Song­Push revo­lu­tio­ni­s­ing music marketing

Crea­ti­ve, auto­ma­ted social media cam­paigns ins­tead of cum­ber­so­me negotiations

Lip sync batt­les, remi­xes of favou­ri­te songs or dance per­for­man­ces - the suc­cess of Tik­Tok has had a major impact on the use and mar­ke­ting of music on social media. Music plays the deter­mi­ning fac­tor in con­tent pro­duc­tion. But it’s no lon­ger that easy in the Tik­Tok uni­ver­se to say who is bene­fiting more from whom - the con­tent crea­tors from the music or musi­ci­ans and labels from the crea­tors. The social media app is an important mar­ke­ting tool for labels. Up-and-coming musi­ci­ans can sud­den­ly reach an und­reamt-of tar­get group here thanks to its inter­na­tio­nal reach. But a Tik­Tok video is fast-moving and the pro­ces­ses behind the machi­nery actual­ly ought to be just as fast-moving. The oppo­si­te was the case till now: whoe­ver plan­ned a cam­paign on Tik­Tok via con­tent crea­tors was faced with seve­ral weeks of nego­tia­ti­ons and agree­ments with the crea­tors or agencies.

The Song­Push plat­form has set its­elf the task of clo­sing this gap. Song­Push brings labels, music, brands and crea­tors tog­e­ther by auto­ma­ting the deals behind the vide­os and shor­tening the pro­ces­ses. It takes hard­ly five minu­tes from the first cont­act to the project’s appr­oval. There’s no need for cum­ber­so­me agree­ments las­ting seve­ral weeks or appr­oval loops until a video using a cer­tain pie­ce of music is final­ly online.

A mar­ket­place model for musi­ci­ans, labels and con­tent creators.

“Music is cul­tu­re and crea­tes emo­ti­on. It is the glue hol­ding ever­y­thing tog­e­ther. In adver­ti­sing, it ser­ves as a core ele­ment. But it’s often the case that the music mar­ket its­elf is deter­mi­ned by many things, but the­se don’t include music,” says Song­Push foun­der and co-CEO Mar­kus Cremer. He deve­lo­ped the plat­form tog­e­ther with his co-foun­ders Ste­fan Kling and Zol­tan Mor­vai and had been acti­ve in the music indus­try before­hand. Cremer had alre­a­dy set up on his own along­side his stu­dies with the foun­ding of a music agen­cy offe­ring digi­tal cam­paigns via Goog­le Ads and You­Tube Ads. Co-foun­der Ste­fan Kling knows the indus­try as a rap­per, song­wri­ter, mana­ger and pro­du­cer. They know about the hurd­les that need to be over­co­me befo­re a release is real­ly on the market.

Song­Push emer­ged a year ago from pre­vious pro­jects, Cremer and Kling having been invol­ved, among other things, in crea­ting a live strea­ming pro­duct for the enter­tain­ment plat­form Twitch. This quick­ly deve­lo­ped into the idea of an inter­face bet­ween influen­cers on Tik­Tok and the music indus­try. The asso­cia­ted web app was then deve­lo­ped into a mobi­le app (iOS & Android) and the mar­ket­place model for Song Push. Being part of the Media­Tech Acce­le­ra­tor meant that they recei­ved valuable feed­back about the pro­duct and made some very useful cont­acts in the first few years. 

Short­ly after its launch, the app shot to num­ber 1 in the Ger­man App Store chart. . “A huge pain point” is how Cremer descri­bes the pro­ces­ses that brands and musi­ci­ans usual­ly face when they want to pro­mo­te their music or a pro­duct with the help of influen­cers. And valid figu­res are often not available par­ti­cu­lar­ly for cam­paigns. “We quan­ti­fy the pro­ces­ses behind the releases and have them based on data.” It’s made easy for tho­se using Song­Push. For exam­p­le, if a label wants to launch a cam­paign, all it needs is a Tik­Tok or Spo­ti­fy link. A brie­fing for con­tent crea­tors is uploa­ded via the plat­form, video refe­ren­ces are added and a bud­get is set. . Now it’s the crea­tors’ turn. They can deci­de on a pri­ce in the app based, among other things, on their avera­ge views and the cor­re­spon­ding brie­fing in order to launch the cam­paign. They now have 24 hours to sub­mit a video that meets the qua­li­ty stan­dards set by Song­Push. Whoe­ver rea­ches the mini­mum num­ber of views over the next five days will recei­ve pay­ment for the coope­ra­ti­on. Song­Push pro­vi­des a mar­ket­place that works here for both sides - for crea­tors as well as for musicians/​brands. It does­n’t requi­re any tedious plan­ning, and Song­Push also focu­ses on micro & nano crea­tors as a tar­get group - i.e. pro­files that only have a few hundred to thou­sands of fol­lo­wers regis­tered on social media.

