A&R Archives - Digital Music News https://www.digitalmusicnews.com/category/ar/ The authority for music industry professionals. Thu, 22 May 2025 15:46:16 +0000 en-US hourly 1 https://wordpress.org/?v=6.8.1 https://www.digitalmusicnews.com/wp-content/uploads/2012/04/cropped-favicon-1-1-32x32.png A&R Archives - Digital Music News https://www.digitalmusicnews.com/category/ar/ 32 32 Music Biz Is Sticking With Atlanta After a Rip-Roaring Event — So Where Does That Leave Nashville? https://www.digitalmusicnews.com/2025/05/20/music-biz-atlanta-nashville-2025/ https://www.digitalmusicnews.com/2025/05/20/music-biz-atlanta-nashville-2025/#respond Wed, 21 May 2025 01:26:39 +0000 https://www.digitalmusicnews.com/?p=321077 Adaptive Music's Tony Alexander chats with soul artist MAJOR on indie marketing and branding at Music Biz in Atlanta last week (Photo: Music Biz)

Adaptive Music’s Tony Alexander chats with soul artist MAJOR at Music Biz in Atlanta last week (Photo: Music Biz)

Music Biz switched cities and kept most of the music business crowd. Now, Atlanta is the chosen city for 2026 as well — leaving a potentially juicy opportunity in Nashville.

Despite excessive hand-wringing over Music Biz’s switch to Atlanta from Nashville, the music business crowd showed up in droves last week. Attendance appeared slightly down from last year’s Nashville shindig, it should be noted, though the conference announced its intention to remain in Atlanta in 2026.

We’re still unclear on the machinations surrounding Music Biz’s shift from Nashville after several years in Music City, though organizers said they’ve always planned to shift cities periodically. Apparently, COVID complicated plans to jump around, though now the original game plan is being implemented.

That’s the official line and Music Biz is sticking to it, though some chatter suggests a political motivation for the shift — though that’s one hot potato we’ll politely pass along. Either way, the crowds showed up, and the event was chock-full of core music industry companies and execs.

Music Biz’s city-switch is vaguely reminiscent of the Grammys of yore, when ‘Music’s Biggest Night’ ping-ponged between New York and Los Angeles before largely being anchored in Tinseltown.

For Music Biz, it looks like a ‘build it in a new city and they will come’ dynamic is at work: for those bumping elbows at Music Biz at the Renaissance Atlanta Waverly, crowds were solid and dealmaking brisk — all ingredients for a solid music industry fest that is poised to hop around.

So how does this shift the deck on the music industry conference scene?

Music Biz continues to emerge as a marquee music industry event in the US, particularly given SXSW’s waning reputation for actual business, dealmaking, and even showcase quality. Meanwhile, Nashville already has a smattering of good industry events — most notably CRS. But given the city’s density of music celebs, songwriters, and industry folk — not to mention its party getaway appeal — will somebody make a run at building a mega industry conference in Tennessee?

Separately, Nashville’s sudden importance to the music industry’s critical lobbying agenda can’t be overstated, particularly given the huge shakeup that just went down at the US Copyright Office. Suddenly, the music industry is waffling in Washington against the tech bros — can Nashville and its more red-leaning artists potentially turn things around on the AI and copyright protection fronts?

Shifting back to Atlanta, Music Biz kicked off just as Live Nation signed a major lease in the city’s $5 billion Centennial Yards mega-project. Specifically, the concert giant inked a long-term lease for a 5,300 seat venue in the downtown stadium and entertainment megaplex, a move designed to draw a string of superstar artists to the Centennial zone.

Perhaps Atlanta opts to sweeten the deal further and rope Music Biz into a longer-term relationship? It’s always nice to have an entire industry of movers and shakers strategizing in your town, particularly given the music industry’s tendency to bump local economies.

And with that, here’s just a quick canvas of the companies on deck at Music Biz this year:

Apple Music, Spotify, Warner Music Group, Universal Music Group, DiMA, ASCAP, A2IM, RIAA, SONA, The Orchard, OpenPlay, Empire Publishing, Rhymesayers Entertainment, Concord Music, CD Baby, Downtown Music Publishing, Columbia College Chicago, DDEX, The MLC, AllTrack, Sound Credit, Encore Music Tech Solutions, MusicWatch, Luminate, New West Records, Music Canada, Criminal Records, Elektra Music Group, The Vinyl Alliance, Stem Disintermedia, Lark42, Sureel AI, University of North Texas, Drexel University, Music Business Toolbox, 24/7 Artists…

… and the list goes on and on.

See y’all next year — in Atlanta, that is.

]]> https://www.digitalmusicnews.com/2025/05/20/music-biz-atlanta-nashville-2025/feed/ 0 Digital Music News Is Beefing Up Its Chart Intelligence With Chartmetric — Here’s a Look at What’s Coming https://www.digitalmusicnews.com/2025/04/16/digital-music-news-chart-intelligence-chartmetric/ Thu, 17 Apr 2025 00:02:35 +0000 https://www.digitalmusicnews.com/?p=318991 Chartmetric trending artist du jour, De La Soul

Chartmetric trending artist du jour, De La Soul

Digital Music News is now expanding its longtime partnership with Chartmetric, the industry’s most respected music intelligence and data platform.

Jumping in, DMN readers will soon have access to a constantly-updating track popularity ranking, complete with fast-emerging breakouts. Complementing the ranking will be Chartmetric’s latest data trend analyses, which will include a broad range of genres, artists, and broader worldwide music developments.

Everything will be available to Digital Music News readers in a neat dropdown widget, which will complement DMN’s existing industry coverage.

The dynamic chart ranking will lean heavily on Spotify Monthly Listeners and Chartmetric’s own scoring methodologies to monitor breakout tracks and artists, 24/7. For those seeking a real time ranking that better reflects trending realities online and off, there isn’t a better barometer of what’s bubbling.

For those that want to dive deeper, Chartmetric’s data-focused breakdowns will offer unparalleled examinations of music trends worldwide.

That includes featured articles from Chartmetric’s ‘How Music Charts,’ a dedicated editorial column focused on music charts, data, and analytics – with extremely time-sensitive and relevant articles.

