Streaming platforms, which continue to grow as a primary revenue stream for record labels, have successfully disrupted the music industry. Streaming refers to music consumed legally over the internet and cloud with applications that track users listening habits and data. However, these streaming services must overcome a variety of challenges to be sustainable businesses. First, we shall discuss the shortcomings of the top digital streaming platforms; then, we will highlight the trends that position this disruptive industry as a sustainable presence in the music industry.
Brandon Hughes is hungry. Three years after migrating west to join the creative movement brewing in Austin, Hughes has refined his blues-driven sound and is prepared to break out of the pack as a fully-fledged pop artist in his own right with his newest single “Wolf”.
The term, cowboy diplomacy, involves one thing: brash risk-taking.
Austin’s own bluesy, alternative rock quartet, Cowboy Diplomacy, crafted their most recent release to describe this blissful, reckless fun to a T.
Remember “Bop It”? That game you played as a kid where an energized gameshow host voice yelled at you to twist and pull different knobs and levers at an increasing pace until someone messed up? Beyond the agonizing weeping which ensued upon failing one yank away from the record, the most entertaining aspect of that game stemmed from the crazy, eclectic sounds the Bop It would make. Every flick, spin, and bop created its own unique noise, and amazingly this random assortment of tones organically morphed into a real pattern of beats that, though not entirely smooth, sounded good.
Perhaps BUHU played “Bop It” in the process of creating their new single “La Truth” as a macro view reveals a core similarity between the game and the track: sounds that don’t quite fit together but still create a pleasant whole.
Artists go through a multitude of steps just to get their music to listeners, and a large part of the process of distributing music is the artist’s use of a music distributor. A music distributor, says […]
With all the music streaming platforms readily available at our fingertips, it’s hard to imagine why actually buying music is still an option. Many people may ask, “what is the incentive to buy each song individually when you can pay a flat monthly rate to stream thousands of full albums right on your device?” and they certainly have a point. Plus, not only does this model save consumers money, it makes money for labels.
To Karl Marx, religion was the “opium of the masses.” I personally think music is the real opium. We listen to music for fun; to accommodate our sadness and anger. We listen to music to forget things, to experience specific emotions we normally couldn’t without music’s presence. So it’s natural for gigantic events, like music festivals, to be some of the coolest places one can go. Coachella, Reading, ACL, Governor’s Ball, and countless others, all bring the heat when it comes to memorable music experiences. But, something of a questionable trend has been gaining traction in recent times, as some publications have reported that some music festivals are becoming elitist, to counter the culture of mainstream festivals.
I am not going to lie: it takes a lot to impress me. Whether it’s food, TV shows, and/or music, I feel like I have fairly high standards for things. That being said, the new EP from alternative rock band Born Again Virgins is actually quite impressive. Make note that this is coming from the guy who gives all his friends and family a hard time about their music taste.
Before streaming services like Spotify, SoundCloud, and Pandora were part of the mainstream, MySpace had a solid hold on the online music-social media hybrid industry. But, as the social network began to decline in popularity, all the artists and users it had once consolidated into its platform left – and spread themselves across a multitude of new music streaming services. While this much unorganized talent may seem like a daunting task for social media-music startups to take on, Bas Grasmeyer, in his article “Online Music is About to Experience Another Myspace Moment,” thinks MySpace’s fall from grace is the perfect storm for young companies to do something profound in the music-social media hybrid industry. Grasmeyer states, “From the ashes of MySpace, which never managed to recover, rose a new ecosystem of music startups.”
Consumer data is arguably the most important marketing tool for everyone in the music industry–whether you are a label, publisher, promoter or the artist them self, you need to know consumer trends to efficiently get your music to the public. Over the years, the music industry has completely revolutionized the way they collect consumer data, and with technology usage among consumers at its peak, this is a particularly interesting time for its development.