kandelaft (2024), for example, in 2008, Warner Music Group and YouTube
had challenges reaching an agreement on music distribution. Levine (2008) says that Warner
Music Group temporarily pulled all of its music from YouTube until the parties could reach
an agreement on a licence related to Warner's music. Warner Music Group's view in the
situation was that a significant portion of YouTube's popularity and commercial success
came from music videos by major label artists. Warner Music Group believed that
YouTube's owner, Google, had not compensated the artists or the label adequately for this
monetization. (Stelter 2008) The challenge between the parties was resolved in September
2009, resulting in Warner Music Group and YouTube entering a revenue-sharing deal
(Boorstin 2009).
According to Singleton (2015), Facebook began discussions with international major record
labels in 2015 regarding music distribution. The matter was reported to be a likely plan for
Facebook to launch its own streaming service for music distribution. One reason given was
that Facebook's biggest competitors, such as Google, Amazon, Apple and Microsoft, had
their own streaming services, but Facebook did not. (Singleton 2015) So far, Facebookowned Meta has not launched its own streaming service.
Although Facebook has not launched its own streaming service, the company has sought to
create relationships and agreements with major labels, as well as to leverage the use of music
on its own platforms. In 2017, the company signed an agreement with Universal Music
Group, which allowed users to use the label's music more freely on Facebook, without
copyright claims or video removal (Fingas 2017). The following year, Facebook signed a
similar agreement with Sony Music Entertainment and with Warner Music Group. (Dent
2018; Aswad 2018). The agreements with record companies benefit Meta, owner of
Facebook and Instagram, as it enables users to produce more diverse content, market and
distribute music. The agreements additionally benefit record companies and their artists, as
the social media platform pays them compensation for the use of music. (Plaugic 2018)
Collaboration and relationships between record labels and social media channels play a huge
role in the business of both parties. Ingham (2020) emphasizes that, for example, in 2020,
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profits paid by social media channels to Warner Music Group brought a significant part of
revenue to the company. In addition to companies, the role of social media in the music
industry is largely emphasized by how it offers artists and musicians the opportunity to
perform themselves on social media. It has provided music industry operators with a new
and effective way to reach potential target groups. (Nwagwu & Akintoye 2024)
4.2 The roles in music marketing on social media
The impact of social media on the role of record companies and artists in music marketing
and artist brand development has been studied very little in the past. Although it is easy to
study the impact of social media on music marketing and observe the results, the roles and
responsibilities of the parties have not been studied in the same way, possibly because
different parties perceive the roles differently. It can also be case-specific, where the social
media marketing of artists under the same label is treated differently, depending on what
feels most natural.
Social media has emphasized the importance of the artists themselves in the marketing of
music in the digital age. The pre-planned product of the record label can seem tacky in the
opinion of listeners and fans, which is why it can be favorable for the artists' image that the
main responsibility and power in the promotion rests with the artists themselves. Social
media profiles are fundamentally personal, which also emphasizes the artists' own role as
marketers. Frenneaux (2023) mentions that although former challenges for artists such as the
dominance of major record companies have given way thanks to social media and
digitalization, there are still certain challenges such as algorithms in streaming services and
social media platforms, as well as the challenges of digital music promotion and the amount
of competition , and it is important for independent artists to recognize these in order to
succeed in the digital age. Iliev (2023) reminds that nowadays going viral on social media
can raise an artist from unknown to great popularity, which is why it is vital to manage the
artist's promotion well and planned.
Aniftos (2023), who works for Billboard magazine, which focuses on the music industry,
says that social media has also influenced the way record companies recruit artists. Music
distribution has been revolutionized by digitalization, which causes that record companies
should focus on finding potential artists to sign, on social media. Kordestani (2022) says that
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the role of record company representatives has changed from a manager of marketing,
technological know-how and distribution to more of an entity that provides resources and
monitors that the artists' work is successful. Frenneaux (2023) emphasizes that with
digitalization the do-it-yourself concept has become an even more significant factor among
artists. However, Kordestani (2022) emphasizes that the big major record companies have
huge resources, which can be used to create a big known artist from an unknown artist, which
can be possible to achieve independently, but more challenging.
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5 Methodology
In this section, the research methods, data acquisition methods, and their analysis method
used in the thesis are presented in more detail. In addition, this section provides necessary
information about the profiles of the interviewees, so that it is easier to understand the
perspectives, differences, and similarities of the different parties in the study. The section
emphasizes why exactly this type of persons has been chosen for the interview for the
research, as well as how the question pattern is presented, on the basis of which the
interviews have been carried out.
5.1 Qualitative research method
This study utilizes a qualitative research method, which according to Denzin & Lincoln
(2005) refers to traits, characteristics or processes that cannot be measured based on
quantitative data or investigated quantitatively at a meaningful level. Such situations can be,
for example, when you look at the opinions and views of different parties, and you want to
create a discussion between different perspectives (Flick 2007). In addition, if there have not
been many previous studies on the phenomenon under investigation, relying on quantitative
data can be challenging. For that reason, a qualitative research method is best suited for this
research, where the views of different parties can be expressed more freely.
Qualitative research data refers to information that cannot be measured numerically and is
therefore non-numerical. Qualitative data can come from, for example, interviews, openended surveys or from written sources. (Saunders, Lewis & Thornhill 2009) The purpose of
the qualitative research method is to understand the phenomenon under study, by focusing
on persons who observe the phenomenon from a certain point of view, and by studying their
perspectives. Puusa & Juuti (2020) According to Flick (2007), qualitative research often
aims to produce information that is relevant in practice, and possibly to produce a change in
the phenomenon being studied. The results are often, for example, cultural observations, the
interpretation of human behavior, or the examination and criticism of social phenomena
(Saldana 2011).
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5.2 Case study
This thesis is implemented in the form of a case study. Its purpose is to examine the
phenomenon under investigation through related cases, studying a single or several cases
that can provide detailed information that can be used to better understand the phenomenon.
In this context, the term "case" refers to, for example, a person, organization, group or other
actor who operates among the studied phenomena. Yin (2014) Often, the purpose of a case
study is to collect, for example, data from operators in a certain sector or industry, which can
be used to draw conclusions about the effect of the phenomenon on the industry, and to
produce information that facilitates or develops the operation of the industry (Eriksson &
Koistinen 2005). However, cases are always individual and under a certain phenomenon or
field there can be a lot of divergence in views, opinions or priorities, which is why the case
study cannot be directly generalized as valid and significant among the entire phenomenon
or field (Metsämuuronen 2005). Despite that, it brings out the voice of the actors among the
phenomenon, which facilitates communication and understanding others, possibly bringing
benefits to the industry or the phenomenon. Hamel, Dufour & Fortin (1993) emphasize that
in order to produce value, the cases examined must be relevant and representative of the
phenomenon.
More precisely defined, this study is a multi-case study, where instead of one case, several
operators are examined, the differences and similarities in opinions and views are clarified.
A multiple-case study is often suitable as a form of research when it can be assumed that the
cases will offer either similar or different results, for preconceived reasons. (Eriksson &
Koistinen 2005) For example, whether the artist is supported by a record company, which
makes it possible to operate with larger resources, can be assumed to be a factor that
produces partly concurring opinions about the record company's role as a resource creator,
but at the same time differences about the necessity of the record company and its role in
controlling marketing.
The cases in this study are people who work in music marketing and artist brand
development. The main focus is on artists who work either independently or under a record
company. These cases can be assumed to offer similarities in how important they consider
the artist's role in career creation and promotion, but also potentially offer differences in the
importance of the label. In addition, external operators such as marketers, promoters, or other
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representatives of the record company can look at the whole operation from a different
perspective.
5.3 Data collection
The research material has been collected as a semi-structured thematic interview. The idea
of a semi-structured interview is to create a pattern of questions, as in a fully structured
interview, which is structured the same for all interviewees, but instead of a fully structured
interview, a semi-structured interview gives the interviewee and the interviewer the
opportunity to refine the answers with additional questions and new observations. This gives
the opportunity to find new perspectives that have not been taken into account in the
interview pattern, and to focus on them as well, resulting in more meaningful and freer
answers from the point of view of the research. (Galletta 2012) Another advantage of a semistructured interview is that it enables so-called "thinking outside the box" and challenges
both the interviewee and the interviewer to observe factors they don't think about in their
everyday lives. When the question pattern creates a structure and framework for the
interview, the theme interview gives the opportunity to extract information that the
interviewer has not taken into account before. (Metsämuuronen 2005)
In this study, a semi-structured thematic interview is a suitable choice, because the role of
the interviewees in marketing music and creating an artist brand varies. A strictly structured
interview could ignore essential themes and cause difficulties in answering certain questions.
With a semi-structured method, you can focus on different factors with independent artists
and record label artists, and take into account more effectively, for example, the history of
the interviewees in music marketing.
5.4 Conducting interviews
In this study, the interviews were conducted anonymously, which enables a freer discussion
without attaching certain opinions to certain persons or the company in an identifiable way.
Anonymity also enables the interviewees to bring up, for example, criticisms, things to
consider or perspectives that they would not like to say with their own face or name. This
research is not intended to influence the personal brand of the interviewees negatively or
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positively, so the anonymity of the persons guarantees that the interviewees will not later
face consequences in the music industry for what they say in this thesis. The following
information is disclosed about the interviewees:
1. Their role in music marketing (artist or other)
2. Do they operate under a label (describing the label)
3. How long have they been involved in music marketing / made music
4. What social media channels do they use to market music and develop artist brand
5. An estimate of their follower count on the most popular social media channel
6. An estimate of their monthly listener count and an average streams
This information is enough to create an idea of what role and with what contribution they
are promoting music and creating brand on social media. The information is also scarce
enough that it is difficult to identify individuals based on this information alone, in which
case anonymity is preserved.
The interviews were conducted in Finnish, taking into account the native language of the
interviewees and the interviewer. The interviewees have given the interviewer the right to
translate their comments into English, taking into account that the context remains the same.
In the interview, an effort has also been made to focus on the tone of voice of the
interviewees, as well as non-verbal communication and to translate their comments as
authentically as possible, taking these aspects into account.
5.4.1 Details of interviews
For this research, five interviews were conducted, in which a total of six people who work
in music marketing were interviewed. The interviewees are evenly divided to represent the
record company, record company artists, and independent artists. Each group was
represented by two people. Each interviewee was given the structure of interview (Appendix
1) to review in advance. All interviews were conducted according to the structure of
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interview, but all interviewees were also asked follow-up questions and clarifications. The
interviewees also accepted that the Finnish interview can be translated into English for the
thesis. The interviews were conducted as video interviews via Microsoft Teams.