And that’s in addition to DMN’s non-stop, hard-hitting industry coverage and DMN Pro analyses.

“Chartmetric and Digital Music News have been partnering for years with a mission to broaden music industry intelligence,” said Chartmetric President & COO Andreas Katsambas. “Now, we’re taking things a step further.”

Meanwhile, Chartmetric is recharting the possibilities in A&R with a recently-released ‘Talent Search Tool’ to power better predictive intelligence.

As profiled on DMN, Chartmetric’s Talent Search Tool sifts through data from over 10 million artists, identifying key signals that suggest an artist’s potential for long-term success. Each artist receives a daily score from 1 to 10 across various metrics, making it easier to spot emerging talent worthy of deeper investigation.

Just recently, Chartmetric joined forces with DMN to broaden awareness of its data-powered predictive tool.

]]> And After All That, TikTok Could Still Go ‘Poof’ https://www.digitalmusicnews.com/2025/04/07/tiktok-rollercoaster-ride-continues/ Tue, 08 Apr 2025 05:00:35 +0000 https://www.digitalmusicnews.com/?p=318326 TikTok circa 2025 (Photo: TCY)

TikTok USA, circa 2025 (Photo: TCY)

Months after ‘the ban,’ there’s no telling what happens to TikTok next in the US.

After inching oh-so-close to a deal to secure TikTok in the US, China apparently pressed hard pause on the arrangement following Trump’s tariff slap. So what does that mean for the music industry?

If you love uncertainty, this one’s for you. Trump is now extending the ban by another 75 days, though a hard clock is now ticking on a deal that was apparently 99% done. Congressional pushback on the ‘phase 2 extension’ is already happening, and Apple is seeking White House assurance that the app can remain on its App Store.

This slow-motion cookie crumble could go in any direction. Among the possibilities within the next 30 days: TikTok shutting down for good or continuing business-as-usual — or, potentially, some insane variation in the middle.

Last we checked, TikTok is available on both the iOS App Store and Google Play Store, though this situation is volatile. And certainly not a recipe for crafting stellar, long-term artist marketing campaigns — or advertising campaigns, for that matter.

Most music folks are smartly spreading their marketing efforts across the gamut of social media giants, with IG Reels and Shorts getting a nice stability bump. That said, as long as TikTok is ticking, it has the power to blow stuff up — including entire artist careers and dusty catalog tracks.

While the over-under on TikTok’s survival has gone haywire, some executive ship-jumping is worth noting — particularly TikTok Music ex-honcho Ole Obermann, who recently packed his bags for Apple Music. And he’s not the only one potentially pondering the writing on the wall.

Meanwhile, other platforms continue to seize the moment. On that note: what major social media platform just inked a broad-reaching deal with major music publishers? (Hint: the first letter isn’t ‘X’…)

On a broader note, few in the music business seem to be rooting for TikTok’s survival.

It’s not that TikTok isn’t making some effort to play nice with the music business. Just last week, for example, TikTok was among the supporting sponsors at the National Music Publishers’ Association (NMPA) golf classic and fire relief efforts in Los Angeles. But for the most part, the vibe within the music industry isn’t warmly supportive, to say the least.

TikTok famously refused to reasonably compensate rights owners until absolutely forced, with the aforementioned Obermann battling it out with Universal Music Group for weeks before a deal was hammered out. Indies are also understandably cool on this low-paying platform, though TikTok’s marketing muscle is certainly potent — especially if the viral fairy gods tap your shoulder.

Then again, that’s the aspiration for rivals like Reels and Shorts, among others. And we get the sense that witnessing a heavy door slamming on TikTok’s derriere would be oh-so-satisfying for many industry folks.

Guess everyone’s replaceable — and let’s face it, life will go on in the music industry, with or without TikTok USA playing a role in it.

More as this develops.

Got a juicy tip? Hit me up at paul@digitalmusicnews.com or Signal (@digitalmusicnews.07).

 

 

 

 

]]> New Music Releases Tracker: Kid Cudi, Sleep Token, Subtronics+Flowdan, ROSÉ, Doechii+Westside Gunn, Lil Wayne, F1 the Album, More https://www.digitalmusicnews.com/pro/new-music-release-tracker/ Mon, 31 Mar 2025 13:27:01 +0000 https://www.digitalmusicnews.com/?post_type=dmn_pro&p=275389 New Music Releases Tracker

The top 100 notable new music releases, whether singles or albums, as curated by the Digital Music News team.

]]> Whether TikTok Stays or Goes Is Irrelevant to Many In the Music Industry — Now, Players Like Chartmetric Are Developing Far More Sophisticated Solutions for Spotting Future Superstars https://www.digitalmusicnews.com/2025/02/24/chartmetric-talent-search-tool/ Mon, 24 Feb 2025 23:36:28 +0000 https://www.digitalmusicnews.com/?p=315007 Chartmetric 'Talent Search Tool' filters (photo: Chartmetric)

Chartmetric’s ‘Talent Search Tool’ sifts through an enormous amount of data to better predict winners (photo: Chartmetric)

You can forgive the music industry for being blasé about the fate of TikTok in the United States.

In fact, many have privately expressed to DMN that they’d love to see TikTok pack its bags. Over the past year, TikTok has done an impressive job of pissing off a vast range of rights owners, from Universal Music Group to the smallest indie. In the blunt language of this business, TikTok’s payouts stink — and so does its attitude towards rights owners.

But there’s a deeper reason why many in the music industry have done little to advocate for TikTok’s survival in the US: it just doesn’t matter as much for their businesses. That came into stark focus with UMG: according to data unearthed by DMN Pro, Universal Music was making more from paid downloads than TikTok royalties before their dispute.

Beyond the financial calculations, there’s an even more serious issue: chasing down viral TikTok artists is becoming a losing game.

“The TikTok gold rush is declining,” Chartmetric analyst Domenico Randazzo told Digital Music News while pointing to more reliable success indicators like Instagram engagement and user-created streaming playlists — among dozens of other data predictors.

