There’s a concept called product-market fit, and it’s one of the most important elements in finding your audience, finding customers, in anything you ever want to do. It may sound self-explanatory, but it’s actually pretty complicated when you learn about it in online music education. A really helpful way to think about product-market fit is to think about it as a moment in time.

If you think about the moment when someone is saying the words coming out of their mouth, or when they play you a song, at first it all sort of has infinite potential. One could play a song right now and, in theory, 7 billion people on the planet could love it. But that doesn’t actually happen in the music industry, does it? But as soon as that product interacts with any sort of market, the potential for it starts to fall. This happens even with the greatest things of all time.

But at a certain point, hopefully what happens is it stops somewhere. So that song has infinite potential at first, then it starts falling down, and suddenly there’s some consistency to the group of people that like it. This actually happens with most things that come out. What a lot of entrepreneurs and artists miss, though, is actually doing the analysis to figure out what the commonalities are about where it stopped.

So the story goes that an artist has been playing concerts, and it seems like these five specific people keep going to every show, even though they’re not friends. Is there anything they have in common? You’ll find that it’s usually not random. They actually all like the same five artists. They all listen to music on Spotify but not TIDAL. They all use Android but not iPhone. It can seem very random at first.

But as soon as you notice these patterns, you’re starting to find your product-market fit. You’re starting to be able to define exactly who your target audience is. It’s always recommended, to make a John or Jane Doe profile of who your person is, so you can put a name to your fan. So saying, “My fan is someone who shops at H&M, lives in Canada, is in this age range, and likes these kinds of artists,” is great information to have.

This is really important to do because artists are people who make their own things out of nothing. They are usually not the best at actually predicting who their audience is. It’s been seen time and time again. Usually, what we want to do is make our target audience a mirror of ourselves. So it could be tempting for me right now to say, “My target audience is 32-year-old men who live in New York and who have beards, right?”

But if I actually look at my SoundCloud data, it would reveal that a lot of my fans are 45-year-old women who live in Europe. Which is great, but it’s not exactly me. And it’s actually taking the time to look at where and who my music is resonating with, and finding out what’s common among them. That’s your target audience.

So finding product-market fit is something that will take you a very long time to master as you study music education, but you need to constantly be thinking that it’s kind of a waste of time for you to do a lot of marketing, advertising, and trying to get the word out until you find your product-market fit.

Not finding your product-market fit is how labels and artists waste upwards of millions of dollars by these very expensive experiments of doing Facebook ads to anybody, rather than knowing who they’re selling to. We know that the product-market fit is comprised of people that love these three artists. We’re only going to go there. So it’ll save you a lot of time, money, and emotional heartache by waiting to actually market and do these creative ideas you hopefully have to get the word out until you have found your product-market fit.

To me, a good musical performance is about three things. One is being comfortable with your body. One is being comfortable with your breath. And one is being comfortable with yourself.

One tip I give my students is to listen to their music while they walk around the city, or ride their bike to work, or even take a bath. By allowing your music to, in a way, infiltrate your entire being, you can feel like it’s really inhabiting every cell of your body. Walking out on the street, dancing throughout the day—all of these things are enmeshing the music and your identity together, which is a really important part of your growth as a performer.

Another thing I suggest is to listen to music while you’re working out. If you go to the gym, there’s a musical exercise you can do while on the treadmill. As you’re going at a nice slow pace, for about three to five minutes, just start singing to yourself, “la, la, la, la, la, la, la, la, la. La, la, la, la, la, la, la, la, la.” Sing these notes in time with your breathing, and it will allow you to feel your breath.

Alternatively, you can do the same exercise, but instead of doing it on the treadmill, you can do it while you’re doing sit-ups. Either way, it will allow you to feel connected to your breath. It’s about the breath, and it’s all about understanding how your body works.

During a performance, you’re speaking very quickly. The volume sometimes has to be very loud, and it’s also rhythmically challenging. As a result, the tendency for singers and also for hip-hop artists/rappers is that they sometimes forget to breathe. Then, what happens is that the breath becomes short. No air is getting down. All of a sudden, you’re gripping from the outside, and eventually, the voice reaches a point where it can’t take it any longer, and the performance falters.