The interview with the representatives of the record company was executed as a joint
interview, where two representatives of the same record company acted as interviewees. This
video interview lasted one hour and 14 minutes. The other interviews were conducted as
individual interviews. These interviewees are called "Record Label Representative 1" and
"Record Label Representative 2" in this thesis. The interview with the first interviewed artist
working at the record company lasted one hour and 10 minutes. This interviewee is called
"Record Label Artist 1" in this thesis. The interview with second artist signed to the record
company lasted one hour and three minutes, and the interviewee is referred to as "Record
Label Artist 2". The first interviewed independent artist is called "Independent Artist 1" in
this study, and the interview in question lasted 53 minutes. The last person interviewed
works under the name "Independent Artist 2" and the interview with this person lasted 56
minutes. All interviews were conducted in the beginning of January 2025.
5.4.2 Profiles of intervieews
Record Label Representative 1
The person works in a supervisory position at a small record company and a production
house. The person has worked in music marketing for about four and a half years, during the
last year of which focusing specifically on the label's artist marketing. The record company
and its artists mostly use TikTok and Meta's platforms for marketing. In addition, the
company has a website. The record company is quite new, but its artists are already wellknown in the music industry.
Record Label Representative 2
The person works for the same record label as "Record Label Representative 1". The person
has worked in music marketing for half a year, focusing on social media marketing and
campaign planning. The record company has more than 400 followers on its own Instagram
account.
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Record Label Artist 1
The person is the frontman of a band that plays classic rock and punk rock and is signed by
a small record company that focuses on rock music. In addition to being an artist, the person
describes themselves as a music promoter and an administrative person in the band. The
person has released music with the band and marketed it for over 12 years, including the last
two years at the record company. The band's Instagram and TikTok both have almost 2,000
followers. The person's personal TikTok account has about 37 thousand followers. The band
has hundreds or thousands of monthly listeners on Spotify, depending on the period, and
tens of thousands of streams to the songs.
Record Label Artist 2
The person is an artist and musician who plays in several jazz bands and projects. In addition,
the person manages a solo project. Most of the projects are released on a couple of small
labels focusing on jazz. The person has been making their own music for about six years.
The person uses Instagram and Facebook for music marketing, and there are more than 600
followers on Instagram. The number of listeners of a person's projects varies from tens of
monthly listeners to tens of thousands of monthly listeners. The number of streams also
varies from hundreds to tens of thousands.
Independent Artist 1
The person is an independent artist focusing on hip hop music. The person has been making
music for about five years and marketing for the same amount of time. The person uses
Instagram, TikTok and Facebook for music marketing. Of these, there are approximately
1700 followers on TikTok and 1100 on Instagram. On Spotify, the artist has thousands of
monthly listeners and tens of thousands of streams on songs.
Independent Artist 2
The person is an independent artist whose music is in the genre of rap music. The person has
been publishing and marketing music for about two years. The person uses TikTok and
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Instagram for music marketing, of which Instagram has around 500 followers. Depending
on the month, a person has tens or hundreds of listeners per month, and songs have an
average of thousands of streams per song.
5.5 Theory-driven content analysis
Data collected from interviews and secondary sources is analysed using theory-driven
content analysis. It is a method in which the collected data is, so to speak, "coded" into a
suitable format, by analysing the content found in the material by theme, making it easier to
notice similarities and significant differences (Pandey 2019). However, it differs from
inductive content analysis in that theory-based content analysis does not attempt to create
theoretical concepts based on the material, but rather they come directly from the already
existing theoretical basis and the phenomenon under study (Pandey 2019; Tuomi & Sarajärvi
2018). This fits well with this study, as many concepts related to social media, personal
branding and the music industry are generally known and standard.
The content of this research has been analysed using an adapted theory-based content
analysis (Figure 3). The process begins by defining the research topic, which includes
defining the main research question, sub-questions, and objectives. By identifying the
research topic, we can review previous literature related to the topic, which will form the
theoretical framework for the study (Figure 3). This theoretical framework includes three
main themes: social media, personal branding, and music marketing (Figure 1). Based on
the theoretical framework, a pattern of questions is created, and data is collected through
interviews (Figure 3).
The data collected from the interviewees is coded by identifying concepts based on theory.
Coding aims to find unifying and distinguishing observations in the data. Clusters, which
means unifying categories, are created from the coded data, the main categories of which are
the change of music marketing in the digital age, social media as a brand tool and the roles
of the artist and the record company. Under these main clusters, lower sub-categories are
created that more precisely define the distinguishing and unifying observations. (Figure 3)
Once theoretically based clusters have been created from the collected data, it is possible to
analyse the results, which are used to create the conclusions of the study. The analysis of the
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results reports clear unifying and distinguishing factors that emerge from the collected data
and examines how these build on previous literature. In addition, factors that may influence
these cluster formations are highlighted, such as the causes of unifying and separating
factors. (Figure 3)
Figure 3: Adapted process diagram for theory-based content analysis
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6 Empirical analysis and findings
This section examines the information obtained from the interviews in order to investigate
the roles of the record company and artists in music marketing and brand development in
the digital age. The findings of the research are presented in phases according to the themes
of the theoretical framework (Figure 1), starting with music marketing in the digital age.
After that, findings from social media as a brand tool will be highlighted, after which the
role of artists and record companies in music marketing will be examined. The section aims
to highlight similarities that appear between different parties, as well as differences
depending on the role of the interviewees. The aim is to consider the reasons and factors
influencing these similarities and differences of opinion.
6.1 The change of music marketing in the digital age
Social media has changed the opportunities and challenges of marketing enormously. This
effect is also clearly visible in the music industry, where music marketing has moved almost
entirely to digital format. The interviews of the research bring up the views of the record
company and the artists on the significance of social media in music marketing, as well as
the strategic approach to social media marketing.
6.1.1 The significance of social media in marketing
All the interviewees feel that social media has had a significant impact on the marketing of
music. Record Label Representative 1 (2025) emphasizes that social media marketing is
nowadays the starting point for music promotion. Record Label Artist 1 (2025) also sees that
social media marketing has revolutionized compared to the beginning of the 2010s.
“I feel that the two major social media platforms at the time were Facebook and YouTube,
and it worked so that a music video went to YouTube, after which it was advertised on
Facebook that this song is now out, and you can listen to it there. But now it doesn't quite
work like this anymore and the whole thing has actually turned upside down, and the value
of Facebook is now quite nominal and also the reign of YouTube has taken a hit in the sense
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that video as a platform has been rising all the time, but it is no longer the traditional music
video with which the marketing is done, but it is done with a completely different kind of
content.” -Record Label Artist 1 (2025)
Independent Artist 2 (2025) emphasizes that nowadays music marketing is even free if
desired, which makes it easier especially for independent actors. Independent Artist 1 (2025)
additionally highlights that even bigger artists are proven to be able to work independently
nowadays, because costs have decreased due digitalization. Record Label Artist 2 (2025)
points out that in a digital era, the responsibility for marketing has also passed to the artist.
Record Label Representative 2 (2025) reminds that creators have to compete more and more
for attention on social media, which is why they have to focus on even the smallest nuances
and details. Other interviewees have also noticed the same phenomena. Record Label
Representative 1 (2025) says that social media presence is one of the first things to look at
when signing an artist to a label.
Social media marketing is affordable, and anyone can do it, which has also led to the fact
that there can be more supply than demand. Record Label Artist 1 (2025) emphasizes that
different age groups use different social media channels in different ways, which is why it
is profitable for an artist to be active on several platforms. However, Independent Artist 2
(2025) feels it is important to understand which platforms have the most potential target
groups for the artist. Both Record Label Representatives (2025) discuss that it may be easier
for younger artists who are used to working on social media to get used to today's marketing
than for artists whose careers started before the revolution of social media marketing.
“There can be a situation where the artist has already marketed themselves completely
correctly for many years, in which case it's easy for the record company to just stick with it
and continue.” -Record Label Representative 2 (2025)
However, Independent Artist 1 (2025) points out that even for an artist of digital era, fastpaced marketing content and competing content production can be very burdensome and
stressful. Record Label Artist 1 (2025) also mentions that although the record label supports
marketing, the artist often has to be responsible for a lot of promotion. Record Label Artist
2 (2025) also recognizes the same issue but nevertheless feels that social media has generally
made it easier to market music.
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“There are so many free platforms that you can use for marketing and get really big, for
example Instagram. I would say that it is easier to get it started, but then standing out in
there is probably more difficult.” -Record Label Artist 2 (2025)
Almost all interviewees say TikTok and Instagram are the most important marketing
platforms nowadays. Record Label Artist 2 (2025) feels that the genre represented by them
is so niche that it can be difficult to find many followers on TikTok. Record Label
Representative 1 (2025) also believes that an artist's genre and career stage can influence
which platforms are useful.
“If it's an artist who has a wide and more traditional listener base, then we use all the basic
social media platforms, and paid advertising might even be about 50-50 TikTok and Meta.
Compared to that, if there is a youth artist, then it might be 100 percent TikTok, in practice.”
-Record Label Representative 1 (2025)
Almost all artists mention using Facebook as a marketing channel but say that its importance
has waned in recent years. However, there is a certain audience that cannot be reached on
other channels. Independent Artist 2 (2025) does not consider using Facebook to be relevant
for their music marketing.
"If I had started publishing music more than five years ago, I might have considered setting
up a Facebook artist page, but today I feel that there is no listener base that would suit my
music. Although I have seen when one of my songs spread in a Facebook group and got quite
good feedback." -Independent Artist 2 (2025)
Although for several of the interviewed artists usage of Instagram has started as a personal
profile, all interviewees experience it primarily as a marketing tool. Independent Artist 1
(2025) states that they did not use Instagram much before his music career, and Record Label
Artist 2 (2025) admits trying to actively update Instagram specifically for music marketing.
Record Label Artist 1 (2025) also elevates Instagram to the band's most relevant social media
channel, although the band's TikTok has even slightly more followers. The artist also tries
to do so-called "hidden advertising" for the band's music on person´s own personal TikTok
account, where the music is subtly promoted along with other content (Record Label Artist
1 2025).
"All those stories may not even be related to the band, but the if they are even a lightly
affiliated, it might be that from a moderately good successful video, if it gets such a good
43
number of views, then there might be a certain percentage who go to follow or search that
band to see what's the situation, and they find our music."-Record Label Artist 1 (2025)
In addition to content related to music, artists strive to show their own lives. It can be talking
about different topics, presenting their daily routine, recordings of gigs or studio sessions.
