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.
Earlier this month, Spotify signed a new, multi-year agreement with Universal Music Group–a deal that, as Bas Grasmeyer points out in his article, “Projecting Trends,” allows the world’s largest record label to “withhold albums from […]
I still struggle from time to time trying to determine what exactly constitutes as “experimental music.” Is it music that just sounds “weird?” Is it music that has odd time signatures or use of instruments in unconventional ways? None of these descriptions are very accurate in trying to determine true experimentation. I think what constitutes experimental music is any music that physically and intellectually challenges the listener to reconsider what they would initially define as music itself. The concept of infinite music is one of the milder forms of experimental music.
With all of the same old, recycled material that mainstream radio stations just love to play – to the point of unbearable suffering – people might start to wonder if pop music exists simply to annoy us. According to the Austin music scene, however, it doesn’t. In fact, pop music exists to be actively enjoyed, to be discussed, and to have a good time. Out of the many of the local groups that can attest to this statement, one indie-electronic trio, The Digital Wild, have shown us that it is completely possible to create music that’s full of life, and void of the vapid clichés that typical pop music espouses.
In the music industry, YouTube has notoriously been known as a harsh competitor of music distribution companies, and the artists themselves. It is an accepted belief that this free video streaming platform has reduced album sales and given people less of an incentive to actually purchase music. People have painted Youtube as a greedy middleman that takes content it had no part in generating and making money by distributing it. We are quick to form this one-sided opinion about the user-generated video platform, but if we take a step back, we may see that YouTube can be a surprisingly beneficial resource for artists and distributing companies if marketing is used efficiently.
With over 50 million subscribers, Spotify is the most popular music streaming platforms. But although Spotify has a massive listening base, it has also struggled to make a profit. To turn things around, Spotify has […]