Others, including Duetti, are finding that TikTok’s supposed star-making magic only runs so deep. TikTok is undoubtedly breaking new artists and breathing life into old songs, but the success levels aren’t great outside of the flashy outliers. Digging into the data, Duetti found that even amongst the fewer than 1% of tracks that ‘go viral’ on TikTok, only about 15% experience long-term streaming growth on digital service providers (DSPs) like Spotify and Apple Music.

Those stats aren’t shocking for data players like Chartmetric. The company quickly realized that music executives were shifting away from TikTok signing derbies and more towards sophisticated data analytics to identify the next generation of chart toppers. After nearly two years of intensive research, the company recently launched a predictive talent search tool, promising to give companies an edge in the race to identify tomorrow’s superstars.

The company’s new offering, simply called ‘Talent Search Tool,’ sifts through data from over 10 million artists, identifying key “signals” that suggest an artist’s potential for long-term success. Each artist receives a daily score from 1 to 10 across various metrics, making it easier to spot emerging talent worthy of deeper investigation. Just recently, Chartmetric joined forces with DMN to broaden awareness of its data-powered predictive tool.

“Data has always been an essential component of the gut instinct that A&Rs rely on,” says Chaz Jenkins, Chief Commercial Officer of Chartmetric. “But with so many artists releasing music today, it’s nearly impossible for anyone to have sufficient awareness of the marketplace.” In that soup, Chartmetric aims to offer a data-driven lens to navigate the overwhelming volume of music being released globally.

Decoding the Signals: What Makes a Future Star?

Chartmetric Talent Search Tool filters in action (photo: Chartmetric)

Chartmetric’s Talent Search Tool filters in action (photo: Chartmetric)

Chartmetric’s tool categorizes these signals into Performance Metrics and Contextual Metrics. Performance Metrics, such as user engagement (for example, Instagram likes relative to followers), consistent growth across streaming platforms, and user-created playlist additions, provide quantifiable measures of an artist’s traction.

Contextual Metrics, on the other hand, offer a more nuanced view, considering factors like editorial playlist placements, presence in “trigger cities” (those with high listener growth potential), international reach, and audience demographics.

“There is no single metric that can predict success,” explains Akash Mukherjee, VP of Product Management at Chartmetric. “Each of the signals we identified integrates multiple data points from many services.”

According to Mukherjee, the tool’s power lies in its ability to handle the “heavy analytical work behind the scenes,” allowing users to identify emerging talent far earlier than traditional methods.

Suddenly, Context Is King.

Chartmetric emphasizes that these metrics are not to be interpreted in isolation. Context is crucial. For instance, a low editorial curation score might indicate that an artist is gaining traction purely through organic fan engagement, which could be a valuable asset. “Extreme values provide context about an artist’s profile, not necessarily positive or negative,” notes Randazzo.

The tool’s flexibility is also key. Users can apply filters for genre, region, gender, career stage, and other criteria to narrow their search and find artists who align with their specific goals. This customization is vital in an industry where different stakeholders have varying priorities. Labels may seek rapid growth, while publishers might focus on established, recurring success.

But is Chartmetric simply setting the stage for the next ‘A&R arms race’?

Companies are notorious for glomming around rising TikTok stars with checkbooks in hand. But Chartmetric is hoping to offer something more tailored to what different companies are actually chasing. Chartmetric’s Morgan Burrell told DMN that companies are now racing to “determine specific findings and tailor the tool to individual needs” instead of chasing a single viral sensation.

That said, more sophisticated data could create future signing derbies, particularly around fast-surging artists. But that’s always been part of the business.

Speaking of specialization, Chartmetric also noted that its Talent Search Tool goes beyond record labels and publishers. For example, artist managers can leverage the tool to track their clients’ progress and refine their strategies. Advertisers and marketers can gain insights into audience demographics for targeted campaigns. Even universities and business schools use Chartmetric to train the next generation of music industry professionals.

But great results will probably take some training, particularly for those wanting to find long-term artists who can thrive in their businesses. As for the evolving expertise required to interpret the data, this is about as far from the days of A&R guys hitting clubs and listening to demo tapes as possible.

It’s also a step beyond the madness of chasing TikTok virality. “It’s all about the nuances of interpreting various metrics on the platform,” says Randazzo. “Contextual understanding of these metrics is critical.”

]]> Warner Records and Tim Hinshaw Launch Free Lunch Label, Announce Initial Signings https://www.digitalmusicnews.com/2025/02/19/free-lunch-records-launch/ Wed, 19 Feb 2025 21:52:03 +0000 https://www.digitalmusicnews.com/?p=314866 Free Lunch Records

Tim Hinshaw, whose Free Lunch has launched a namesake label in partnership with Warner Records. Photo Credit: Rashida Zagon

Warner Records has officially launched a label in partnership with Tim Hinshaw’s Free Lunch Agency creative studio.

The Warner Music Group subsidiary reached out today with word of the newly minted label, Free Lunch Records. Previously Amazon Music’s head of hip-hop and R&B, Hinshaw established the overarching Free Lunch in 2023.

2024 then saw the “creative and touring company” ink a deal with AEG Presents. Under that pact, Free Lunch (which, at least as of June 2024, counted Amazon Music as a client) is “securing and marketing hip-hop, R&B and gospel tours for the” Anschutz Entertainment Group division.

Now, Free Lunch and Warner Records are looking to leverage those multifaceted operations on the label side. Though the involved parties didn’t dive too far into their exact plans here, they did indicate that nearly four-year Warner Records A&R SVP Ericka Coulter will continue in the role while simultaneously serving as Free Lunch Records’ GM.

Additionally, Free Lunch confirmed its first two label signings: Syd (real name Sydney Bennett) and Alex Isley (the daughter of the Isley Brothers’ Ernie Isley). Syd’s latter studio album, Broken Hearts Club, debuted in 2022 via Sony Music’s Columbia; Alex Isley released 2023’s I Left My Heart in Ladera with Terrace Martin via BMG and Martin’s Sounds of Crenshaw.

Addressing the agreement, Warner Records co-chair and CEO Aaron Bay-Schuck touted the “perfect synergy” between his company and Free Lunch.