Both Independent Artists also feel that bringing humor into the content can be an effective
way to draw viewers' attention. Record Label Representative 1 (2025) emphasizes that the
type of content varies a lot from artist to artist. For some younger artists, doing social media
can be very organic and natural, in which case the record label doesn't have to interfere with
content creation as much. On the other hand, if there is an artist who does not want or know
how to produce content on social media in the same way, the record label can help with, for
example, organizing promo shoots. (Record Label Representative 1) Record Label
Representative 2 (2025) says that they have been involved, for example, in the creation of
artists' social media campaigns, where about three weeks before the song's release, they start
"teasing" with short videos in which a part of the song plays in the background, with the aim
of arousing interest and hooking the listener.
"We have received help from outside actors so that someone has planned a TikTok
campaign, which lasts two or more weeks under the release of a single. Then it is continuous
and really abundant that, for example, in TikTok, the presence is that every day we put
something out and hope that through that song goes out and gets those listens in advance
already."-Record Label Representative 2 (2025)
Independent Artist 2 (2025) has noticed that the "lip-sync" videos in question have not been
very successful for the artist itself. They often get the fewest views and reactions of the
artist's content, possibly because there is nothing new or original in them. (Independent Artist
2) Independent Artist 1 (2025) feels that if artist shows their life openly, and additionally
brings up challenges or failures, it can be benefit, because viewers often want to know more
about the artist and gain a level of identification.
"Perhaps we should show those moments more, because usually social media is a bit like
successes, like hey I got this and this or something else, but maybe even if you could or dared
to bring more of those negative aspects, I think that might be interesting."-Independent Artist
1 (2025)
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Record Label Artist 1 (2025) says the best ad is one that the viewer doesn't even think is an
ad. The person feels that the point of being on social media is that people are interested in
the so-called "behind the scenes" style material, where viewers are shown more of the person
behind the artistry (Record Label Artist 1 2025). Both Record Label Representatives feel
that it is useful for the artists in terms of marketing if they are able to create an interesting
character of themselves that the viewers want to follow.
6.1.2 Strategic approach to music marketing on social media
All of the interviewees work in music marketing on their own ways and feel that they
themselves play an active role in the implementation of marketing. However, there is a
general consensus among the interviewees that it is useful for the artist's marketing that the
marketing is artist oriented. Record Label Representative 2 (2025) emphasizes the
importance of organicity in artistry, which is shown in a person's marketing, music and other
activities. Both Independent Artists mention that they sometimes get help from close ones
in creating content, but the responsibility for planning and implementation is still almost
entirely on them. Record Label Artist 1 (2025) has additionally ended up with a leading role
of social media in the band. The reason is not so much strategically chosen, but content
creation in the band has seemed the most natural to the person (Record Label Artist 1).
"Probably the point was precisely that I might have shown some interest in it and had made
the band's Facebook accounts and others, so it's has remained like that from those times."Record Label Artist 1 (2025)
Record Label Artist 2 (2025) says social media marketing responsibilities change depending
on the project. If a person is only a musician in a project, there is not the same leading
responsibility as in solo projects, but still the person always feels the responsibility to be part
of promoting the songs. The interviewee also feels that record companies have done their
part in marketing. (Record Label Artist 2)
"They also have their own social media, which they want to grow, so yes they have taken
their own role in it, and produced advertisements, such as videos or posts, and made
materials for them that we can then also use."-Record Label Artist 2 (2025)
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Record Label Representative 1 (2025) feels that the record company will take responsibility
according to how the artist wants or is able. If an artist has their own vision that the artist
wants to implement in marketing, it is often profitable for the record company to try to
support the success of this vision (Record Label Representative 1). The common view of the
interviewees is that nowadays an artist must also be able to function as a social media content
creator and marketer, which can cause challenges in well-being and making music.
Independent Artist 2 (2025) says that the social media marketing strategy has varied
according to the release of the songs and the time periods. Although the artist understands
that activity and continuous content production are useful in terms of marketing, the person
focuses on promotion mainly in connection with song releases. The artist mentions it as “a
bit annoying" that in addition to being an artist nowadays one should be a social media
influencer and a marketing person. (Independent Artist 2 2025) Independent Artist 1 (2025)
admits that the person should invest more in marketing strategy. Additionally for this person,
strategy and activity in marketing have been determined according to certain songs. If the
artist has felt that the song in question could resonate with people better, more has been
invested in the scheduling, ideation and activity of content production. (Independent Artist
1 2025)
"Yes, it has an effect on what's coming and if, for example, I have album release coming,
then I try to think about how to market it before that. But now that it's been more that I have
to finish the album and focus on making music, then maybe there is no time, and no energy
to produce that content."-Independent Artist 1 (2025)
From the record company's point of view, strategy appears more as a daily routine. Record
Label Representative 1 (2025) tells that often the marketing of the song begins with the
unofficial audio released by the artist, the purpose of which is to "tease" the song and see
how well the audience embraces it. After this, the official pre-release audio for social media
channels is released, which will be actively shared daily on different channels, spreading
awareness of the approaching release of the song. The record company evaluates the artist
and, based on that, makes a decision on how to take a role in content creation. If the artist
wants and is able to produce content, then the record company mostly emphasizes the
importance of advertising. If, on the other hand, content production is not natural for the
artist, the record company will help in producing the content. The record company also takes
46
care of the scheduling and the realization of the agreed events. (Record Label Representative
1)
"Especially at the weekend after the release is quite important to make sure that the
campaigns are always running, like paid and organic campaigns, over the weekend in full
force because it's always the most important time to kind of bring it to the fore."-Record
Label Representative 1 (2025)
Record Label Representative 2 (2025) additionally adds that for some artists, natural social
media marketing works with "automation" and for some there are challenges to get the
audience to react and engage with the artist's music and content. The person gives the reason,
for example, that other artists interact more with their own followers, in which case
advertising and content production come naturally and the song may spread on social media,
for example, even two weeks after publication. (Record Label Representative 2 2025) In
addition, Record Label Representative 1 (2025) emphasizes the role of the record company
outside of social media, for example with radio play and interview promotion. The record
label's approach is therefore strategically precise, but still situational.
Record Label Artist 2 (2025) says that content production is less strategic and more about
just filming playing, showing everyday things, and sharing music and gig ads. In addition,
the artist does not follow social media analytics quite often, mainly likes on Instagram
Stories, as well as the number of "interested" clicks on Facebook events. The artist feels that
these numbers signal that the public is interested in things related to music and concerts.
(Record Label Artist 2) Independent Artist 1 (2025) says that they also observe too little
analytics. The artist tries to look at, for example, the number of likes and reactions, but feels
that they do not directly correlate with song streams or follower engagement. Record Label
Representative 1 (2025) says that they do not follow a lot of metrics and analytics at the
moment, due to the small number of company's artist roster and staff.
Instead, Independent Artist 2 (2025) and Record Label Artist 1 (2025) both say that they
follow analytics perhaps even a little too much. For Record Label Artist 1 (2025), for
example on TikTok, the most important numbers to track are views and likes. In addition,
YouTube impressions and Spotify For Artist analytics are tracked by the person. An artist
thinks that 1000 likes and 10 000 views on TikTok is a good measure of a video's success.
On Instagram, a similar threshold is 500 likes. These figures show that the content has started
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to spread and trend, at least on some level. (Record Label Artist 1 2025) Independent Artist
2 (2025) also mentions following TikTok and Instagram likes and views, in addition to
Spotify and YouTube streams. The artist highlights these to illustrate what the audience
likes. Video ideas that work well can be reused. (Independent Artist 2 2025)
"The algorithm of TikTok, and also Instagram nowadays, is so special that sometimes it is
difficult to predict what will work there. But the analytics will perhaps help in being able to
see that this thing interested the viewers."-Independent Artist 2 (2025)
Of the interviewed parties, Record Label, Record Label Artist 1 and Independent Artist 1
have used paid advertising on social media. Independent Artist 1 (2025) says that paid
advertising has brought views to individual videos but does not feel that this has increased
stream volumes much. The artist believes that paid advertising can bring a good additional
boost to the music and the recognition of the artist but does not feel that if a person sees an
ad on social media once, that would be particularly effective to get a person to listen to the
artist's music. In addition, a large social media campaign and invested paid advertising can
be challenging and expensive for a person working independently. The artist believes that
their music has not been listened to because of successful marketing campaigns, but because
of good music. (Independent Artist 1 2025)
Of the interviewed parties, only Record Label and Record Label Artist 1 have tried
influencer marketing. Record Label Artist 1 (2025) says that their band used influencers in
the promotion of one song, where joint videos with influencers were published on the
person's own TikTok account. This caused a small spike in the number of listeners, and one
of the videos started trending on TikTok and Instagram. However, it didn't have a significant
impact, even though the combined number of followers of the influencers used was around
500 000. (Record Label Artist 1 2025) Record Label Representative 1 (2025) mentions that
the company used influencer marketing with one artist with the help of promo packages.
Independent Artist 1 (2025) feels that influencer marketing could be a viable method if a
suitable influencer could be found who would like to join in promoting the release. In
addition, Independent Artist 2 (2025) sees influencer marketing as a potentially effective
marketing method but has not tried it due to limited resources.
In addition to influencers, Record Label Artist 1 (2025) highlights the importance of record
company support in social media content production. The artist feels that a large part of
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artists or record companies do not understand the importance of social media marketing, but
also how heavy a process it is on top of making music and all other creative work, which is
often pushed to the artist. In the artist's opinion, this challenge could be met by a separate
person who helps with content production. (Record Label Artist 1 2025) The other
interviewees also brought up the fact that content production can be challenging in addition
to making music, which is why it would be relieving if there were people helping with
marketing.
"Increasingly, we will probably need some kind of social media producers, just like in big
movies, from whom one can order the script or something for videos."-Record Label Artist
1 (2025)
6.2 Social media as a brand tool
Creating a personal brand has become even more important in the music industry after social
media revolutionized marketing. To stand out from competitors, an artist must be able to
show viewers and listeners why exactly this artist is worthy of the viewers' attention. The
interviewees answer questions related to the development of a personal brand in the music
industry, as well as brand management in social media.
6.2.1 The development of a personal brand in the music industry
The view shared by all interviewees is that artist branding plays a significant and important
role in music marketing. Record Label Artist 1 (2025) emphasizes that a brand is the image
people create of an artist, and the absence of a brand causes consumers to have no
expectations of the artist. Independent Artist 1 (2025) feels that if the listener is left with a
positive image of the artist, this facilitates the listener's engagement with the artist's music.
Record company representative 1 (2025) emphasizes that the brand is vital for an artist and
even mentions that it is a little alarming that sometimes the artist's brand comes before the
quality of the music. Record Label Representative 2 (2025) supports the argument and
highlights how creating a character for yourself is an effective marketing tool.
