While in New England in late August, BG and I took in the John Mayer/Sheryl Crow concert in Mansfield, MA. I had seen Mayer live at least three times (and his performance in August was only marginal, due to a bout with laryngytis) but Crow just astonished me. She and I both had winters earlier this year we would just as soon never relive (more about Crow's here) ... and yet she strutted on stage in this beautiful silk cream pantsuit with a haltertop, and gave a performance infused with so much positive aura it was hard to not just be left in utter shock at both her inner grace and outer beauty.
Back to Mayer ... participated in my first ever iTunes pre-release, and had ordered Continuum weeks ago. Midnight local time today, I receive an e-mail telling me it is ready to download; September 12 is the album's official launch date.
This album is bloody brilliant. Stayed up until the wee hours listening to it, it was that good. My favorite song so far: "I Don't Trust Myself (With Loving You)". So brutally honest and raw.
This whole pre-release concept intrigued me, especially as it relates to digital media. I can see placing a deposit at a retailer for a physical album, because there may only be limited physical inventory to meet demand. But for digital downloads, where the only potential issue may be traffic congestion or bandwidth (which never occurred earlier this morning, by the way) ... why?
A couple of answers come to mind:
- Improved cash conversion cycles for the eTailer.
- Preliminary feedback (that could be given to the publisher) regarding how hot a specific title looks to be.
Because eTailers already enjoy excellent cash conversion cycles, am more intrigued by (2). On the plus side for eTailers, there could be a new line of business here: charging the publishers for what could be perceived as valuable information, helping publishers decide how to allocate their massive marketing budgets at the time (launch) when it most counts. Not to mention the free marketing that anticipation and buzz represent, which is so effectively created by the pre-release mechanism.
At the same time, am going to hazard a guess that the vast majority of those who preorder are - like me - passionate fans of the artist, and were going to buy the product anyway. In other words, any given artist can probably find a diehard niche of fans who will participate in a pre-release. Not to pick on Mayer's friend, but I bet the pre-release numbers for Jessica Simpson's new album and Mayer's were similar. After all, she has her own hard core niche of fans too.
Now that both albums are out, and everyone can evaluate for themselves the qualities of each, I predict Mayer's album will seriously outsell Simpson's. So do the pre-release numbers really provide any insight? Despite all the enthusiasm for The Long Tail, what most publishers (and major eTailers) care about is how much of the true mass demographic is going to open their wallets: 20,000 or even 100,000 die hard fans don't really move the needle for them. To conclude, to the extent that pre-releases are valuable, it is not in the quantitative numbers but in the far squishier realm of buzz.
PS Mayer's blog is not only insightful (and intelligent), but at times, hilarious.
Technorati Tags: John Mayer, Continuum, Sheryl Crow, prerelease