We’ve got to breathe deeply and move on that breath. And move on that breath, and move on that breath, continuously. We find the rhythm within the breath. The breath truly sets up the rhythm—really, it’s the breath that creates the rhythm.

I usually tell my students that they should be able to sing their entire set while they’re running, doing sit-ups, on the elliptical—during all of these different types of physical movements that we’re so used to doing. We should be able to do them while singing and listening to our own music.

And eventually, at a certain point, the rehearsing of these movements together will make it seem like second nature. We don’t ever want to walk on stage feeling like we aren’t prepared, so preparing through all of these everyday activities will help us feel like it’s no big deal. It’s just breathing.

With online music education, you can learn much more about improving your musical performances, as well as a wide variety of lessons about building a career in the music industry. Your high-quality music education is right there, waiting for you to seize it.

In the music industry, it’s crucial to find who your target audience is, and it’s important that it’s based on real data. So, what you should do right now is create a profile. Create that John or Jane Doe who you think would love your music. Even if you only have 10 fans on Facebook or any platform, try to look at what the commonalities are amongst the people who love what you’re creating. Whether it be the shoes they wear, or their age, or where they’ve gone to school, all of this stuff starts to paint a picture of where you’ll be able to find your audience in the future.

The next thing to really make sure that you’re doing once you start getting some sort of response, even if it’s only five people following you on Instagram or coming out to your show, is to really start embracing your first followers. You want to do this because those first followers have the potential to become the biggest evangelizers on your behalf.

As much as we can talk about potential marketing strategies that we can do, it’s also really nice to have your marketing happening while you’re sleeping. This is another reason that you want to really embrace your early fans and make them feel like there’s a reason they should be championing you on your behalf.

So, whether you’ve just started performing or whether you’re starting to get plays on SoundCloud, you should really make sure that you’re starting to know who your fans are. For example, if you have less than 100 fans on Facebook, you should try to know all of their names. The people who come out to your show—those are people you should try to talk to afterward.

One of my favorite related stories is about Beyoncé. If any of us went to go see her in a stadium today, she certainly would not stay afterward to talk to all of us. She doesn’t need to. However, if you look at footage from some of the first Destiny’s Child concerts from the 1990s when there were 20 or so people at a gymnasium, she’s staying after the performance and talking to every one of them. She’s taking the time to learn who they are, and she’s leaving them with a great impression. There’s no reason that you and I can’t do the same.

For anyone interested, there is far more to learn regarding a wide variety of music-related concepts by exploring online music education, which is by far the most convenient form of music education available.

You probably got here by clicking on something regarding building your image or music marketing. The truth behind your intention for doing so was probably that you want to build your audience, which is important to keep in mind during your music education. Having a clear image of what your marketing strategy will be is very important, and it should fit into a really clear goal that you hopefully have: finding your fans, identifying them, going out to where they are, and giving what you’ve made to them.

This goes along with any other aspirations you might have about getting a record deal or getting management. All those people in the music industry are just chasing audiences. They’re not chasing you. They’re not chasing the talent. They’re chasing audiences.

That means, your focus should be finding out who your audience is. The really good news is, unless you’re making a really bad product, assuming you have pretty good songs, there is an audience for you out there. There’s an audience for everybody.

One of the first important changes that we all need to go through when we start communicating about the things that we’ve made (and that’s what music marketing is, right?) is to grab your audience’s attention. We’re just trying to communicate and say, “I want to win your trust to take the 15 seconds to listen to my song.” To do that, I need to say something, or you need to read something.

The first big change we need to look at is to refraining from simply just focusing on describing what we’re doing, which a lot of us start out doing in the beginning. We say, “Hey, I’m Mark, and I play guitar.” But that’s sort of a commodity and it doesn’t really resonate on an emotional level with anyone.

A really important hack you might learn in online music education is to actually just change the sequencing of saying what you do and focusing on saying why you do what you do first. Then you just illustrate that what you’re working on, be it your band, your album, whatever project it happens to be, is proof of what you believe in, what your “why” is.

