#but for tangible like cd sales for concert sales for general success

[kuntypop]

one take I still see a lot from people about current musicians is this sort of sentiment that an act that is by most metrics seen as successful isn't actually successful because "they've never heard of/ the general public has never heard of X musician- they just sell a lot of records/get a lot of streams but they aren't truly popular" and it just strikes me as being so out of touch? for better or for worse... that's just not how it works anymore.

Like it is true that once upon a time if a group sold a million+ records, in the least that meant national fame, and more than likely some amount of international fame. of course there was always one hit wonders who would fall off the charts never to be seen again, but I think the general sentiment is fairly correct, it was easier to be a well known ~star~ in the past. even if people didn't listen to you themselves they would probably hear a song on the radio or see you performing on the tv, so being able to identify someone as That Person With The Hit Song was more common. So it's true, we don't have as many big names as we used to- Yep, most people would agree to that.

But still I keep seeing people repeat that idea of "the musician you're talking about isn't famous/successful because mostly it's just their fans who know who they are and not any random person on the street" and its just like... Yeah. That's how it works now? there's a few people who manage to crack the mainstream and be everywhere, but generally that's not how it happens. A person can get a song with hundreds of millions of plays and sell out a concert for thousands people and unless you're tuned into that person/group or know someone who is, you can completely miss it. That is the impact of the internet.

I see this sort of take from people about foreign acts a lot, too- this idea that a kpop group or a singer from Latin America that sell out a tour in the US or Europe isn't actually famous because the average Joe doesn't know them and once again I just... A sold out tour doesn't lie? And that doesn't even get into the fact a country like the US never gives foreign acts as much respect or screen time as they do homegrown musicians, so why should I give a shit that Joe from Boston who never leaves his little bubble isn't aware of someone I like?

Also, music television barely exists now (in the west, anyway) people don't listen to radio as much as they used to, for many people they don't listen to the radio at all, and record stores are nothing like they used to be. The way we consume music is different. in my opinion it is much worse, but regardless, it is different. You can't say someone who has an invested fanbase, someone who gets a decent amount of listeners, who gets a good amount of sales (whether of cds/digital downloads or of live performances) is unsuccessful because old Jeanie from down the street doesn't recognize the name. That is not how it works anymore.

[theplaylistcoblog]

Music for Business Canada: Modern Ways of Turning Music into Business

Music is an essential part of our lives, and its consumption has grown exponentially with the advent of streaming services, social media, and other digital platforms. In today's rapidly evolving music industry, there are numerous ways for artists and creators to venture into music for business Canada by turning their passion for music into a profitable business. This article will explore five modern methods of turning music into business and how they're shaping the industry.

Streaming Platforms and Subscriptions

The rise of streaming platforms like Spotify, Apple Music, and Tidal has fundamentally changed how people listen to and discover music. These platforms offer artists the chance to make their music accessible to millions of listeners worldwide. Through subscriptions, ad revenues, and royalties, artists can generate a steady income. To maximize their earnings, many musicians opt to release their music exclusively on a particular platform or offer exclusive content for premium subscribers, creating additional revenue streams.

Selling Merchandise and Physical Media

Even in the digital age, selling merchandise and physical media remains a viable business strategy for musicians. Selling items such as t-shirts, posters, vinyl records, and CDs not only generates income but also helps artists build their brand and connect with fans. In recent years, the popularity of vinyl records has experienced a resurgence, offering a more tangible and nostalgic experience for listeners. Many musicians capitalize on this trend by releasing limited edition vinyl pressings or offering merchandise bundles to increase sales.

Live Performances and Virtual Concerts

Performing live has always been an essential aspect of the music business. Concerts and music festivals not only generate ticket sales but also provide opportunities for artists to sell merchandise and connect with fans on a personal level. With the COVID-19 pandemic, the music industry has adapted by offering virtual concerts and livestreams, allowing fans to experience live music from the comfort of their homes. These virtual events have the potential to reach a global audience and generate significant revenue, particularly when combined with exclusive content and interactive elements.

Music Licensing and Sync Deals

Music licensing and sync deals are crucial revenue streams for musicians in the modern music industry. Licensing involves granting permission for the use of a song in various media formats such as films, TV shows, advertisements, and video games. Sync deals, on the other hand, involve placing a song within a specific visual context to enhance the viewer's experience. Both of these deals can be lucrative for artists, particularly when their music is featured in high-profile projects with a large audience reach.

