marketing
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data
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Direct-to-fan
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marketing • data • Direct-to-fan •
I have had the unique opportunity to correct songwriting and recorded music metadata for organizations like Warner Music Group, Deezer and FUGA. Through merchandise designs, experiences and pre-orders for the likes of Flume, CHVRCHES, The Doors, Jefferson Airplane, Anya Marina, and Nikki Glaser, I have also raised over $1 MILLION for artists and labels in direct-to-fan campaigns.
ABOUT ME
I am an artist and label marketing consultant with 10+ years of professional music industry experience, focused primarily on fan studies/behaviour and music metadata. I help artists, estates, and labels of all sizes curate unique and lucrative direct-to-fan experiences and sales, and help rights holders analyse, clean and register their rights. As the Chief Client Officer for Verifi Media, I lead projects for the Verifi Rights Data Alliance (Warner Music Group, Deezer, Unison and FUGA) and independent labels to help increase royalties and fully monetise their assets through better data registration and sharing technologies.
In my spare time, I put my degrees in music composition and performance to good use as a songwriter and producer, so I am particularly proud of the work I do as Co-Chair of the Metadata Working Group for the Association of Electronic Music (AFEM), and as an advocate for women in music production and technology as a member of Women in Music, She Said So, and She Is The Music.
It’s me, hi. CHLOË JOHNSOn, it’s me.
chloe@estaramusic.com
CLIENT LINEUP
Over the years I've had the pleasure of working with some really incredible artists and organizations. Out of 200+ acts to pick from, I've created a 'festival lineup' of some of my most memorable clients below:
METADATA CASE STUDY
I recently conducted a full-catalog data correction and enrichment service for a high-profile independent label client and turned our results into a case study to guide others as to why data correction is needed in our industry.
Our target was to verify that the writers provided to the label were the correct composers of the underlying composition, and to enrich the data with IPI numbers and socities if available. The end goal was to provide this information to the distributor, DSPs and collection societies in order to ensure correct songwriting royalties were paid out for this label's artists.
The before and after results show a common picture, where writer information provided to labels is often misspelled, missing a middle name, or incorrectly attributed to an artist pseudonym. Because labels, distributors and DSPs don't have a direct line to reliable songwriting and publishing data at the time of distribution - it's not surprising to find that there were many inconsistencies or missing data points for this label between streaming services like Spotify, and the officially registered compositions on CISAC.
The dangers of incorrect or missing matches between ISRC/ISWC (recording/work) data and correct songwriters are: misallocated or entirely missed royalty payments on the publishing side, and an inability to clear lucrative licensing deals on the recorded side.
Let’s start something magical…
(Feat.) CHLoË
I frequently speak at universities, conferences, and events, and I have contributed to the course content at Berklee College of Music for their course in Online Music Marketing. I also write articles for various music publications and my projects have been featured in Billboard and Music Business Worldwide. If you'd like to book me to speak on a panel, you can contact me below.
SPEAKER
ADE
A2IM Indie Week
Music Biz (video)
Primavera Pro
The Great Escape
NYMM (video)
FastFWD
Brighton Music Conference
PRESS
I am a featured author on Hypebot and Verifi Media's blog, and my work with the VRDA initiative has been featured on Billboard and Music Business Worldwide.