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"It's kind of alarming to notice that the story and the character are such a big part. When
everything is on social media and all the things that happen in life are taken to social media,
and then when the artist does it correctly and organically, somehow you get interested in it
in a completely different way. It drives to a point where the music of that artist is
automatically good, even if you haven't heard it yet."-Record Label Representative 2 (2025)
Independent Artist 2 (2025) acknowledges the importance of the brand and emphasizes that
it can also bring challenges for new artists whose personal brand is not yet a "complete
package". According to the artist, the problem with many new artists is that they try to create
their brand based on some bigger artist, which makes everyone look and sound pretty much
the same (Independent Artist 2 2025). Record Label Artist 2 (2025) feels that in the jazz
genre, the brand appears more in bands than in individuals. On the other hand, the artist has
noticed that even in the band-oriented genre, individuals have started to emerge who have
created a strong personal brand for themselves with the help of social media. However, the
person believes that in a certain genre, the personal brand is influenced not only by social
media, but also by playing skills and playing style. (Record Label Artist 2 2025)
"Yes, the personal brand exists, but it first comes perhaps more through the playing, because
everyone's playing style is so personal, so that playing style becomes their brand and sound.
And then maybe later when you've gained visibility with it and you maybe sign to a record
label, then they start producing more of an advertising brand as well."-Record Label Artist
2 (2025)
Of the interviewed artists, Record Label Artist 2 (2025) feels that their brand is based on
versatility and skillful playing, while Independent Artist 2 (2025) aims to bring out humor
in the brand and that music or the artist brand should not be taken too seriously. Independent
Artist 1 (2025) emphasizes positivity and community in artist brand, describing their music
as "kind rap". Record Label Artist 1 (2025) sees their own personal brand as contradictory,
because the person may appear in different roles in different contexts. According to the artist,
some may know them from their music, some through their work and some as a social media
influencer. A person believes that the brand is born as a mixture of all these factors. (Record
Label Artist 1 2025)
Record Label Representative 1 (2025) believes that social media has helped brand creation
by getting artists to show themselves to a large audience more easily and with a lower
50
threshold. Record Label Artist 1 (2025) additionally feels that social media has been the
most significant tool for building awareness of their own brand and band´s profile and
mentions that they practically had no personal brand before social media. Independent Artist
1 (2025) shares a similar experience, where the artist started their personal brand almost
from scratch, but with social media and active performance, has been able to show people
what kind of artist the person is. Independent Artist 2 (2025) feels that social media has
brought benefits in addition to low thresholds and visibility, in that it has forced the artist to
consider not only how the music sounds, but how the artist and the factors associated with it
look visually.
As a challenge of social media in brand development, Record Label Representative 1 (2025)
raises the fact that artists who do not know how to adapt social media are easily
overshadowed. In addition, social media brings the audience close to the artist, and everyone
gets to comment on the artist and the brand constantly, which can cause challenges in mental
health (Record Label Representative 1 2025). Record Label Representative 2 (2025)
continues the theme by saying that direct feedback can be a good thing but can also cause
difficulties for the artist mentally. In addition, for bigger artists, running an entire career and
a constant presence on social media may consume and burn out the artist. However, the
person feels that in the music industry people's mental health and issues related to it are not
taboo in the same way as in many other fields. (Record Label Representative 2 2025) Record
Label Representative 1 (2025) points out that it has not always been this way but feels that
a change in the conversation has taken place properly in the last year. The person also
emphasizes that the record company tries to help the artists as best as they can, so that the
artists are not left alone with negative feelings (Record Label Representative 1 2025).
"I feel that because it has been talked about more in the industry, then maybe artists have
been able to talk more about it on social media and also about the challenges they face on
social media. And of course, it's great that people talk about it."-Record Label
Representative 1 (2025)
Independent Artist 1 (2025) says that in distinguishing, social media benefits those who
produce content skillfully and actively. On the other hand, a lot of content is produced on
social platforms all the time, and consumers don't have time to follow everything, so the
"airspace" and attention is very competitive. For people for whom content production is not
as natural, social media has also certainly brought disadvantages in standing out.
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(Independent Artist 1 2025) The Record Label Representatives (2025) share this ideology
but feel that social media makes it difficult for artists to stand out in the music industry.
Record Label Representative 2 (2025) states that one reason for this is the trends emerging
in social media, which artists follow. As a result, many artists produce almost identical
content, and the artist's own identity or brand cannot be properly displayed among users.
Record Label Artist 2 (2025) emphasizes that social media has made it easier for people to
bring marketing content to more people but feels that in the digital age it can be more
challenging to make your own story stand out and spread beyond a small circle. Record
Label Representative 1 (2025) believes that in order to stand out on social media, it is almost
mandatory to be an exceptional and own a strong brand. In addition, the person brings up
how some artists have been able to stand out precisely because they are not active on social
media (Record Label Representative 1 2025).
"I feel that there is a certain kind of small, healthy trend here, that nowadays Live has more
weight again and with it, in a certain way, the artist can push the brand forward and maybe
be able to stand out."-Record Label Representative 1 (2025)
Record Label Artist 1 (2025) says that their band has also benefited from social media tools
in that instead of standing out, the band has been linked to another band. When in 2021 the
Nu Metal band Blind Channel participated in Eurovision, it also increased interest in smaller
Finnish rock and metal bands. Even if a person feels that their music stands out from, for
example, Blind Channel, the artist believes that this has influenced their band's separation
from other small "pub bands" specifically on TikTok. (Record Label Artist 1 2025)
Independent Artist 2 (2025) additionally mentions how social media has made it easier for
users to find smaller artists who make similar music as bigger artists. However, the person
believes that the quality of content production is critical especially for smaller artists to stand
out. Although, for example, the advantage of TikTok's algorithm is often raised that the user
does not need to have many followers in order to produce viral content, the person feels that
artists who already have followers can reach a larger audience with less effort than small
artists (Independent Artist 2).
"A bigger artist can maybe make a simple lip-sync video or a short promo and reach a lot
of people, but if you, as a smaller artist, just make the same videos, and there's no
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imagination or your own input in them, they're unlikely to get the same number of views."Independent Artist 2 (2025)
6.2.2 Brand management in social media
All the interviewed artists feel that their own personal brand is born primarily from what
kind of people they really are. Record Label Artist 2 (2025) feels that the person's role in
different projects has had little effect on how the person tries to appear on social media.
However, the artist feels that in creating a clear personal brand, it would be worthwhile to
approach with a more strategic perspective, to better highlight what kind of artist they are
(Record Label Artist 2 2025). Independent Artist 2 (2025) notes to strive for strategy and
planning in promotion but still does not feel that they are presenting a different person on
social media than in reality.
Record Label Representative 1 (2025) says that in their company, the strategy of creating a
personal brand is linked to the artist's own activity. The aim is that the artist can create their
own brand, and the record company supports and embraces this. However, in certain
situations the label takes a greater role and a more strategic approach to creating an artist
brand. (Record Label Representative 1 2025) Record Label Artist 1 (2025) does not feel that
the record company has tried too hard to influence what the brand of the artist and the band
looks like. The artist states that the band has not tried to make themselves seem like
something specific, but rather to send the band's message to the listeners. However, the artist
feels that, especially in rap music, the most interesting artists of the moment have emerged
in recent years, specifically with strong and clearly strategic personal branding. (Record
Label Artist 1 2025)
Independent Artist 1 (2025) feels that their own artist alter ego is the same person but slightly
boosted. The person strives to be themselves but believes that artistry has influenced them
as a person, which may also show in their personal brand. Still, the approach to creating an
artist brand has not been so strategic, but more about bringing out one's own traits.
(Independent Artist 1 2025)
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"Maybe in general when I've been making music, it's probably also shaped me in such a way
that I have started to think more that I'm a rapper or at least some kind of musician. It must
have also changed me in a certain way."-Independent Artist 1 (2025)
Independent Artist 2 (2025) feels that algorithms or trends affect the development of a
personal brand mostly subconsciously. According to the artist, if you come across inspiring
people or visually well-produced videos on social media, you might partially take influence
from them. However, the person does not feel that they are trying to develop a brand based
on an algorithm and trends. (Independent Artist 2 2025) Record Label Artist 1 (2025)
believes that in order to be successful in social media, artists should, at least on some level,
keep up with the trends. The important factor is to focus on how the content favored by the
algorithm or social media trends would suit the artist's brand. However, the artist feels that
their social media popularity is not so much based on following trends. (Record Label Artist
1 2025)
"My content, when I got perhaps the biggest peak so far, was completely against the trends.
I never made any dance videos or lip-syncs or anything like that, but probably 90% of my
content was purely self-invented. Of course, there was that Storytime angle and maybe
Storytimes were trending on TikTok at some point."-Record Label Artist 1 (2025)
Independent Artist 1 (2025) says that trends and inspiring people influenced the most in the
early stages of career. Over time, the artist has developed a clear personal brand, which is
not significantly affected by the popularity of social media (Independent Artist 1 2025).
Record Label Artist 2 (2025) has noticed that well-branded musicians have aroused interest
in focusing more on developing an artist brand. Record Label Representative 1 (2025) points
out that it is important for an artist's success to strive to create a trend in social media. The
record company and the artist plan together, for example, which of the lyrics of the song to
be published they should use in marketing to get the music to resonate with listeners and be
relevant in a certain time. However, the person notes the importance of organic marketing
and mentions that forcing a trend is not effective marketing. (Record Label Representative
1 2025)
Record Label Representative 2 (2025) tells that record label analyses the artist both as a
musician and as a brand and image. The person points out that nowadays it is not worth it
for the record company to try too hard to define on behalf of the artist what this brand should
54
be like. In many cases, it is more worthwhile to support the artist's vision and choices.
(Record Label Representative 2 2025)
"Before, the situation was that the record company produced music and then the audience
was in the position that they just listened and liked the content that was produced, but today
it has changed, and the listener has to accept the content so it can go viral, and an artist can
succeed."-Record Label Representative 2 (2025)
Record Label Artist 1 (2025) says that they analyse the activities of other artists and bands
and try to notice the successes and failures there. In addition, the artist analyses the target
audience and social media as an environment, to produce high-quality and brand-appropriate
content. The artist also feels that it would be worthwhile, especially among older artists and
bands, trying to understand social media platforms and how they work. (Record Label Artist
1 2025)
"Most of the bands' content is pretty clumsy. New artists play that game a million times better
than the rock bands, whose TikTok videos often give a bit of a feeling that they've just tried
to make a trend, and if it shows, it usually doesn't really work in my opinion."-Record Label
Artist 1 (2025)
Record Label Artist 2 (2025) aims to do brand management by being neutral and in line with
its own values. The artist has avoided taking much of a stand on current issues, as they can
mess up the person's brand as an artist (Record Label Artist 2 2025). Independent Artist 1
(2025), on the other hand, feels that participation in social discussion is a natural part of the
artist's brand, which is shown both in the lyrics and in the content production. However, the
artist understands that the bigger the artist is, the greater the risk that people will
misunderstand is (Independent Artist 1 2025). Record Label Artist 2 (2025) does not feel to
have such a large follower base that participating on political conversations or trying to
influence on opinions would be relevant.