Social Media and Content Creation

In today's digital landscape, social media plays a significant role in shaping an artist's success. Platforms such as Instagram, TikTok, and YouTube offer musicians the opportunity to showcase their talents, grow their fanbase, and generate income. Creating engaging content that resonates with fans can lead to viral success and brand partnerships, which can further boost an artist's revenue. Additionally, some artists have found success by providing music for business Canada for user-generated content, allowing fans to use their songs as soundtracks for their own social media posts.

The modern music industry offers a multitude of opportunities to establish music for business Canada by providing a platform where artists to turn their passion for music into a successful business. By capitalizing on streaming platforms, selling merchandise and physical media, performing live and virtually, securing music licensing and sync deals, and harnessing the power of social media and content creation, musicians can thrive in today's ever-evolving landscape. As technology continues to advance and the industry adapts, the possibilities for turning music into business are endless.

[whatimconsuming]

The old funnel: Record labels controlled and monetized fan relationships The old, pre-digital structure of the music business led to a fan relationship funnel with multiple gatekeepers, primarily major record labels. Artists used radio as their top-of-funnel channel, to get discovered. They subsequently went on tour as their mid-funnel device to re-engage fans through live concerts. And to make money, artists monetized fans at the bottom of this funnel at local record stores when they bought CDs. At each step of the way, labels had control. This was the dominant practice up until 2000, when CD sales and the music industry’s fortunes were at an all time high. But things were about to change very quickly—digital consumption of music and widespread piracy led to a sharp decline in the music industry’s overall revenues. Digital downloads through the iTunes store, paired with the stylish iPod offered a glimmer of hope. But the real turning point was 2008, when Spotify launched its on-demand streaming service. Consumers transitioned from the ownership of physical CDs and Digital MP3s to accessing an unlimited catalog of music, for $9.99 / month (a price that has not changed almost 13 years later). This is for a good reason: the streaming model works. Fans get access to every song ever recorded, and—for a nominal fee—music creators can have their songs available to them in minutes.

But this, too, presents a new problem. Today’s funnel: An explosion of choice There is an overload of music. 60,000 songs are uploaded to Spotify every day. Over 20% of those don’t get streamed even once. The ubiquitous access to almost every piece of recorded music in history has led to a paradox of choice, promoting passive and playlist-driven music consumption and creating winner-take-all effects for the biggest artists. The advent of streaming in the music business was supposed to lead to a transition from selection by gatekeepers to election by listeners. However, streaming services are still choosing which music creator gets a chance to partake in these elections. The gatekeeper status has just shifted from record labels to streaming services. Major record labels like Universal, Warner, and Sony used to determine who became a successful music creator. Now its streaming services like Spotify, Apple Music, and Deezer.

How the new funnel could work: Creators in control In the old music business, record labels controlled the artist-fan relationship funnel. In the current model, streaming platforms control this funnel. This led to a pressing need for artists to have their own and control direct relationships with their fans, and the recent news seems to be enabling this: TikTok and other social platforms are acting as potent top-of-funnel discovery channels for emerging music creators. ConvertKit’s acquisition of Fanbridge could help these newly discovered music creators re-engage fans. And recent developments around NFTs powered by platforms like Audius and Ditto Music could offer substantial and reliable monetization opportunities. Let’s look at these layers starting from the top: 1. Top-of-funnel — discovery on TikTok TikTok has proven to be a potent top-of-funnel discovery channel for emerging musicians. The platform wants to gain an even stronger foothold in music discovery, and has been shipping updates that reflect this strategy. TikTok recently announced its plans to launch a new set of immersive music filters that integrate seamlessly with its catalog of sounds. Here’s just one recent example: ever since #ShantyTok went viral, Spotify users have created more than 12,000 sea shanty playlists. Nathan Evans, the creator who was behind the viral trend, signed a record deal with Universal Music Group. The same engaging characteristics that make TikTok so potent for discovery also lead to some of its main drawbacks. The ever changing flux of TikTok trends mean that fandom accumulated on the platform is fickle, and doesn’t last too long—fans just move on to the next viral trend. For music creators to have a more sustainable and long-term career, they need to optimize this new funnel by re-engaging with new fans before TikTok’s temporary spotlight fades. Creators need a way to solidify relationships beyond ephemeral streams in aggregation layers. ConvertKit’s recent acquisition of Fanbridge could enable music creators to do just that. 2. Mid-funnel — re-engagement through email