So on one hand, I could say, “I play guitar. I’ve been playing for a long time. I have an album coming out. Please listen.” That doesn’t resonate very hard, does it?

Or I could go a different route and say, “When I was growing up, I didn’t see my brothers or sisters very often. But one day, my brother came around and gave me his guitar, and then everything changed. I ended up writing songs. I have an album coming out with those very songs. Would you like to listen?”

Now, it doesn’t really matter if my style of music isn’t your cup of tea, as long as — on a belief level — if my “why” has resonated with you. If it has, then chances are you’re going to take a moment and check it out, which is all we’re ever trying to do. So this pivot to starting with “why” is really important.

It’s not just rooted in psychology. There’s also a biological component to it. I promise we won’t go too scientific in this course, but the reason we all focus on “what” is because the outer layer of our brains, the first thing that the information I’m saying is reaching, just focuses on language.

So if I know that the first thing you’re going to process when my words hit your brain is “what” I’m saying, I’m going to emphasize “what.” But where we make decisions, where our beliefs and our values live, is actually deeper in the center part of the brain. That’s why “why” is more important than “what.”

What we’re essentially doing, if you can visualize it, is that by starting with “why,” we’re jumping right to the decision-making point and we’re not making all these words go through the processing part of the brain. That’s all happening as well, but we’re sort of taking a shortcut. So it’s literally in our biology that when we lead with “why” in our beliefs, things resonate faster.

Looking at other people’s performances on stage and critiquing them is a really good way for us to grow as a class and also be able to critique people without the fear of them getting upset. So one thing we can look at is Ed Sheeran’s performance with his looping pedals versus his performance of the same song with a band.

We will talk about the ways in which one seems more intimate, but one seems more professional. In one, you can see the errors that are made. In the other one, it’s more easygoing.

It’s really usually split half and half between the classes of which one they appreciate more. But what we’re looking at here is really the ability to do the same song in two different styles: one by yourself, and one with an entire band. And it’s really awesome to see that that’s possible these days. As far as music education goes, knowing the difference between a solo performance and a group performance is important to remember.

We’re in an age of technology where we can make practically anything happen. And depending on who the audience is, we can focus that performance for those people specifically.

A really great exercise I do with my students is that I force them to take out all the elements of the song except for two. So there are only two instruments and a voice. This changes the students’ understanding of their song completely. In a lot of cases, it also changes the way they see the song, and sometimes even all of the music they’re creating.

Just this one little experimentation in minimalism can help see which elements of the song are important and which of them are superfluous. Removing elements that don’t synergize well can greatly improve the quality of a song in creation, remember this as you continue your online music education.

Experimentation with live instrumentation is greatly important to the artist’s development. If somebody comes in with an electronic-based track, we try to make it live because being comfortable onstage in all different ways means that you’re ready for anything.

If somebody comes to you and says, “We really loved your performance, but could you do it acoustic?” We want you to feel like you’re more than strong enough to do that, to take that chance, and feel comfortable with different instrumentation onstage.

This means it could be a symphony orchestra or just playing to a track or singing an a cappella. We want all of those things to feel just as comfortable for you. So we make sure that we collaborate with different people, feel different rhythms, and explore the way it sounds to have live drums next to you versus having drums on track.

All of these things can be complicated to feel safe with on a stage. But making sure that you practice and get used to it is really important.

You know, some people’s sound is so specific, and they don’t want to move outside of this. But for me, I feel like attempting to go for it, and really challenging yourself is an incredibly important part of the process.

Last year, one of my students was a hip hop performer. I kind of forced him to try to play with a live band. He was not initially interested, but he did so. Afterwards, it completely changed his sound. And from then on, that was his go-to method of performing.

So for me, it’s really important to just try this process because it doesn’t hurt. You don’t know what’s going to happen with that song, the rest of your music, and you could even be starting an entire new genre of music.

As an artist, you have to make the choice of whether or not you’re going to be the leader of your band, or whether or not you’re going to have a musical director, or whether or not you’re going to have someone who is basically producing your show and putting you in place.

There are three different types of directions there. If you are leading your band, then your music knowledge has to be on point. You have to understand the arrangements. You have to understand how to start a song and how to end a song. You even have to understand how to talk to your band musicians.