Independent Artist 1 (2025) has also not taken a stand on discussions about society on social
media but has shared other users' posts about the topics. The artist says that rap music is
based on the examination of society and communal values, which the artist wants to support
in their music, but also feels that artists nowadays are not as political and straight than before.
Record Label Artist 1 (2025) admits being unactive on commenting, even though they feel
that it is a significant part of the artist's presence. Record Label Representative 1 (2025) says
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that the record company is careful about artists' opinions on social media. According to the
person, it is appropriate that the artists bring out their own values but mentions that if the
artist's opinions and values do not coincide with the values and ethics of the record company,
the situation will be clarified as quickly and carefully as possible. With this method, the label
ensures that this does not have negative effects on the brand of the artist or the record
company. (Record Label Representative 1 2025)
"If it's related to the artist's brand, that the artist gets a lot of attention because it has certain
kinds of opinions about something, then I don't see it as good thing, even though someone
could say that it's also marketing, and that artist gets more listeners and so on. And it's true,
that the songs might be more successful that way, but it's more of a question of where to
draw the line and whether to support something like that or not."-Record Label
Representative 1 (2025)
The interviewees generally feel that social media analytics can make it difficult to create an
artist brand. Record Label Artist 2 (2025) and Record Label Representative 1 (2025) say that
tracking data can make it easier for an artist to see what content is working but can also make
the artist overly aware of performance and create pressure. At worst, this can cause actions
that conflict with the brand. Independent Artist 1 (2025) feels that whether the artist is
satisfied with the product and the brand is a more important factor than following analytics.
Record Label Artist 1 (2025) admits to staring at too much data from social media, which
can make brand consistency difficult. However, the artist believes that, if used correctly,
analytics can be very useful. Record Label Representative 2 (2025) feels that combining
business and the music industry almost always causes conflict. Independent Artist 2 (2025)
agrees that excessive following of numbers and business mindset can at worst kill an artist's
creativity.
6.3 The roles of the artist and the record company
Social media and digitalization have greatly affected the possibilities of the record company
and the artist to operate and market. The change has raised the question of why an artist
needs a record company anymore. The interviewees answer questions about the impact of
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social media on the role of the record label and artist, and the power and responsibility of
the artist and the record company.
6.3.1 The impact of social media on the role of the record label
Digitalization has largely affected the role of record companies. Record Label
Representative 1 (2025) says that it is possibly more difficult for a record company to justify
why an artist needs them, when streaming services have enabled effortless independent
distribution, and with social media, marketing has become more dependent on individuals.
Record Label Artist 1 (2025) additionally feels that the importance of the record company
has decreased and says that being part of a label nowadays brings more image, and promotion
benefits than help with distribution and sales. Record Label Representative 2 (2025) sees the
record company in an important role in mentoring and guiding artists.
Independent Artist 2 (2025) believes that the role of the record company emphasizes,
especially for artists who want to advance their careers and operate with larger resources.
Independent Artist 1 (2025) feels that a record company can be an advantage to reach, for
example, Spotify playlists, if the music is of sufficient quality. However, Record Label Artist
1 (2025) disagrees. The person talks about a situation where a release made with the band's
record company did not make it to Spotify's New Music Friday playlist, while a release by
a smaller and independent band did. The artist therefore emphasizes that the record company
is no guarantee of getting good placements on playlists. Instead, the person emphasizes the
importance of the label to get radio play. (Record Label Artist 1 2025) Record Label
Representative 1 (2025) agrees that the platforms of streaming services are the same for
everyone, and a label cannot guarantee a place on a playlist. However, the person believes
that the label is a certain kind of "quality stamp" that can possibly facilitate access to
playlists. In addition, the person emphasizes the possibility of radio play with the record
company and feels that the label brings a certain kind of security and organization, which
facilitates the artist's work and the success of the releases. (Record Label Representative 1
2025)
Record Label Artist 2 (2025) says that many major record companies and radio channels are
cooperating extensively, which makes it easier for record label artists to get on the radio.
However, the artist believes that social media has greatly changed how artists can become
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very popular so quickly. Although artists can grow in popularity independently, the person
does not believe that getting into the consciousness of the entire nation is nearly as easy
without the resources and network of a record company. (Record Label Artist 2 2025)
"Back in the days, it depended a lot on the live, but now even if you haven't published
anything, you can become really popular, because you can market it like crazy. Some chorus
can be played on TikTok half a year before anything is published, and by the time of release
you already have followers and listeners ready."-Record Label Artist 2 (2025)
The interviewers see the bureaucracy as the biggest challenge, when operating with a record
company. Record Label Artist 1 (2025) says that although the record company can bring a
budget for promotion, at least at small record company it is not easy to get a large marketing
budget without proper justification of the need for resources. In addition, the artist thinks
that it is easier for an independent artist to decide on scheduling but does not feel that the
record company still has limited the band's activities (Record Label Artist 1 2025).
Independent Artist 1 (2025) highlights that, in the worst case, the record company can limit
the artist's artistic freedom if the artist does not have a strong enough vision. That's why it's
worthwhile for an artist to work independently for as long as it makes sense, so that the
record company does not have to build an artist brand from scratch (Independent Artist 1
2025). Independent Artist 2 (2025) does not believe that the record label is suitable for all
artists. According to the person, the purpose of the record company is to provide additional
resources and opportunities that the artist cannot achieve independently. Additionally, the
artist's style and goals play a role in how useful the label is to the artist. (Independent Artist
2 2025)
"If an artist has such a strong vision and enough resources, the record company doesn't
necessarily bring much to the situation. But then, on the other hand, if you really want to be
one of the biggest artists in Finland, there aren't a lot of them who would have achieved it
without the record company's help."-Independent Artist 2 (2025)
Social media has made the record company's role even more digital. Record Label
Representative 1 (2025) mentions that today the marketing team of major record companies
is largely composed of social media marketing experts. Record Label Artist 1 (2025) sees,
with digitalization, the role of record companies is going more and more in industrial
direction, where large companies buy smaller ones and services can be outsourced to other
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creators. Still, both Record Label Artists (2025) see the label useful for the artist in the future,
even though its role in the music industry has diminished.
6.3.2 The impact of social media on the role of the artist
The common point of view in the interviews is that social media has significantly influenced
the role of the artist in addition to the record company's role. All the answers emphasize how
the artist's own role has become stronger with social media. Record Label Artist 1 (2025)
highlights how nowadays artists do not need to reach traditional media to become popular,
but superstars can be born through social media. The person brings up, as an example, the
singer Mirella, who rose to enormous popularity during the year 2024, even though the
person thinks the artist was not seen much on, for example, linear television. The person
believes that nowadays it is more profitable to invest in, for example, TikTok marketing or
influencer marketing, than to try to do promos in television formats. (Record Label Artist 1
2025)
Independent Artist 2 (2025) sees the role of the artist taking centre stage because of social
media. To an increasing extent, what is essential is what the artist is like, and not what kind
of record company the artist works for. The artist additionally emphasizes that the role of
listeners has grown more significant and influential compared to the time before social
media. (Independent Artist 2 2025) Record Label Artist 2 (2025) also feels that social media
has confused the roles of record label and artist. With this, the artist has a bigger role in
marketing as well (Record Label Artist 2 2025).
"You're maybe 40-50 percent rock star and 60 percent booking agent, photographer, editor,
content creator and everything else."-Record Label Artist 2 (2025)
Independent Artist 1 (2025) says social media has made it possible for anyone to make their
voice heard. The negative side is that since anyone can make their voice heard, there is a lot
of competition for who gets listened to. The artist believes that, for this reason, marketing
has become vital, and the quality of the music itself may suffer, as more is invested in
marketing.
"The focus has changed from making music to marketing, with which the making of music
and that content might suffer in this time. Maybe that's also one of the reasons why artists
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are currently making a bit more generic music, where there isn't necessarily as much
message. But I want to believe that good songs and good active artists will get visibility, and
good songs will be heard."-Independent Artist 1 (2025)
Other interviewees have additionally noticed that in digital music industry fans in many
situations are more interested in the artist's brand than the music. Record Label
Representative 1 (2025) says that it is unfortunate but true that when signing an artist, the
record company must also assess the possibility of the artist's success in social media to a
large extent. The person says that nowadays the most significant factors in artistry are what
kind of character you can create of yourself (Record Label Representative 1 2025). Record
Label Representative 2 (2025) still mentions that the music industry appreciates people who
give their own input to making music and working in the studio. No matter how interesting
a person is, it's hard to achieve long-term popularity if the music doesn't sound good.
According to the person, this is a positive sign of the quality of Finnish music. (Record Label
Representative 2 2025) Record Label Representative 1 (2025) also claims that musical skills
are a significant part of success but emphasizes that there are skilled musicians in Finland
who have not achieved as much popularity, since their brand has not managed to interest the
public on such a large level.
Record Label Artist 1 (2025) perceives character as a significant part of artistry. Artist points
out that throughout music history, people have been interested in artists' brands, and artists
have appeared in other media besides music, such as movies or television. Because of this,
the idea that an artist is also a social media influencer is not surprising. However, the person
points out that a certain kind of TikTok artistry may be a passing ideology even in the near
future. (Record Label Artist 1 2025)
"Perhaps the automatic thought that if there are 200 000 followers on TikTok, the album
will surely sell gold, will disappear because it loses a certain charm of novelty. Perhaps it
will fuel the emergence of artists who are primarily artists and not social media influencers.
But as said, this phenomenon has been ever since the entertainment industry has changed to
what we are seen as today and will remain as such, it's just part of the gene. Today, everyone
does a little bit of everything and that's how it goes."-Record Label Artist 1 (2025)
The interviewees feel that working independently in the digital age is easier than ever. The
common view is that a benefit as an independent artist is to have a significantly more
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freedom to realize own vision. Independent Artist 2 (2025) and Record Label Representative
1 (2025) emphasize that the record company is not taking royalties. The disadvantage is that
the artist is independently responsible for everything that complicates the making of the
music itself. Especially for certain artists, it makes it easier to have a team in the background,
where the skills of different people can make it easier to reach the desired goal (Independent
Artist 2 2025; Record Label Representative 1 2025). Independent Artist 1 (2025) and Record
Label Artist 2 (2025) also emphasize that a label can make it possible to do things on a larger
scale, as well as make it easier, for example, to get bigger shows.