ConvertKit has 300,000 creators using its email marketing software to run their paid newsletters and membership based offerings. Fanbridge’s ‘fan-relationship management’ toolkit enables these same things, but for music creator-specific needs. They have integrations that help their user base of 1000 music creators embed Spotify links, tour dates, fan giveaways, and so on. The acquisition will facilitate direct-to-fan (D2F) relationships, helping the long tail of music creators to not only have greater ownership over their fanbase, but also have the opportunity to monetize these relationships. It will enable music creators to establish  a direct communication channel with fans. This is highly valuable because streaming services don’t have the functionality for artists to communicate with their listeners. Artists have to rely on social platforms, which do not offer an efficient way to segment fans, or even communicate in a personalized way. It's also harder to integrate commerce in music. Creators would also have the opportunity to optimize deeper forms of engagement, which may include private lessons, Discord servers, Patreon memberships, and more. 2. Bottom-of-funnel — monetization via NFTs At the bottom of this emerging creator-centric funnel that we’ve outlined, NFTs could be a potentially lucrative way for music creators to monetize their relationships with superfans. If a creator re-engages their 1000 true fans via ConvertKit, their 100 true fans could then be encouraged to make an actual investment in the music itself. Ditto, a digital music distributor, is using NFTs to help music creators sell tokens that entitle owners to a share of revenue streams generated by a song, almost like a dividend-bearing stock. Music creators can sell shares of the copyright associated with their upcoming songs and obtain upfront cash. This cash could help them fund their new releases: hire a great producer, set up a paid promotional campaign, etc. Fans who purchase these NFTs are eligible for monthly dividends, i.e. royalties from streaming. By divesting a part of their copyright, emerging music creators could receive an intimate form of financial support from their most devout fans. Moreover, by enabling these transactions, Ditto facilitates the creation of NFTs tied to assets with tangible value. Music creators can monetize by letting fans have equity in their music, making it akin to classical investing. To be clear, this concept has been tried before. Sweden based Corite, and Austria-based Global Rockstar are some examples. Unlike Ditto however, these existing companies have not used blockchain as a way to power fan investments. Perhaps NFT fervor will help Ditto cross the chasm. This is reflective of a broader trend—artists want direct ownership over the relationship with their fans, and to be compensated based on how these fans interact with their music. Today, platforms like Audius offer a blockchain-powered, decentralized version of Spotify, where fan-centric payments are inherently built in. Artists can set their own prices, retain control over their IP, and get transparent access to fan insights. Holders of $AUDIO also have the ability to give input on the platform’s strategy. A recently introduced feature also lets artists showcase their for-sale NFTs, and fans to display their already purchased ones.  However, unlike Spotify, Audius doesn’t have the major labels onboard, and is only restricted to a small set of early adopting music creators. This limits their catalog size and hinders listener acquisition.

[jennayaportfolio]

Annotated Bibliography

Manners, Bianca., Kruger, M., & Saayman, M. (2016). Managing Live Music Performance: A Demand and Supply Analysis. Event Managment, 20(2), 147-163. https://doi-org.ezp01.library.qut.edu.au/10.3727/152599516X14610017108620

This article describes a comparison between demand and supply factors of live music performance to determine if there are any differences between what managers believe to be important, and what visitors believe to be important to achieve a memorable visitor experience. Authors used both quantitative and qualitative research methods to determine differences, including the use of surveys concerning different musical genres and interviews. In terms of research, this paper is the first to use both methods of research at live music performances. Creswell’s 6 Steps for Data Analysis and Interpretation found the artist, audience, marketing and media, and technical aspects to be deemed important to the success by visitors to the live music event. This article focuses on the subconscious consumer needs of audiences that most visitors wouldn’t generally focus on before attending an event such as the behind-the-scenes processes needed to manage a live performance.

Flath, B. (2015). Life is Live: Experiencing Music in the Digital Age. International Journal of Music Business Research, 4(2), 7-27. Retrieved from https://musicbusinessresearch.files.wordpress.com/2012/04/volume-4-no-2-october-2015-beate-flath.pdf

This paper looks at the introduction of the digital age surrounding music, with new streaming services and online sales. The author argues against a statement made my Glenn Gould in 1966, where he believes public concerts would no longer exist in the future, and its functions would have been entirely taken over by electronic media. However, this is not true as the author states that live music has grown while the traditional recorded music industry has decreased. The author provides theoretical contexts, and looks at customer experience of music in the digital age. After discussion, it is clear the introduction of streaming services has a positive impact on the sales of live concerts, however, with this comes the decrease in traditional music recording sales, taking away from the physical aspects of music-making such as tangible CDs.