“Tom [Corson, COO of Warner Records] and I are thrilled to welcome Tim and his Free Lunch team to the label,” said Bay-Schuck. “His expertise stretches far beyond finding and nurturing talent – he knows how to make sure his artists are making an impact.

“Early on in our conversations, it was clear bringing Tim and Free Lunch into the Warner fold would be a perfect synergy. Tim is immersed in the vast culture of hip-hop and R&B, across music, sports, fashion, and live entertainment, and together we’ll work towards our shared goal of uplifting the best and brightest in the genre,” the Warner Records head concluded.

And in remarks of his own, Hinshaw touched on an ambitious long-term vision for the tie-up.

“By uniting Free Lunch Agency with Warner Records,” Hinshaw relayed, “we can combine our expertise in creative, music, and brand building to elevate the first-class roster. What Aaron, Tom, and the team have built is truly impressive, and together we’ll expand the scope of artist narratives to connect even more deeply with fans across the globe.”

]]> Weeks After WMG’s Massive U.S. Reorganization, Warner Music Brazil Unveils ‘New Structure to Turbocharge Domestic Growth’ https://www.digitalmusicnews.com/2024/08/28/warner-music-brazil-restructuring-august-2024/ Thu, 29 Aug 2024 03:01:09 +0000 https://www.digitalmusicnews.com/?p=299676 warner music brazil

Tatiana Cantinho, who’s joined Warner Music Brazil as general manager. Photo Credit: WMG

After kicking off 2024 by opening a “dynamic and inviting” Rio de Janeiro headquarters, Warner Music Brazil has unveiled a major restructuring initiative.

Warner Music reached out with word of the new executive structure, designed to “turbocharge” the Brazilian division’s presence across “diverse domestic genres.”

Said genres are proving increasingly lucrative against the backdrop of the South American nation’s quick-expanding recorded music market, which was deemed the ninth largest in the world last year and remains the target of aggressive antipiracy campaigns.

Keeping the focus on the revamped Warner Music Brazil, president Leila Oliveira has brought on Sony Music (and Som Livre) vet Tatiana Cantinho as GM and enlisted Mariana Frensel (previously with Sony Music, Warner Music itself, and most recently Match Group) to serve as marketing director.

Both the higher-ups are based in the Rio headquarters and will begin in the posts “immediately.” Additionally, Warner Music Brazil is retooling its A&R and marketing operations “to better serve key domestic genres” including but not limited to sertanejo, forró, and samba.

Consequently, existing A&R director Marcos Kilzer is poised to stay aboard and “work closely with Cantinho,” per the business. Plus, a newly formed creative services team will be helmed by Thiago Abreu, who’ll report to Oliveira and aim to support marketing as well as A&R while simultaneously spearheading brand partnerships and live projects.

In a statement, Oliveira touted the reorganization as “a key moment” for her company, which in July invested in Sua Música, the self-described “largest Brazilian music content platform.”

“This is a key moment for Warner Music Brazil,” summed up Oliveira, who’s been part of the executive suite for over a decade. “The arrival of Tatiana and Mariana strengthens my leadership team and together we’ll rewrite the rules about how the industry operates here.

“Our new genre-specific teams mean that we’ll be able to superserve artists better than ever and help all types of Brazilian talent connect with fans here and around the world,” concluded the Warner Music Brazil president.

At the top level, Warner Music Brazil’s latest changes are significant given the continued industry growth (fueled chiefly by streaming) attributable to the nation of over 215 million. But particularly regarding Warner Music, the pivots have come just weeks after a massive stateside shakeup within the major label’s decidedly important recorded music division.

Lastly, it was only in July that Universal Music moved forward with another round of layoffs, and different executive departures could be indicative of an ongoing reorganization at the leading label.

]]> Timbaland’s Mosley Music and UMG Nashville Partner With a Goal of ‘Breaking Barriers in Country Music’ https://www.digitalmusicnews.com/2024/08/12/timbaland-mosley-music-umg-nashville-deal/ Mon, 12 Aug 2024 20:19:58 +0000 https://www.digitalmusicnews.com/?p=298197 timbaland mosley music umg nashville deal

Timbaland, pictured with the Universal Music Nashville team, has announced a country-focused talent-discovery deal. Photo Credit: UMG

Universal Music Group Nashville and Timbaland’s Mosley Music are working to discover and break country talent under a new partnership.

UMG Nashville just recently unveiled the Mosley Music agreement – albeit without diving too far into the pact’s specifics. Instead, the brass-tacks announcement indicates that the companies are officially joining forces by “actively exploring rising talent and new discoveries in the music space.”

However, the collaboration behind the union has been in place for some time now. According to UMG Nashville CEO Cindy Mabe, her company and Timbaland started working together about one year back with an aim of “bridging the gaps in sound and culture in country music.”

(Mosley, which has per its website sold north of 25 million albums released by the likes of OneRepublic, Nelly Furtado, and others, already had JV deals in place with UMG’s Interscope and Def Jam.)

“Timbaland is one of the most iconic producers, songwriters, and artists in the last 30 years, merging genres and opening the doors to magnify cultural impact across genres,” elaborated Mabe, who’s been at the helm of UMG Nashville for over 10 years.

“Hailing from Norfolk, VA,” concluded Mabe, “Timbaland’s reach and impact have been felt across pop, hip-hop, and country music including working with and bridging sounds for artists like Bubba Sparxxx, For King + Country, and Brad Paisley. Timbaland continues to push open the doors making innovative cultural impact by pushing boundaries and I am excited to join forces in breaking barriers in country music.”

Addressing the decision to zero in on country and unite with UMG Nashville, the Verzuz co-founder and 12on12 stakeholder Timbaland praised the Universal Music-owned label group’s “mission of taking chances on special artists to meet culture.”

“Cindy, Chelsea [Blythe], Charlene [Bryant], Rob [Femia], Lori [Genes Christian], Mike [Harris], and the rest of the team at UMG Nashville understand our vision and I know will be a great partner for us to continue to break artists,” finished the Songwriters Hall of Famer.

Shifting the focus to the commercial motivation fueling the tie-up, the growing revenue potential of country music – including for well-established acts and those dipping their toes in the genre – certainly played a role in the decision.