If you have a musical director, then you have to be willing to listen to what the musical director is telling you in terms of when your entrance is, when you should pause, where a solo is appropriate, when you should take a break, and so on.

All of those things are worked out (with your input, of course) with the musical director. If there’s someone who’s producing the show from top to bottom, then it’s pretty much like you’re going to be told when to sing, where to go, when to stand, when to breathe, when to move, and when to bow. All of those things are worked out because you have someone who’s producing the show and they usually know what they’re doing, so you can all put on an amazing show.

When you talk about revenue streams in the music industry, without a doubt, the biggest source of revenue for the majority of major artists these days is live performances and touring. Live performances and touring, if you think about it compared to traditional spins or record sales, for example, maybe you sell a million records. Then maybe it takes a year to sell a million records. Or maybe you get a million spins, but it takes 10 months, or 11 months, or 12 months to reach those kinds of numbers.

An artist who is getting that level of sales and performance royalties most likely is able to sell out Madison Square Garden. An artist will make more in one night in Madison Square Garden than they will in the first six months of releasing a song. So every big artist realizes that the music is the business card that gets you in the door to touring and really generating that income. Because, at the end of the day, an artist will end up making more money in one month of good strong touring than they will in a year of spins and performances on the radio and likewise. That’s a good bit of music education to be aware of.

The best advice I could give to any aspiring artist is to make your live show fantastic, and the way you make a live show fantastic is to simply play live. There’s no secret. That’s how you do it. The old adage in the music industry is a band who plays 100 shows live is a completely different band from the one who plays their first show. A lot of times when big artists tour, you’ll find that the first couple of weeks of the tour, they’re in playing secondary or tertiary markets.

You might wonder something along the lines of why Rihanna is in West Palm Beach and San Antonio as opposed to New York, Dallas, Boston, Los Angeles, or any other major media mecca center. It’s because artists always want to gather some steam, get the machine running smoothly, get the kinks out of a show, and really make it run well. And in today’s shows, that’s no small feat. Don’t neglect the importance of this as you continue your online music education.

Between the pyrotechnics, the sound, the lighting, the staging, and all the things that go on, it’s really important that all pistons are firing at the same time to make the show great. Now, I understand that you guys aren’t all going to be selling out Madison Square Garden like Drake. You need to make your live show compelling on the club level. It doesn’t matter if there are five people there, 50 people there, or 500 people there. You have to make it kill.

That means you rehearse. That means you build your following. That means you slowly build your audience outside the epicenter of your home base. If you’re a New York-based band, you shouldn’t overplay in New York.

You play a show in Brooklyn, maybe a show in Manhattan. Take a little break. Do you play a show in Westchester? Yes. Maybe try and hit Philly. Maybe you go into Hartford. Maybe you go into Boston. Slowly build your center out. That’s how you build a fan base.

This is a great story that I love to tell. A friend of mine was a manager in Chicago for many years. He was a very big manager and managed a lot of really great acts. Artists would call him all the time in Chicago and say, “Hey, we’re looking for a manager.” And he would say, “Can you sell out the Metro?” For those of you who don’t know, the Metro is a historic club in Chicago.

Every great artist has come through the Metro. It doesn’t matter if you’re the Smashing Pumpkins or Kanye. It’s about a 900-capacity room and very famous. Every great artist who’s come through Chicago has sold out the Metro. More often than not, the artists say, “Well, no, I can’t sell out the Metro. I can sell like 300 tickets.” And he would say, “Well, when you sell out the Metro, give me a call again.”

All this to say you’re not going to be the biggest band in the world if you’re not the biggest band in your hometown. So build your fan base locally. Build those fans, the real fans that are going to stick with you through thick and thin before you try to take over the world. Everybody starts with 1,000 real fans and builds up from there, and you need to do the exact same thing.

Get critical feedback about your show. Make sure your show is great, and when you play, make sure it’s an event. If you overplay, nobody’s going to want to see you anymore. That’s going to have a long-term effect on how you’re going to make a significant amount of money in the music industry if you’re a performer. And if you’re a manager, that’s also how you’re going to make commission.