Bilton, C., & Leary, R. (2002). What Can Managers Do For Creativity? Brokering Creativity in the Creative Industries. International Journal of Cultural Policy, 8(1), 49-64. https://doi-org.ezp01.library.qut.edu.au/10.1080/10286630290032431

In this article, the author explores creativity from the management perspective of the industry. The paper looks at different forms of thinking, and found that “divergent thinking” is the most effective approach to creativity as it allows managers to create new ideas. However, this view is seen as dominant and can be conflicting between managers and artists and stifles creativity as a collaborative idea between the two parties. As well as “divergent thinking” the author suggests creativity brokering should come into play at earlier stage where new ideas are being generated as management has ceased to be a science and has become an art. It is important that managers utilise creativity to allow for a cohesive blend between artists and management.

Gordon, S. (2015). A Simple Guide to the Best Sync Deal Possible. Retrieved from https://www.digitalmusicnews.com/2015/05/25/a-simple-guide-to-signing-the-best-sync-deal-possible/

The author provides a breakdown to attaining sync deals and how managers should approach them in this article. He covers the use of music in movies, TV, advertisements, and video games, and briefly discusses the role of Performing Rights Organisations, standard licences, publishers, sync reps, and other licensing agents. The author believes Indie artists, songwriters and producers should understand the basics of sync deals and when to negotiate or simply walk away from the deal. Through his discussions on each topic, he provides a clear and succinct breakdown of how to avoid bad contracts.

White, J., & Preston, P. (2014). Concert Promotion Centralisation and the Artist Management Response: 1990s - 2010s. MEIEA Journal, 14(1), 13-37. Retrieved from https://search-proquest-com.ezp01.library.qut.edu.au/docview/1657782509/abstract/AB031B3A0BA9457APQ/1?accountid=13380

This article focuses on the centralisation of artist managers, booking agents, promoters and ticketing agents. Prior to the introduction of this issue, the above fore-mentioned would all work together with one common goal in line, however now, with centralisation, the author states that those artist rights may erode and be lost due to uncertainty and lack of education and inexperience in certain positions in the industry, for example, an artist manager not educated on negotiating when dealing with a concert promoter and other agents. The paper aims to remind the industry that the successes should not be abandoned in the way of centralised reality, and that a creative business needs a creative manager.

Pursehouse, S. (2013). An Idiot’s Guide to Landing A Sync Deal in 9 Steps. Retrieved from https://sentric.wordpress.com/2013/02/13/an-idiots-guide-to-landing-a-sync-deal-in-9-steps/

Much like an above article, the author attempts to provide a guideline to obtaining a sync deal, with a clear step system in place to provide a deeper understanding. The author provides tips to utilise when negotiating such as, understanding your rights, researching the right people to approach, professionalism, correct branding, and most importantly, providing top quality tracks with instruments at your disposal. Through the use of the article, the author explains what companies are looking for, what artists should be providing and what may discourage the company from signing them in the first place. As the author is part of a synchronisation and licensing department, the tips he provides are useful and give artists a clear understanding in obtaining a sync deal.

NPR Staff. (2013). Paying the Piper: Music Streaming Services in Perspective. Retrieved from https://www.npr.org/sections/therecord/2013/07/28/205873218/paying-the-piper-criticism-of-music-streaming-services-in-perspective

This article examines the introduction of streaming services and the low payment rate for artists on these services. The author describes how certain artists, including Radiohead and Atoms for Peace are pulling music from these services to protest the low royalty payments. Throughout the paper, the author provides a service perspective to describe their side of the issue, as well as a comparison between two major streaming services, Spotify and Pandora. Along with these issues, the author talks about songwriters’ rights and give artists a basic understanding of their rights in regards to streaming services. This article is useful in determining the right sync deals to negotiate and helps artists and songwriter’s in avoiding unsuitable contracts.

[ulyssessklein]

The biggest myths about music streaming

Between conferences, emails, blog comments, and just hanging out with musician friends, I hear a lot of independent artists’ opinions about music streaming — both plus and minus.

Some of these opinions are well-informed while others seem like they’re based on myths. So let’s debunk a few!