"I would like to believe it that, of course, the record company takes its own commission, but
it also increases the artist's income. I see it more as a win-win situation."-Independent Artist
1 (2025)
6.3.3 The power and responsibility of the artist and the record company
The interviewees highlight differing views on who should have the final decision-making
power on what kind of content is produced to market the artist's music. Record Label
Representative 1 (2025) feels that the artist should definitely have the final decision on
content production, while Record Label Artist 1 (2025) sees it the way that if the record label
pays the artist for the product, the label should also have decision-making power over its
marketing. However, the artist emphasizes that it can be situational, and the most important
thing between the parties is to strive for a common understanding (Record Label Artist 1
2025). Record Label Representative 2 (2025) also feels that cooperation and compromise
play an important role, both in the marketing of the artist and in any other activity between
the parties.
"In any activity where we aim for a good result together, common rules, good manners and
in general fairness are also things that are valued here. If you start to slip at all with those,
then you don't see yourself staying here for a long time either."-Record Label Representative
2 (2025)
Record Label Artist 2 (2025) mentions that music can be very personal to the artist, which
is why the artist can have a very clear vision and desire for how they want the music to be
marketed. However, the artist understands that the record company may have experience and
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know-how in marketing that the artist does not have, which is why it may be beneficial to
share power and responsibility between the parties. Still, the person feels that the record
company should not make decisions without the artist's approval but also notes that does not
believe that this is common, at least in small record companies. (Record Label Artist 2 2025)
Independent Artist 2 (2025) believes that the situation and the contract affect how the power
of marketing shares between the parties. If the artist does not want to play such a significant
role in marketing, then it is worthwhile to give the record company more responsibility.
However, if the artist wants to decide on marketing, they should have the right to do so.
(Independent Artist 2 2025) Independent Artist 1 (2025) also believes that contracts will
affect the situation. The artist emphasizes that in their own situation they would like to be in
decision-making power, but believes that, for example, in the case of artists who do not play
an active role in making their own music or creating a brand, it cannot be assumed that these
artists have the same decision-making power in marketing. (Independent Artist 1 2025)
When thinking about an artist's brand, Record Label Representative 1 (2025) sees the power
distributing according to the situation. The purpose is for the artist to decide on their own
brand, but the record company's task is to ensure that the brand does not get too caught up
in irrelevancies. In addition, if the artist does not have a clear vision of how the brand should
appear on social media, it makes sense that the label can offer solutions. (Record Label
Representative 1 2025) Record Label Artist 2 (2025) that the power should rest with the
artist, except in situations where the artist's vision of the brand may harm the artist or the
label's brand. Record Label Artist 1 (2025) also feels that the artist should have significant
power over brand management but points out that if the record company finances the artist's
activities, the label should have a say in this matter as well.
"For example, in our recording contract there is some kind of clause that the record
company commits to promote the artist's brand and essence in the best possible way. So, if
you start to think literally that, if the artist is not satisfied with it, then it probably has not
been implemented in the best possible way. I would believe that there should be some kind
of negotiation right in this matter as well, and joint decision-making on issues."-Record
Label Artist 1 (2025)
The responsibility of the artist and the record company in the success of social media
marketing brings up different views. Record Label Artist 2 (2025) and Record Label
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Representative 1 (2025) feel that even if the artist has the final decision-making power about
social media marketing, the record company should support this vision and take
responsibility for its success. The artist's task is to produce content for social media, but
ultimately the record company's task in organizing and marketing success is greater, which
is why the label cannot push the responsibility solely on the artist (Record Label Artist 2
2025). Record Label Representative 1 (2025) sees the artist's experience in marketing
influencing the division of responsibility.
"Especially in the early stages, it is absolutely not the artist's responsibility. Even if the artist
has the last word, the record company commits to what the artist is already doing. But the
record company also must be a bit of a gatekeeper and guide the artist. If things go wrong,
I see it as the record company's fault, because they thought it would work."-Record Label
Representative 1 (2025)
Independent Artist 2 (2025) feels that both parties have their responsibilities, but the
responsibility is also divided a lot according to whose vision the marketing has been
produced. For example, if an artist has produced a certain type of content on social media
despite the record company's remarks, the artist is responsible if the content production
causes a negative uproar (Independent Artist 2 2025). Record Label Artist 1 (2025)
additionally feels that marketing is the artist's responsibility if it has been agreed that the
artist produces a certain amount of content. However, the person points out that, ethically
speaking, the responsibility is distributed to the parties that decide on marketing, and the
record company cannot hide behind the artist (Record Label Artist 1 2025). Record Label
Representative 2 (2025) and Independent Artist 1 (2025) see it as such that the parties should
strive for common understanding and an even distribution of responsibility. If the parties
have strong differences of opinion on the implementation of marketing and its roles, this
indicates in several cases that the cooperation between the parties is not profitable in the long
term (Independent Artist 1 2025).
The interviewees have different views on how artists at different career stages need to be
supported. The common view is that career stages affect how much support is needed, but
differences in perspective arise between, for example, Record Label Representative 1 (2025)
and Independent Artist 1 (2025). Independent Artist 1 (2025) feels that more experienced
and bigger artists do not necessarily need as much guidance with marketing, compared to
smaller artists, because they already have previous experience and know-how on the subject.
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However, Record Label Representative 1 (2025) emphasizes that if the artist has
"momentum" going on and a lot of things are happening around, it is important that the
record company supports with marketing and helps the artist to consider and make right
choices. The person mentions that the record company's role is also to help the artist say no
to offers that may interfere with the artist's activities or brand (Record Label Representative
1 2025). Record Label Representative 2 (2025) points out that a well-functioning record
company is able to offer resources on some level for all the challenges that artists face.
Independent Artist 2 (2025) believes that the stage of an artist's career affects the amount of
support but believes that this is also affected by the need for support in general. The person
thinks that the record company should support the artists primarily in that the artists are able
to express themselves through both music and marketing (Independent Artist 2 2025).
Record Label Artist 2 (2025) notes that the label's role is to help the artist personalize
marketing to fit the artist's brand. Record Label Artist 1 (2025) agrees that the label should
facilitate artists' social media marketing. In addition, the artist´s opinion is that the record
company should understand how important social media is, as well as offer tools for
operating there (Record Label Artist 1 2025).
6.4 Factors explaining differences in views
There were relatively few strong differences of opinion among the interviewees regarding
the importance of social media and the implementation of marketing. All interviewees had
a fairly good understanding of how music is marketed on social media and how an artist
brand is developed. One difference between the artists was in how they approached the artist
brand differently. In addition to artist brand, there were differences in how much the
interviewees follow analytics. This could be explained by the individuals' attitude towards
making and commercializing music, but also by the individuals' interest in different topics
on music marketing.
The Record Label Representatives (2025) and the artists had a fairly similar view on how
responsibility and power in marketing and branding should be shared. The clearest difference
was in the case of Record Label Artist 1 (2025), which emphasized the power of the record
company and the responsibility of the artist because the record company acts as a financier.
It highlights the view that music is not only an art but also a product that is intended to be
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sold. Even perhaps a little surprisingly, Record Label Representatives (2025) did not raise
similar views to argue for the record company's right to influence marketing. However, this
is possibly because Record Label Representatives (2025) feel that organic and artist-driven
is the most effective way to produce authentic marketing content.
One of the clearest differences between Independent Artists (2025) and Record Label Artists
(2025) arose in relation to how a label can add value, for example by getting into playlists
on streaming services. An explanatory factor here is certainly the experience of label artists
and the inexperience of independent artists regarding the label's possibilities to influence
such factors. Independent Artists (2025) and Record Label Artists (2025) also had a little
difference of opinion regarding the communication of parties in marketing. This is possibly
explained by the support of the record label, but also by the fact that the artists signed on the
record label were in a band and the independent artists were not.
Record Label Artist 1 (2025) and Independent Artist 2 (2025) had differences in terms of
how many and which social media channels to be on. The potential explanation is that
Record Label Artist 1 (2025) has been making and marketing music since the era where, for
example, Facebook was the most significant social media channel, so the band's target
audience has partly accumulated there. Independent Artist 2 (2025) has started releasing and
marketing music during a time when Facebook was no longer so relevant. The difference of
opinions is explained by the stages and ages of the artists' careers.
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7 Discussion and conclusions
This thesis focused on examining the impact of social media on the change of music
marketing and artist branding, and specifically focused on how this transformation has
affected the roles of artists and record labels. The aim of this study was to investigate how
people working in music marketing utilize social media in their marketing strategies,
comparing independent artists to record label and label-based artists. The study aimed to
identify, based on the views of individuals, the opportunities and threats that social media
brings to the marketing of an artist's music and the development of an artist’s brand. In
addition, the study aimed to answer the research questions and highlight views for and
against whether it is worth it for an artist to remain independent or to seek signing to a label.
A theoretical framework was created for the study, which examines themes relevant to the
research: social media, personal branding, and music marketing. Based on the theoretical
framework, a question pattern was created, the questions of which aimed to obtain
information from the interviewees related to the themes of the study, and to detect
similarities and differences. The thesis interviewed six people, two of whom were
independent artists, two artists working for a record company, and two employees of the
record company. The interview questions provided a broader understanding of different
perspectives that can be used to answer the research questions. The main research question
of the thesis “How social media has impacted on the roles of independent artists and record
labels for music marketing and creating artist brand?” is answered through three subquestions:
How, and with which tools music is being marketed on social media?
Social media has displaced traditional media as the most important music marketing channel.
Still nowadays, radio play and performance on television are a significant boost to the
marketing of an artist's music, especially when thinking mainstream artists, but the primary
advertising channel is social media. New content, both commercial and non-commercial, is
constantly being produced there, which makes consumers less and less interested in
consuming traditional advertising content. For this reason, the most effective marketing is
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content that does not feel like advertising, but is entertaining and natural, where the product
being marketed, such as music, is introduced in a stylish and unobtrusive way.
Compared to music marketing through traditional media, social media emphasizes that an
artist must have a unique angle to approach consumers. If you produce content that is similar
to everyone else, it will easily get lost in the mass and consumers will not be interested in it.
Some artists approach marketing through their own story, some with humour, or some by,
for example, presenting their own everyday life. Marketing and content production have
become much more personal, partly for this reason. This also supports Way's (2011) view
of the personal branding's freedom to realize itself in specific ways.