In some ways, the last few months’ steady stream of country-crossover projects has rendered Diplo’s Honky Tonk and Beyoncé’s country album (which arrived closer to the top of 2024) distant memories.

To be sure, Marshmello and Kane Brown made a commercial splash with their pop-country effort “Miles on It” in May, Post Malone’s preparing to drop F-1 Trillion on Friday, and even UMG-partnered Cirque du Soleil is looking to get in on the action. Meanwhile, R&B star Monica is poised to release a country album of her own, produced this time by Brandi Carlile.

]]> Big, Big Shake-Up at Warner Music Group — Recorded Music CEO Max Lousada Is Out as Kyncl Flatttens the Org https://www.digitalmusicnews.com/2024/08/01/warner-music-group-restructuring/ Fri, 02 Aug 2024 06:37:41 +0000 https://www.digitalmusicnews.com/?p=297214 Shake-up at Warner Music Group: (l-r) Max Lousada, Julie Greenwald, Elliott Grainge

A shake-up in Kyncl’s cast: (l-r) Max Lousada, Julie Greenwald, Elliot Grainge (Credits, also l-to-r: Billal Taright, Matthew Furman, Logan Mock)

Warner Music Group confirmed a significant restructuring of its Recorded Music division on Thursday (August 1st), with an expressed aim to to better enhance artist services, streamline global operations, and position the company for sustained growth. The shakeup involves major leadership changes — including the departure of longtime Recorded Music CEO Max Lousada — and a flatter organizational structure going forward. Here’s the full breakdown.

Warner Music Group CEO Robert Kyncl has now pulled the trigger on a serious restructuring, specifically involving the all-important (and far more profitable) recorded music division. The biggest bombshell is that after two decades with WMG, Max Lousada, CEO of Recorded Music, will step down at the end of the fiscal year on September 30th.

Lousada will continue as an advisor until January 31st, according to details confirmed by the major.

Staying in the building is Julie Greenwald, who will transition into the lofty role of Chairman of Atlantic Music Group, directly reporting to Kyncl. Also elevating ranks is Elliot Grainge, founder & CEO of 10K Projects, who will now become CEO of Atlantic Music Group, effective October 1st.

Grainge first joined WMG’s senior management team last year following the company’s acquisition of a majority stake in 10K Projects. The hip-hop-savvy executive, whose father is Universal Music Group chairman and CEO Lucian Grainge, reportedly blasted an email to the 10K troops to reassure that business at the label would continue as normal.

Lousada is saying goodbye, though there won’t be a direct replacement.

According to WMG, the new structure, effective October 1st, will eliminate the roles of CEO, Recorded Music and President, International, Recorded Music. Regional and divisional leaders will report directly to Kyncl, fostering direct channels between local expertise and global opportunities.

That shifts the structure towards a more ‘flat’ organizational layout, which theoretically cuts bureaucracy and confusion with cleaner reporting lines.

Key regional leadership appointments include Simon Robson overseeing Europe, the Middle East, and Africa; Alejandro Duque continuing to lead Latin America; and a yet-to-be-appointed leader for the newly created Asia Pacific region.

In the US, the Atlantic Music Group, under the leadership of Grainge and Greenwald, will encompass Atlantic Records, 300 Elektra Entertainment, and 10K Projects. Warner Records, led by Tom Corson and Aaron Bay-Schuck, will now include Warner Music Nashville, Nonesuch, and Reprise.

Warner Music Group is also bolstering its global operations in distribution, Global Catalog, Marketing, and WMX. The heads of these divisions will report to Kyncl from October 1st.

“On behalf of everyone at WMG, I’d like to thank Max for his extraordinary achievements over the last twenty years,” Robert Kyncl relayed. “Max is a true artists’ champion, who created a culture that puts artistry first, growing our global reach and building a roster of incredible talent and an outstanding team. I’m grateful that he’ll be helping to ensure a smooth transition.”

]]> Too Lost on Why Music Distribution Is More Than Just Moving Your Music From A-to-B — Here’s a Look at Their Diversified Partner Strategy https://www.digitalmusicnews.com/2024/07/31/too-lost-music-distribution-more-than-a-to-b/ Wed, 31 Jul 2024 22:30:45 +0000 https://www.digitalmusicnews.com/?p=297025 Too Lost-distributed artist Ollie Joseph (Photo: Ollie Joseph)

Too Lost-distributed artist Ollie Joseph (Photo: Ollie Joseph)

The music industry isn’t running out of music distributors anytime soon, though Too Lost is differentiating with some interesting innovations —including a deep list of partnerships that include BMG, Easy Song, beatBread, and Delta.

Music distribution is a seriously competitive sub-industry, though a relatively fresh face, Too Lost, is making waves by rethinking the traditional distribution model.

Already, the company is getting good marks from the musician community for solving issues like streaming fraud and enabling artist financing. However, the company is also pushing an expansive partnership strategy designed to offer artists and labels more than just a path to digital service providers (DSPs).

The result: Too Lost is suddenly pushing distribution far beyond the traditional task of shuttling music from A-to-B. With an array of non-traditional partners, the company aims to provide broader opportunities for its artists, with the end game of reaching new and diverse audiences. Just recently, Too Lost partnered with Digital Music News to further expand their growing footprint.

Several notable artists are already on board with Too Lost’s refreshed concept, including Chief Keef, ILoveMakonnen, YG, Xavier Wulf, Lil Mabu, Josiah and the Bonnevilles, Ali Gatie, Lucifer, Joseph Tilly, and Pink Sweats. Also in the Too Lost mix are up-and-coming artists like Ollie Joseph (pictured), who recently crossed 600,000 followers on Spotify.

At this stage of the game, artists can quickly move their music onto Spotify or Apple Music with more than a dozen high-quality distribution platforms.

Against that competitive landscape, Too Lost decided to expand the role of traditional distribution. Too Lost excels in DSP distribution (they are a Spotify Preferred Provider, for example), though they also offer competencies in critical areas like cover licensing, financing, and publishing administration.