1. There’s no money in it

There IS real money to be made from music streaming. For instance, the Grammy-nominated act Tycho now earns 53% of their income from Spotify.

In the major label world though, most songs are written by teams of people. If the artist is lucky enough to be credited as a writer, they’re still often splitting those publishing royalties three, or six, or twelve ways. As for the royalties generated by the streaming of a sound recording, well, let’s just say the labels have done a fine job keeping much of that dough for themselves. So when you hear Megastar X saying they had 100,000,000 streams on Spotify and only made sandwich money, you know to take it with a grain of salt. That money is going SOMEWHERE.

For artists who own 100% of their publishing and sound recording rights, all their streaming revenue flows to them. No label advances, catalog licensing deals, or complicated splits to contend with. From there, if you’re savvy and/or lucky enough to get a song placed in a prominent playlist, your year is made. The success of a single song on a streaming platform also creates interest in other songs or albums in your catalog, driving more revenue.

This will continue to be the case more and more as streaming now accounts for over 50% of music revenue and has driven the industry’s highest growth in two decades.

2. It killed the album

Wrong. Streaming didn’t kill the album. Downloads did. As soon as Napster was a thing, people stopped needing to buy the whole record just to hear one song they liked.

If anything, I’d argue that streaming might actually HELP albums.

I mean, don’t get me wrong, streaming playlists are clearly the organizing principle of the moment for tracks, but the fact that there’s no additional charge besides the subscription fee means that listeners are free to explore an artist’s catalog as they choose.

In the download days, you probably weren’t going to pay $10 to take a chance on something you were only mildly curious about. Today you can listen to that album worry-free. If you like it, keep listening. If not, next!

3. I can window or withhold to drive physical sales or downloads

Taylor Swift can withhold. Adele can window. You — most likely — can’t.

Windowing is the act of releasing a certain piece of music to different platforms/formats at different times so you can direct fans to whichever outlet benefits you most. Again, that might work if you’re Adele. Her fans will go where she commands. But ask yourself: am I Adele?

If your music isn’t on Spotify (or maybe YouTube), I’m not going to hear it, period. I won’t download it. I don’t want to manage the files on my computer. And I don’t care if you mail me a CD for free; I’m probably not going to open it. My only CD player is in my car and that’s my NPR time.

So… don’t window and don’t withhold. Be everywhere, because your fans need you to meet them where THEY hang out. Not visa versa.

4. All streaming services are pretty much the same

This is an easy assumption to make. Find digital music file. Stream it.

But there are real differences between the platforms, and it fosters a different experience with each:

YouTube Red comes with the whole video component (and ad-free access to everything on YouTube).

Pandora Premium taps into Pandora Radio’s past and your listening habits, to provide a particular kind of custom song selection.

Apple Music is heavy into human curation, featuring their own playlists and their Beats 1 radio service.

Spotify is a data-heavy system that has thrived because it encourages users to create their own playlists, further instructing its own algorithm.

And on and on. To varying degrees, the streaming platforms are different from one another.

5. It’s only a matter of time before people realize they miss having the tangible, physical record or CD

Yes. I actually hear this. Ah, nostalgia.

If you grew up with vinyl or CDs, I get it — you miss them (or some aspect of them, at least). But most people who were born in the past two decade don’t miss them, don’t need them, and won’t demand their return.

MUSIC is what’s important. Not how big the paper sleeve, not how shiny the object it’s delivered on, and not how easy it is to touch. It’s music. It goes in your ears, to your brain.

Bonus myth: If we boycott streaming, everyone will have to go back to [insert format: downloads, CD, cassette, vinyl, wax cylinder, concert hall, folk dance,…]

To which I say: try it! Usually I’m all for organization and action. Boycotts can be very effective.

But here’s the thing, Ed Sheeran isn’t boycotting streaming services. Know why? Because he’s making a boatload of money from them.

So whoever does get together to remove their music from, say, Spotify — it’s just not going to make that big a difference, because your music isn’t as in-demand as Ed Sheeran or Drake. And then you’re just left out of the party, because your potential fans will be dancing to another artist’s jams.

Besides, this impulse usually comes from believing myth #1. Should rights holders continue to pressure streaming services (and Congress) for higher royalty rates? Absolutely. But let’s not pretend there’s no money to be made.

Did I forget any common music streaming myths? If so, let me know below. And let us know why it’s not true.

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