The app model in the back­ground is sca­lable. . Song­Push works inde­pendent­ly and has its own tools for retrie­ving and ana­ly­sing data. This is a way to cate­go­ri­se the crea­tors, their reach and the qua­li­ty of the vide­os, track ana­ly­tics and then, for exam­p­le, use this to deter­mi­ne the pri­ce. “What we initi­al­ly did manu­al­ly - for exam­p­le: why is this song working well and whe­re is it working well? - will soon be done by an AI tool,” says Cremer. Even con­tent crea­tors who only have a few vide­os online are cate­go­ri­sed this way. How many edits does a video have, what is the qua­li­ty like? “Each video can be ana­ly­sed and the con­tent crea­tor ran­ked accor­din­gly,” Cremer says. The ana­ly­sis deci­des which songs are offe­red to them. “We are first and fore­most a tech plat­form. Pro­duct first - we focus on our pro­duct, on under­stan­ding the mar­ket and lear­ning some­thing new every day.”

Glo­bal dis­tri­bu­ti­on with Tik­Tok campaigns

Tik­Tok isn’t just a spring­board for unknown musi­ci­ans. Time and again, clas­sics or remi­xes sud­den­ly beco­me world­wi­de hits. The crea­tor Nathan put Fleet­wood Mac’s “Dreams” (which was released over 40 years ago) as the sound­track to one of his skate vide­os and it went viral, brin­ging the song back into the charts - and Fleet­wood Mac band mem­ber Mick Fleet­wood then had his own “Dreams” lipsync video on Tik­Tok. Some­thing simi­lar hap­pen­ed to the song “Make­ba” by Jain, which sud­den­ly beca­me a sum­mer hit seven years after its initi­al release. And the come­di­an Otto was recent­ly plea­sed to see the remix by Ber­lin rap­per Ski Aggu of “Frie­sen­jung”. Fol­lo­wing a Tik­Tok video, the two have now re-released the song as a col­la­bo­ra­ti­on. The plat­form is a spring­board even for musi­ci­ans who do not have their own accounts on the plat­form: the chan­ces of beco­ming known increase expo­nen­ti­al­ly if their song is used by others.

SongPush’s tools make it pos­si­ble to place cam­paigns simul­ta­neous­ly with hundreds of crea­tors and thus chan­ge the face of (music) mar­ke­ting. It will soon be pos­si­ble to have tar­ge­ted pro­mo­ti­on of songs pro­mo­ted in par­ti­cu­lar count­ries or com­mu­ni­ties. Col­la­bo­ra­ti­on with brands is also being expan­ded. Apart from working with major labels like Uni­ver­sal and War­ner Music Group, the team is alre­a­dy col­la­bo­ra­ting with the About You online fashion store, NIVEA and Para­mount Pic­tures. Being embedded in the crea­ti­ve clips of the con­tent crea­tors and with the appro­pria­te music is also a desi­ra­ble envi­ron­ment for brands. The long term goal is to beco­me the num­ber one plat­form for crea­tor mar­ke­ting, accor­ding to Cremer. “Ever­y­thing that is being pro­mo­ted digi­tal­ly can be hand­led by us - films, labels, brands. Song­Push has music as its DNA, but it keeps evolving.Even though music will always remain the core element.”

© Image Cre­dit: SongPush

About MTH Blog

The media technologies of the future are already being used today – not only in the entertainment sector, but also in a wide variety of industries. Christine Lentz meets up with tech enthusiasts, established companies and researchers for our monthly MediaTech Hub Potsdam blog to tell the stories behind the innovative business models.