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So many musicians get disillusioned with music videos because they do them very wrong and then the videos do nothing for them. They perform in a warehouse or walk down some railroad tracks while the director plays with the new toys they just bought, like renting a drone, and the video serves more as an excuse to play with new gadgets. At best, those videos land on the slop side of mid-content.

The reason you see artists on big teams and labels, or around teams that really analyze numbers, invest in music videos for the songs they know are hits or songs that start to pop off with listeners is simple. Music videos grow songs. They give you footage to clip for short form. They establish narrative. They give fans more visuals to make headcanon with. They also make fans feel the song more.

It's easy to argue the ROI case, aka return on investment for those of you who aren't reading LinkedIn all day, that lyric videos, minimum viable videos, and visualizers require little effort and can get a ton of streams. But if you can make a video that fans see and feel compelled to share, it's nearly unrivaled in the level of growth it can inspire. When artists really nail an idea or a narrative, fans send it to friends. Especially if it shows new depths of the artist or dispels misconceptions about their artistry, it can do huge things for exploding growth for years to come as new fans discover that artist, dig through their discography, and watch these videos. They're huge investments that work great for making fans go deeper with them.

This is one of the main things I say to musicians who think, “Jesus, Jesse, I have so much to do, don't tell me this.” But my bet is you probably need to make more videos. Music videos, minimum viable videos, lyric videos, behind the scenes, unboxing your DAW session, doing playthroughs on your instrument, tour vlogs, whatever it is, you probably need to be making more videos to entertain your fans.

Multiple videos per release is becoming a proven strategy that works to break songs. What we often see is that K-pop is way earlier to music marketing trends than everyone else, which is why I study it so hard. LE SSERAFIM, which I still can't pronounce right, leveraged 15 different video formats on their song "CRAZY"

from trailers and dance practices to behind-the-scenes content and fan reaction features. The data shows that audiences consistently engage with various video content from artists they follow. This multi-format approach maximizes engagement by giving fans multiple ways to connect with each release, and it lets the artist flip things in different ways and gain respect for it.

A great example of pushing a song until it works is Lady Gaga's single "Disease." It was not staying on the pop charts the way she wanted, so she pushed it on YouTube with different versions of the song. The official music video, then a stripped-down acoustic and piano take, then another reworked live version, until it popped off.

One of the main comments I get on my videos that I have a lot of empathy for is people asking how anyone has time to do all this. There's a lot of truth to that. But one of the things these commenters who've never run this race don't get is that you're dual-purposing a lot of your time.

Think about a marathon runner. If you found out you had to run a half marathon in a certain climate and drink 100 ounces of water in about four hours, or you'd collapse and die from dehydration, that would sound impossible. What the person who's never run a marathon doesn't know is you're not stopping to drink that water. Much of the time, you're making the content while you're doing something else.

When I talk about making a lot more videos, this is often because you aren't thinking about the right way to do two things at once. A photo shoot for your album cover turns into a slideshow on the short-form video apps. It also turns into a minimum viable video where you print Polaroids of the photos and toss them on the concrete in a loop. A dance rehearsal for a special live performance becomes a dance rehearsal video as LE SSERAFIM did, and they did that to show their dance moves are not all CGI.

Then there's the performance at the live show itself. Plus those become short-form videos. Now you haven't dual-purposed; you've quadruple-purposed.

If you had to learn how to use a new synthesizer for a solo thing you made in your song, that becomes a YouTube video you can make called “How I Conquered The Moog One And Made The Orchestra For My New Song ‘Cuck Sectional’" Then that synth solo you wrote for the song has content to promote it, and you cut that down to short-form videos.

We're trying to work smarter, not harder.

This next one is a sensitive subject, because plenty of you who weren't paying attention during the section on releasing music will take it to mean you should drop crappy half-baked versions of songs all the time.

Right up there with music videos, if you ask anyone who's done a lot of growth hacking for musicians what works best, the next thing they'll tell you is that a new catalog is the best promotion tool for an old catalog. When you drop a new song, it usually raises the numbers on your old songs.

Notice the language I use there. I have to be very careful with how I word this, because some of you make wild assumptions about what's actually being said. If you're making a song people actually like and want to hear (aka not when you shit one out in an hour, start it with "uh, it's your boy, you know what it is,") and spend five minutes mixing, that may get you some new attention.

Let's be real. When you remind people about your music, and you're making things that call attention to it, it often is going to invite them to go listen to your back catalog, even when the song is kind of bad. But it's not a great long-term growth strategy, and if you actually put out a good song, it'll do far better. When new fans come into it because the song is good, they check out your old songs, they get you recommended on Spotify Radio or on YouTube, and it often is what converts them into being a bigger fan. As long as that song is the same mood-altering drug of a song that makes them feel the way they'd rather feel. The better the song, the more likely they are to search your back catalog and spend time looking through it.

If you're looking to hack growth and you have good songs sitting around, particularly the songs that didn't fit in well on your last album that you could put out right after the album's release, or songs where you can do features with other artists, or you can release high-quality material regularly, you're more likely to grow faster.

When I managed Man Overboard, everybody couldn't believe how fast they grew. One of the tricks people really didn't see is they had written so many songs before ever releasing material that it was easy to put out 75 songs fans loved in 18 months.

2hollis has put out around 50 songs in a similar amount of time that are incredibly high quality, and it's resulted in absolutely insane growth.

This is all to say songs you have in the vault can be used as strategic growth weapons. One of the most common release strategies these days is to start dumping the bonus tracks as singles a month or two after you release an LP, reminding people of the album, and putting them on a deluxe version soon after. Or using Charli XCX's Brat collaboration record method, where you rerelease your album with all new features/remixes for each song.