Social media is based very much on individuals and their stories and opinions. According to
Brown (2016), it has increased the opportunities for individuals to create a personal brand,
which has greatly influenced how social media marketing is personalized. The role of
personal branding is emphasized in marketing in every industry, which is why in the music
industry the responsibility and weight of marketing has shifted a lot to the artists. A certain
kind of "authenticity" and organicity in content production is clearly a significant factor in
the success of social media.
The most common tools in social media marketing are generally the most popular social
media services. Currently, the two most important tools are Instagram and TikTok. These
two stand out due to their features, but also because these services have the most of young
users. Especially in a situation where the aim is to market music and artists suitable for young
people, these channels are the most essential to utilize. However, according to the
interviewees, artists and record labels should consider the artist's brand and the target
audience for which the music is suitable. Different channels have their own characteristics
that determine what kind of content is appropriate and effective. (Yesiloglu & Costello 2021)
Before TikTok and Instagram, the most common social media marketing channels were
Facebook and YouTube, so it makes sense to produce advertising content for these services
as well, if the creators feel that the artist's target audience is largely on these platforms.
The opinions of the interviewees are aligned with the thoughts of Whateley (2020), who
emphasizes the importance of TikTok as a music marketing channel that produces short
videos, where the algorithm provides continuous interest to consumers. As new content is
constantly being produced on social media, consumers have become numb to content that is
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too slow-paced. Users' attention spans have been weakened on social media, so marketing
content needs to be fast-paced and engaging from the start. Today's social media is heavily
dominated by short videos, so artists and labels don't have much time to get their marketing
message out there at once. The algorithm that determines what content is shown to each
consumer is becoming a crucial factor. In general, the algorithm favors social media users
who regularly and actively create content and interact with other users. For this reason, artists
and record labels should strive to produce relevant material even when there is no new song
or show to promote.
The promotional cycle for a music release is in many cases very similar, regardless of
whether it is an independent artist or a record label release. This is a clear indication of how
social media has shaped the perception of how music should be marketed. In a typical social
media campaign for a music release, an unofficial audio version of the song is initially
released, which is used to give listeners the first announcement that new music is coming
(Byun 2016). At the same time, they test how the song potentially resonates with listeners
and how it starts to spread, aiming for virality even before the release. About two or three
weeks before the release of the song, a very active marketing campaign begins to ensure that
the song does not pass by users. The campaign can utilize various marketing methods and
different styles of content. During the release weekend, advertising may be promoted with
paid advertising, and the active organic marketing campaign may continue for a week or
two.
While marketing success has always been measured, social media analytics have brought
data tracking to a new dimension. It is very easy for artists and record labels to track how
marketing content is performing numerically, as well as how the popularity of the content is
being translated into music streaming success. Using analytics, it is possible to identify
content that the audience likes, but by following too much analytics, an artist can be
"blinded" by what kind of content it is worth making, which can lead to the artist creating
content that is irrelevant or even harmful to their own brand and artist career. In social media,
it is common and profitable to track, for example, the number of likes and views, in addition
to which various reactions, shares and viewing times tell us how users engage with the
content. In addition, according to interviewees, artists and record labels are often interested
in analytics on how listeners are participating in shows and events, as well as Spotify streams
and YouTube views.
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In terms of social media marketing, word-of-mouth is definitely the most effective
technique. Users value organic content that comes from the artists themselves and is
worthwhile to share. When an artist succeeds in creating a word-of-mouth effect for their
brand and content, they have a clearly better chance of going viral (Porter & Golan 2006;
Barber & Wallace 2010). Additionally, consumers potentially approach an artist's music
more easily if they have received a recommendation from their own circle of friends,
meaning that the artist, which is new to the consumer, has already received a certain level of
approval from the consumer's close network (Nyilasy 2004; Porter & Golan 2006).
According to the common view of the interviewees, paid advertising and influencer
marketing are effective ways to emphasize advertising, but the most significant factor to
success in social media is authentic content that is entertaining and not too superficial.
How has social media affected on the importance of artist brand in music marketing?
Although artist brand has always been an essential part of music marketing, social media has
emphasized the importance of personal branding. This is not limited to the music industry,
but social media has brought personal brands to the forefront of all marketing. Nowadays,
almost all marketing culminates in engaging individuals. Artists must have a clear brand that
allows them to stand out from other players in the music industry. Without a strong brand, it
can be very challenging to reach a larger target audience. Not all the interviewees
experienced personal branding as a planned creation, as, for example, Hartman (2011)
encourages, emphasizing that individuals should focus on managing their personal brand in
the same way that companies focus on, for example, branding their products. Social media
forces artists and record labels to consider entirely new factors and aspects of branding.
Brand management in the social media era requires even more activity and presence than
personal branding in the age of traditional media.
Artists are required to be more active than ever, but social media has also brought more
powerful tools to do so. It is easier for artists to show more of themselves, as their artist
brand does not have to be limited to music, music videos, and interviews. On social media
channels, people may become interested in an artist, even if they are not interested in or
aware of their music. It is easier than ever to encounter an artist on social media as a person,
and not just as an idea of the artist. Because everyone can follow artists' personal brands very
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closely, consumers can feel like they know the artist personally. The close interaction
between artist and listeners enabled by social media increases trust, which is a significant
part of brand building (Whateley 2020; Laroche et al. 2012). On the other hand, this can
cause challenges precisely in that the personal brand remains as an artist brand, and the artist
does not begin to be recognized from other substances.
The emphasis on personal brands and social media trends in music marketing is not
beneficial for everyone. For example, artists who are skilled musicians but do not understand
or dare to present themselves prominently enough on their social media channels may suffer
from it, and their music may not reach all potential listeners. At the same time, interesting
content creators can stand out, even if their music is not particularly high-quality. This
supports Brusila et al.'s (2021) view of how innovations create either opportunities or
challenges, depending on how the individual adapts to them. According to the interviewees,
social media makes it more difficult to stand out from other musicians in terms of personal
branding. On the other hand, not having a social media presence can be a distinctive brand
these days. On social media, it's easy to analyse not only your own success but also the
success of other brands. This easily leads to artists copying each other's personal brands,
which in rare cases turns out to be to the artist's advantage. According to Waller (2020, 11),
properly implemented brand management analysis helps to create brand equity.
With social media, artists are forced to take on more criticism than ever before, as
anonymous users can say whatever they want. Social media, as a communication channel, is
susceptible to causing polarization between different parties, which, in artist´s situation, can
negatively affect on personal brand. For this reason, artists and record labels have to carefully
consider what is in line with the brand and whether it is worth taking a stand on certain issues
at all.
As the importance of personal brands has been emphasized by social media, artists are given
more freedom to develop their own artist brand. This of course increases the artist's
responsibility for brand management, although in many situations the role of the record
company is to act as a supporter and facilitator. The interactive features of social media
enable effective brand engagement, for example through interaction (Bozkurt & Russo
2019). Sometimes the artist's freedom to manage the brand on social media can cause
challenges, because the artist can say or do anything on their own channels without the record
company having the opportunity to influence or prevent it. Social media gives content
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creators the opportunity to create content that, at its most effective, gets users "hooked"
(Apenes Solem 2016). Some artists may utilize it to get fast results in marketing. Provocation
is a powerful advertising tool, which is why some artists may try to get quick attention in a
"wrong way", for example by saying something thoughtless or deliberately provocative on
social media. In this case, the artist may not understand the long-term consequences of the
short-term action for the artist's brand, which can take a big hit. In such situations, the record
company also often has to consider whether it is appropriate to continue with the artist in
question, or how the artist's brand should be managed.
How has social media created opportunities and challenges for independent artists and
record labels on music marketing?
With social media, advertising has become cheap or even free in some cases. Marketers have
more tools and analytics at their disposal to make advertising easier. Artists and record labels
can produce high-quality and interesting content without high production costs. (Cahalin
2020) As digitalization makes it more affordable to create resources for marketing,
production, and publishing, more and more artists have the opportunity to succeed without
the support of a record label. This brings new opportunities for artists to realize their own
vision more freely, and with full royalties. According to the interviewees, a new
phenomenon that social media has created is that artists can become super popular before
they have even released a single song. If an artist's brand and music captivate an audience
on, for example, TikTok, you can be pretty confident that the music will also reach the target
audience on streaming services. As Brusila et al. (2021) mentions about technological
innovations, the artists and labels that benefit from social media are the ones who know how
to use it to its full potential. Often this means younger, "digital native" artists.
Because social media marketing relies a lot on personal brands, it has generally given artists
more power to decide on their own marketing and branding. However, this has also increased
the artist's responsibility as a marketer, despite being an artist. Based on interviews, this can
be a tough combination for artist. Still, it can be assumed that the record company shares
this responsibility and power with the artist on a case-by-case basis, striving for the best
outcome. In addition to the power and responsibility of the artist and the record label, social
media has emphasized the role of listeners and social media users in the marketing of music
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(Moriuchi 2016). Listeners are increasingly able to influence how the artist and music appear
on social media, and how trends spread. This has also reduced the "distance" between the
artist and the listeners, and the parties are able to communicate more effectively with each
other (Sharma & Verma 2018).
As being an independent artist becomes more affordable and easier, more and more people
are starting to do it. This creates more competition, which makes the quality of marketing
more critical than the quality of the music itself. High-quality music can be missed by many
listeners because social media advertising has not been engaging enough. Digitalization has
made mainstream music in particular more "disposable" and generic, where the lifespan of
a single song is largely limited to a social media marketing campaign. Social media trends
are constantly changing, so artists and record labels need to be vigilant with their marketing
to stay relevant (Essling et al. 2017).
As personal brands become more prominent in social media marketing, the responsibility
for planning and executing content production is increasingly shifted to the artist. This itself
can have major disadvantages for the quality of the music, as well as the artist's mental wellbeing, as one person must take care of many other areas in addition to making music. The
challenge is especially pronounced for independent artists, who do not have the same kind
of support network to rely on when planning marketing.
Social media and digitalization have also had a strong impact on the role of the record
company, which has been greatly reduced (Byun 2016; Nordgård 2018). The record
company no longer provides as much added value to the artist as it did during the era of
traditional media and physical record sales. In the era of social media, where marketing also
culminates in the artist's personal brand, it can be more difficult to justify why an artist needs
a record company. When the most artists have possibility to do everything themselves, the
challenge of the record company can be bureaucracy and the division of decision-making
power. However, most interviewees feel that the existence of record labels is relevant in the
modern music industry.
Social media has forced record labels to change their structure (Byun 2016). Today's record
label marketing teams are dominated by social media experts who understand trends and
analytics. Additionally, the record company needs to observe artists more as characters and
brands than as musicians. Even if the record company itself values the artist's musical skills,
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the company must think about business and what kind of individuals maximize the
company's profits, which in many cases leads to highlighting interesting characters, rather
than talented artists. With social media, consumers have greater power to influence what
kind of people and artists become famous, and record companies are forced to act
accordingly, rather than trying to control it (Wikström 2020).