Too Lost told Digital Music News they decided against building those competencies from scratch for several reasons. For starters, the ‘wheel has already been invented’ in many critical music industry core competencies, so why not simply partner with the best to rapidly expand the possibilities for its artists?

In the case of cover licensing, that meant brokering a deal with Easy Song. In artist financing, a beatBread deal was inked to enable flexible financing options, enabling Too Lost artists to fund their projects without traditional record deals. For publishing administration, a BMG partnership was brokered. And the list goes on.

“Our partnerships with industry leaders like BMG and beatBread are a testament to Too Lost’s commitment to providing artists with comprehensive tools and resources,” said Damien Ritter, Director of Marketing at Too Lost. “By leveraging these collaborations, we empower artists to focus on their creativity while we handle the complexities of rights management, financing, and content protection.”

Here’s a quick rundown of some of Too Lost’s top partnerships.

Too Lost told us that this is a rapidly-growing list, though these are currently some of their most impactful and essential partnerships.

Easy Song: Simplifies the complex world of song licensing, making it easier for artists to cover songs legally.

Pex: Provides robust content identification and monetization tools.

Cosynd: Offers enhanced IP protections, ensuring artists’ intellectual property is well-guarded.

BMG: Assists with publishing administration and royalty management, freeing artists from the intricacies of managing their publishing rights.

Beatbread: Facilitates flexible financing options, enabling artists to fund their projects without the need for traditional record deals.

Manifest (formerly Nerve): Ensures direct payouts to artists, streamlining the financial aspects of music distribution.

Beyond its core partner alliances, Too Lost is also focusing on non-traditional distribution endpoints.

For most artists, uploading an album to Spotify is akin to pouring water into the Pacific Ocean. Current estimates peg the number of songs uploaded to DSPs at more than 120,000 a day, and AI only worsens the situation.

So, how do you get noticed in such an intimidatingly vast sea of ‘content’? Too Lost says they hear this problem repeatedly, though not every platform is so crowded. Accordingly, the company has partnered with companies like Delta and Peloton to help artists break through.

Delta doesn’t offer an on-demand platform with millions of songs, though they do promote selected songs to captive fliers. The noise floor is suddenly overcome if an artist is chosen for one of the airline’s in-flight entertainment systems.

The same is true for Peloton, whose high-energy workout playlists can make fans out of fitness enthusiasts if the vibe is right. Too Lost also brokered a partnership with Sonu Stream, co-founded by Tokimonsta, which aims to better compensate artists for their streams. These non-traditional partnerships aim to expand the reach of Too Lost’s artists, ensuring that their music can be discovered in unexpected places.

After a relatively short period in the industry, Too Lost has received positive marks from musicians.

Among the biggest fans is Ari Herstand, a respected musician and industry expert who recently proclaimed that “Too Lost is one of the best-kept secrets in the music distribution world.”

“Their commitment to artist autonomy and unmatched administrative support sets them apart from the competition,” Ari gushed.

Too Lost’s top artists are also tapping into the platform’s network of partnerships, with tracks getting financed and popping up on non-traditional playlists. “At Too Lost, we are incredibly proud of the innovative solutions and partnerships we’ve developed to support our artists,” says Ritter. “Our mission is to empower musicians by providing them with the tools and resources they need to succeed in today’s dynamic music industry.”

“At Too Lost, we firmly believe that you can make a serious creative dent and find your fans — but you need the right partners to do it.”

]]> James McCartney’s Next Release? A Cover of Joni Mitchell’s ‘Circle Game’ https://www.digitalmusicnews.com/2024/07/19/james-mccartney-joni-mitchell-circle-game/ Sat, 20 Jul 2024 06:48:18 +0000 https://www.digitalmusicnews.com/?p=296236

Photo: James McCartney IG

After dropping two new music collaborations with Sean Ono Lennon, James McCartney’s next release is a cover of Joni Mitchell’s iconic “Circle Game.”

The following was created in partnership with earthprogram.

McCartney recently teamed up with Sean Ono Lennon for the release of “Primrose Hill,” co-written with the youngest son of the late John Lennon. McCartney said at the time that the acoustic ballad is named for an idyllic park in Camden overlooking London’s Regent’s Park. The song itself was inspired by a vision the young McCartney had as a child on a summer day in Scotland. 

The release of “Primrose Hill” follows the release of “Beautiful,” which the pair of Beatles’ sons dropped in February 2024. The McCartney-Lennon collaboration songs are McCartney’s first new music since he dropped his second album in 2016. He released his full-length debut album, Me, in May 2013, which was co-produced by Paul and David Kahne. 

James McCartney’s music carries a unique blend of melodic pop and introspective lyrics, reviving the 60s style his father helped make so popular. It also echoes the folk-infused sound of artists like Ray LaMontagne and Damien Rice.

McCartney’s newer releases are distributed by earthprogram, an industry firm founded by A&R vets Jason & Joel T. Jordan, in a distribution and IP protection collaboration with Virgin Music.DMN profiled earthprogram earlier this year — and have now locked arms with the founders to showcase new releases. 

The industry incubator offers expert consulting and business development services for artists, labels, startups, and ‘green’ investors. For artists like McCartney, earthprogram aims to expand creative output and capture audience attention by collaborating and marketing across multiple platforms.

Jason told Digital Music News that his team’s expertise and extensive network of music industry partnerships places it in a unique position to market their artists.

The twins say they founded the business because they realized many artists are ‘green’ when it comes to the business side of the music industry. “Playlisting is not a marketing strategy,” Jason told Digital Music News recently. Musicians who put their entire album online at once ‘simply blew their investment’ Jordan adds, instead of building a story out over a year, forming the building blocks for a career in the industry.

“Circle Game” is the latest single from James McCartney, releasing today as a teaser for his upcoming EP set to release Fall 2024. McCartney’s version of the song beautifully complements the enchanting charm of Joni Mitchell’s original recording, while adding upbeat energy and an infectious joy.

James McCartney is an English-American multi-instrumentalist, prolific singer-songwriter. He has contributed to solo albums by his parents, including Flaming Pie and Driving Rain by Paul McCartney and Wide Prairie by Linda McCartney.