While social media has brought challenges for record labels, it has also presented them with
similar opportunities as it has for artists. It is cheaper to produce, market and release music,
and it is easier for record labels to find quality artists. Since many artists are already
producing good results independently in the field of marketing, the record label is able to
sign more "ready-made packages". The role of a record company today emphasizes offering
resources to artists, as well as providing advice and support, which is especially important
for larger artists who need huge resources and expert people to facilitate the artist's share of
additional tasks. In addition, the record label is still a kind of quality guarantor, messaging
to various parties about the potential of the artist's music. If the record label has sufficient
expertise and understanding of the importance of social media in marketing, a record label
is still a viable option for the artist in many cases. However, in the age of social media, it is
not a necessity or a guarantee of an artist's success.
By answering these three sub-questions, it is possible to answer the research question of this
thesis:
How social media has impacted on the roles of independent artists and record labels for
music marketing and creating artist brand?
Social media has had a critical impact on the entire music industry, including music
marketing. The whole idea of how music is marketed and how an artist brand is presented
has been very strongly shaped by the digital form, where artistry is built in the social media
environment. Oestreicher-Singer & Zalmanson (2013) say that people are consuming
content increasingly in digital form, so naturally today's artists must in many cases meet this
demand. The importance of artist brands has grown significantly in marketing, although
interesting characters have been an important part of artistry even before social media.
However, the fast-paced and full of stimuli atmosphere created by social media has
significantly affected how people experience the concept of "artistry". Although listeners in
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Finland and globally appreciate quality music, the most popular artists often emerge as
individuals who have succeeded specifically with their brand. The importance of personal
brands in social media has also increased since consumers are more interested in seeing real
stories and people, instead of just advertisements.
With social media, the artist's role in almost everything related to music has grown, including
marketing and branding. Artists are given more freedom and responsibility for social media
marketing, which can cause challenges, for example organizing or well-being. This is likely
not a transfer of responsibility due to incompetence or laziness on the part of record labels,
but simply because outsourcing personal marketing and personal brand is challenging and
often comes across as "pasted on" and inauthentic. Due to social media, the role of artists
has in many cases changed from being especially musicians to being more of influencers,
who have music as a product in addition to a personal brand.
Social media has enabled artists to operate independently and has clearly increased the
competitive advantage of independent artists (Byun 2016). However, record labels are
unlikely to disappear from the music industry anytime soon. The role of the record company
has changed as a marketer, so that in many cases marketing is not so much driven by the
record company. Instead, the role of record labels is becoming increasingly technical and
major companies are taking over the music industry, creating larger media networks that
include not only the record label but also media groups such as radio stations and television
channels. With such competitive advantages, the record company still has a clear role as an
enabler for larger and more professional operations. However, although a record label can
be a quality stamp that promotes an artist to operate at a higher level, the record labels' own
brand is not necessarily as strongly visible in the music industry as it was in the era before
social media, when many well-known, iconic record labels emerged in Finland and globally.
This is also a sign of how the role of personal brands is emphasized on social media.
Since communication in the digital environment is not one-way, consumers have an even
greater opportunity to influence music marketing and artist branding (Moriuchi 2016). This
power of listeners clearly affects the role of both artists and record labels, regardless of
whether the artist is independent or not. In addition, social media has enabled different
genres of Finnish music to emerge and operate on an international level, because music is
easier to find, and different target groups can be reached. On the other hand, competition in
mainstream music is even tougher, because with digitalization the threshold for making
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music is significantly lower. Artists are forced to compete not only with music but also with
who is the most interesting character, which may affect the quality of the music itself.
Nowadays, it is easier for artists to achieve individual successes but creating a long and
sustainable career is more challenging.
7.1 Practical implications
This research focuses on the impact of social media on the opportunities for artists and record
labels to market and develop an artist brand. The study identifies the attitudes and views of
independent artists, label artists, and record labels on how social media has affected roles.
The people being interviewed are relatively new actors, which is why it is important to
identify practices that can help them develop their operations in practice. The practical
implications also help music industry players in general to identify actions that should be
utilized in music marketing and artist branding.
Social media is a present-day field of music marketing, and its characteristics, norms, and
possibilities should be known. Artists and record labels should understand how important
social media is in today's marketing. Social media benefits those who see it as an opportunity.
While content creation may not come naturally to all artists, it is not something to be avoided.
However, it plays an important role in how artists and labels strive to differentiate themselves
and gain the attention of consumers.
When social media nowadays is full of artists wanting to make their voices and names heard,
it’s important for artists to find their own brand. Just as an artist needs to find their own
sound to stand out musically, it’s important to develop a style that supports their brand by
producing content that feels and appears authentic. Consumers don’t care about seeing ads,
so music and brand advertising should be original and engaging and not seem like a tackedon ad. Record companies should strive to support artists with the planning and
implementation of content production so that the marketing still feels artist-driven and
interesting. In the future, artists could be supported by social media producers who make
their work easier.
To succeed in the music industry, an artist needs to be more than just a good musician. Social
media emphasizes interesting personalities, so to succeed in social media marketing, artists
75
need to understand the importance of personal branding. In many cases, people are more
interested in what kind of personality an artist is than what kind of music they make. This is
worth understanding, whether you are a young artist who is still trying to clarify their own
artist brand, or a more experienced artist whose brand has not yet adapted to the social media
environment.
The role of the record company is shrinking all the time, so the label must have some real
value to offer artists in order to remain relevant. Record labels are still largely the
gatekeepers to radio play and television appearances, but artists should consider the status
of the record label and the resources available to advance their career, before signing with
the label. Social media has made it possible for independent artists to have a greater chance
of success. However, it is beneficial for an artist to have some kind of team around them that
makes their work easier and brings out the skills and vision that the artist cannot implement
on their own.
7.2 Limitations and suggestions for future research
This study comprehensively illustrates the views of different parties in music marketing, but
all the interviewed actors are, after all, quite small actors in the Finnish music industry at the
moment. The study could be expanded by selecting larger actors in the music industry, such
as representatives of major record labels, as well as mainstream artists. This could potentially
produce different results, as these interviewees might have different views regarding social
media music marketing and creating artist brand.
The study is limited not only to size but also to representatives of certain genres. The people
being interviewed work in genres that are popular, but for example pop artists could
approach artist branding or marketing differently than rock band members or rap artists.
Additionally, different record companies may approach the topic from different
perspectives, so the research could be expanded in that regard as well. However, the target
record company of the study represents a contemporary record company quite well.
All of the interviewees were people who have worked primarily in the social media era.
When studying the impact of social media, it could be useful to also investigate actors who
have experience in more traditional marketing before the social media marketing revolution.
76
However, it is important that the people being interviewed have a clear understanding and
expertise specifically in social media marketing, so that concrete ways of implementing
marketing on social media can be observed.
There is currently very little previous literature on the social media music marketing.
Especially in Finland, the issue has hardly been studied at an academic level. The research
could potentially be supported with quantitative data, or, for example, by conducting reinterviews with the same people over a certain period of time. This would potentially allow
us to see how, for example, a certain social media strategy has affected the interviewees'
activities and marketing success. However, the time and financial resources of this study are
limited, so the thesis mainly relies on single interviews and individuals' opinions on the topic.
The impact of social media on music marketing would be worthwhile to study more, as it is
a very relevant topic, especially in the music industry. In general, the functioning of social
media and, for example, the behavior of algorithms should be studied more in all areas of
marketing, but especially in terms of music marketing, it could have great benefits for new
artists and record labels. Artificial intelligence is currently significantly influencing the
development of social media as a music marketing channel. For example, the impact of the
development of artificial intelligence on music marketing could be studied, which could help
identify new opportunities and threats that social media marketing brings to artists and record
labels.
This research could be continued by conducting a study with the same research question and
the same themes, but by limiting the target in a different way. For example, by selecting only
representatives of major labels, or artists of a certain genre, the benefits and challenges of
social media could be identified in a different way than in this study. Furthermore, looking
at the future, it could be meaningful to study the effects of social media on the success of
Finnish artists on an international level.
77
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Appendices
Appendix 1. Structure of interview
Personal information
What role do you play in music marketing (artist or other)? If you are an artist,
which genre do you consider yourself to be a representative of?
Do you operate under a label? If yes, is the label major or small record company?
How long have you been involved in music marketing / made music?
The change of music marketing in the digital age
1. How do you feel social media has affected music marketing?
2. What kind of benefits and disadvantages do you feel social media is giving in terms
of marketing music?
3. What social media channels do you use to market music and develop artist brand?
Which platform do you feel is the most important or efficient for marketing and
why?
4. What kind of content do you produce for social media? What kind of content have
you found to be the most effective in terms of marketing?
5. How big do you feel your own role is in social media marketing? Is the content
coming from you or someone else?
6. How strategically planned is your social media content production? Do you have
precise scheduling and ideation for marketing, or do you create content when you
feel like it?
7. How do you monitor the success of social media marketing? Which metrics do you
consider the most important?
8. Have you utilized influencers in music marketing? Why and how?
The social media as brand tool
9. How important do you think artist branding is in terms of music marketing?
10. How has social media helped you build and develop your artist brand or the brand
of the artists of the company you represent? What have been the downsides?
11. How has social media enabled you to stand out from other artists? Do you think
social media makes it easier or harder to stand out on music industry?
12. How strategically planned is creating an artist brand for you? Do you feel that a
personal brand is created as a result of work, or as being yourself?
13. How do you feel social media trends and algorithms affect the development of an
artist brand?
14. How do you analyse yourself, other artists, target audience and the music industry
in the personal brand development process?
15. How do you take care that your personal brand appears and remains the way you
want it to be?
16. What advantages and disadvantages does social media analytics bring to the
development of an artist brand? Do you think analytics make it easier or harder to
create a brand?
The roles of the artist and the record company
17. How do you see the role of record companies in the digital age?
18. What kind of benefits does the record company bring in relation to social media
marketing and creating an artist brand? What about challenges?
19. Do you feel that the artist should have the final say regarding the content that is
created to market the artist's music? Why?
20. Do you feel that the artist should have the final say regarding how the artist's brand
appears on social media? Why?
21. Do you feel that the artist has the final responsibility for how successful social
media marketing is? Why?
22. What do you think are the benefits and drawbacks of being on a record label for an
artist? What about being independent?
23. In what ways should the record company support the artist in marketing and brand
development? Does it make a difference at what stage in the artist's career?
24. How do you feel social media has impacted on the roles of record companies and
artists in marketing music and creating an artist brand?