]]> What a TikTok Ban Really Means for the Music Industry — A Comprehensive Breakdown of the Winners & Losers After TikTok Is Gone https://www.digitalmusicnews.com/pro/white-paper-tiktok-ban-music-industry-winners-losers/ https://www.digitalmusicnews.com/pro/white-paper-tiktok-ban-music-industry-winners-losers/#respond Tue, 02 Apr 2024 23:41:34 +0000 https://www.digitalmusicnews.com/?post_type=dmn_pro&p=286046 Emerging artists could be hardest hit by a TikTok ban. The United States produces the most emerging artists globally, according to Chartmetric data.

Emerging artists could be hardest hit by a TikTok ban. The United States produces the most emerging artists globally, according to Chartmetric data.

TikTok is battling its greatest regulatory threat to date in the U.S., where the ByteDance-developed app’s shutdown would affect a multitude of individuals, companies, and spaces. But what does this mean for the music industry — and all of its complicated sub-sectors?

In this white paper, DMN Pro takes an exhaustive look at the post-TikTok music industry’s winners and losers, from the major labels to DSPs and artists to UGC competitors.

REPORT TABLE OF CONTENTS:

Introduction: The Post-TikTok Music Landscape Could Give Rise to Unprecedented Changes – With Implications for Fans, Artists, and Companies Alike

Record Labels: Majors and Indies Stand to Lose in Several Areas (and Win in Others) With TikTok’s Ban

Graph: A Breakdown of Global Recorded Music Revenue from UGC and Ancillary Licensing Sources
Graph: 2023 Global Recorded Music Revenue by Segment

Publishers: Short-Term Losses, Particularly for Smaller Indies, Could Make Way for Long-Term Improvements

Songwriters: A Possible Licensing Revenue Upside Won’t Offset Immediate Discovery Setbacks, Especially for DIY Professionals

Artists: Post-TikTok, Artists At All Career Stages Will Suffer Varied Near-Term Professional Consequences

Graph: Selected Artists’ Social Media Followers, YouTube Subscribers, and Spotify Monthly Listeners
Superstar and Legendary Artists
Mid-Level Artists With Substantial Followings
Developing and Emerging Artists
Pre-Traction Artists
Graph: A 2023 Breakdown of Emerging Artists by Home Country

Competing UGC Platforms: Reels, Shorts, and Others Will Be the Clear Winners

Overall Licensing Revenue: Ancillary Setbacks Aside, TikTok’s Ban Will Have a Minimal Licensing Revenue Impact

Graph: Universal Music’s Estimated TikTok Revenue Versus Permanent Downloads Revenue, 2020 – 2023

Non-Label Sync Platforms: The Post-TikTok Industry May Look Different for Sync Platforms and Music Libraries

The Fans: More Than a Letdown for Fans, TikTok’s Ban Will Dramatically Affect Music Discovery

DSPs: What Does a TikTok Ban Mean for Spotify, Apple Music, and YouTube Music?

Promoters and Venues: The TikTok Ban’s Significance for Live Music

Report Summary: The Post-TikTok Music Landscape’s Many Changes

By the Dates: A Timeline of TikTok Regulatory Scrutiny, December 2022 – April 2024

One-Sheet Infographic: The Post-TikTok Winners & Losers

 

Join the DMN Pro subscriber-only discussion below.

Also please note that any authorized redistribution of this report is prohibited — thank you.

 


]]> https://www.digitalmusicnews.com/pro/white-paper-tiktok-ban-music-industry-winners-losers/feed/ 0 Life After TikTok: What Does a Ban Mean for the Music Industry? https://www.digitalmusicnews.com/pro/tik-tok-aftermath-weekly/ https://www.digitalmusicnews.com/pro/tik-tok-aftermath-weekly/#respond Thu, 21 Mar 2024 03:00:30 +0000 https://www.digitalmusicnews.com/?post_type=dmn_pro&p=284813 All over the map: selected artists’ social media followers, YouTube subscribers, and Spotify monthly listeners.

All over the map: selected artists’ social media followers, YouTube subscribers, and Spotify monthly listeners.

TikTok is facing its greatest regulatory threat to date in the U.S., where lawmakers are rallying behind forced-sale legislation. TikTok says this would effectively amount to a ban in the app’s biggest market, with ripple effects impacting dozens of industries. But what exactly would a ban look like for the music industry?

TikTok’s possible U.S. shutdown would bring music-specific consequences affecting licensing, supplemental artist income, promotion, discovery, fan interaction, and more. Though nothing to scoff at, the lost licensing revenue would pale in comparison to the absence of what has quietly become a go-to promotional tool for artists and labels of all sizes.

In this DMN Pro Weekly Report, we attempt to pick apart a post-TikTok world.

Report Table of Contents:

I. A Recap of the TikTok Forced-Sale Bill’s Legislative Progress 

II. The Music Industry Without TikTok: How a U.S. Ban Could Affect Labels’ Revenue and Artists’ Income

A. Graph: Selected Artists’ Social Media Followers, YouTube Subscribers, and Spotify Monthly Listeners

III. TikTok As a Music Marketing Tool – Will a Viable Replacement Emerge in the Event of a U.S. Shutdown? 

IV. TikTok and the Future of Music: Should We Expect Fundamental Industry Changes Post-Ban? 

V. By the Dates: Key Music Industry Revenue- and Promotion-Related TikTok Developments, 2022-2024

New! Join the DMN Pro subscriber-only discussion below.

Also please note that any authorized redistribution of this report is prohibited — thank you.


]]> https://www.digitalmusicnews.com/pro/tik-tok-aftermath-weekly/feed/ 0 With the Help of Data, emlyn Breaks from Songwriter to Viral Success https://www.digitalmusicnews.com/2024/02/27/emlyn-songwriter-viral-success-data/ Wed, 28 Feb 2024 05:30:46 +0000 https://www.digitalmusicnews.com/?p=280579

Indie artist emlyn is a star on the rise, thanks in part to her usage of platforms like Chartmetric and Venice Music that equip emerging talent with the tools they need to succeed in the music industry.

The following comes from Chartmetric, a company DMN is partnered with.

There’s an array of music companies out there with tools, data, and insights to support many of today’s emerging independent artists. Meet Chartmetric and Venice Music, two all-in-one platforms that are doing just that.

Since 2015, Chartmetric has equipped artists and music industry professionals with comprehensive streaming, social media, and audience data to help musicians thrive in their careers, while Venice Music provides tools to distribute music, monitor streaming performance, and collect royalties.

Emlyn, an LA-based indie singer-songwriter originally from Nashville, is just one of the rising indie artists who has seen success using both platforms. Emlyn’s father was a studio drummer, while her mother worked as a therapist, so growing up she learned what it took to craft a song that connects emotionally with a listener. She also taught herself to play the piano and guitar, thanks to the help of Taylor Swift’s songbook.

Now, emlyn releases her own music, which is distributed by Venice Music. For the past six years, she has been represented by her manager Joshua Russak, whom she met after one of Russak’s other clients sent him emlyn’s demos.

“I thought she had such an incredible ear for melodies and storytelling,” Russak told Chartmetric. “We really hit it off talking about music and the business and felt she had a great grasp of all the things it takes to succeed in today’s music environment.”

Russak was drawn to emlyn by her lyrics and writing style, which he saw as conveying a sense of realness and approachability. He also discovered early on that she had a unique way of getting inside of the heads of other artists and helping others express what they’re feeling.

 

"Most people think artists just wake up and are some supernatural being that creates against all odds, when, in reality, artists are works-in-progress," Russak said. "It takes time for an identity to be clearly defined and I watched emlyn go through a lot of stages. What was clear from the beginning was that she was going to keep improving and I will bet on people like her all day."

For the first half of their time working together, she was focused more on songwriting, but the pandemic is when she really started to release some of her own music.

"She was always interested in being an artist, but never had the right vehicle, time, or songs to launch it in the way that we would have wanted to," Russak told Chartmetric. "[During the pandemic,] there were a lot less songwriting sessions happening, so she ended up deciding to focus on herself and changed the trajectory of her career."

In January 2021, emlyn released new music and quickly started to gain momentum after she landed on some of the earlier feeder playlists on Spotify and Amazon Music. By May of the same year, emlyn found semi-viral success on TikTok with the release of her song "B.O.M.B.," with her post teasing the song since receiving over two million views. This is when Russak started to lean more on data to gain better insights to continue building on the momentum emlyn was already seeing early in her career.

@emlyn_music SHOULD I PUT IT OUTTTT 😭😭😭 #original #artist #viral #singing ♬ B.O.M.B OUT NOW - emlyn

Russak said they had to make many decisions like figuring out which song they should go with, whether it should be fast or slow, if they should be doing campaigns, how they should be moving in between songs, and determining which of emlyn’s posts are gaining traction.

 

According to Russak, "Sometimes certain posts on certain platforms will work for follows, but not for streams, or will work for streams, but not for Instagram follows, or certain viral TikTok pieces are great for profile views, but don’t filter through to anything else. Even though we’re in this age of algorithms, I think the audiences aren’t machines at the end of the day, but there are some general trend lines where you can find best practices."

For Russak, that’s where Chartmetric comes in. "Everything I find on Chartmetric has helped me think about what our problems are a little differently," Russak shared. "We do a little bit of an analysis on where we are, what's working, and what isn't. Then we’re just—poking the bear—so to speak, to figure out how to get things to continue moving and growing. Sometimes there aren't answers, but it at least gives us the clues to figure out where to lean into and where we have problems.

"So, I really use [Chartmetric] as my home base. I open up [the dashboard] every morning. I use [the dashboard] at midnight to see every release, or check out early playlist pickup. From there, when I'm interested in even more granular data, I might kick off to more DSP-specific platforms, but this absolutely is my home base for everything."

Emlyn has 485,000 followers on TikTok, 107,000 on Instagram, and 174,000 on Spotify, where she saw a 14.4% increase in the past year.

Additionally, her YouTube channel has 26.4,000 subscribers and 13.5 million video views. There is a strategy to what content is posted where, according to Russak: shortform video platforms like TikTok and Instagram Reels are used to tease music and encourage user-generated content, while Instagram and Twitter posts are best for making more formal announcements and sharing milestones.

Michele Akinsanya, Director of Data and Streaming Analytics for Venice Music, said Chartmetric has been helpful in allowing them to see all of the playlist placements that their artists — like emlyn — land on release days.

 

"It’s in beta, but I love the artist insights that highlight growth spikes on social and streaming platforms," Akinsanya said. "This enables us to investigate and take action on moments in a quick and efficient way. The visualizers are also a really great way to quickly assess the magnitude of growth over time. I love the convenience of having both social and streaming data in one place."

"In the future, I would love to take more advantage of the integration with One Sheet, playlist evolution features, and the Artist Comparison Pro to help with the strategic side of things," Akinsanya added.

For Janice Wang, VP of Partner Acquisition and Success at Venice Music, the three key takeaways from emlyn’s career trajectory that other artists can learn from are to "invest time in nurturing connections with fans, execute on pre-release buildup and post-release promotion plans, and remain attentive to fan feedback with the flexibility to adapt and refine your release strategies."

This is why artists can so greatly benefit from platforms like Venice Music and Chartmetric, which provide the data and support needed at every stage of one’s music journey.

As for emlyn, her album, that’s how you make a villain - chapter 1 came out this past November. Ahead of its release, emlyn wrote on Instagram that the decision to split the album into three parts came from a realization that "this story of who I am, and where I came from, is meant to be told as a trilogy."

She will also be going on tour in the U.K. and Europe in February 2024.

Graphics by Nicki Camberg and cover image by Crasianne Tirado; data as of Jan. 11, 2023.

]]> What Are the Limits of AI-Generated Music? The Answer Is Critical for Superstar Factories Like UMG https://www.digitalmusicnews.com/2024/02/22/ai-generated-music-limits/ https://www.digitalmusicnews.com/2024/02/22/ai-generated-music-limits/#comments Thu, 22 Feb 2024 20:50:01 +0000 https://www.digitalmusicnews.com/?p=281545 AI 'singer-songwriter' Anna Indiana (photo: @AnnaIndianaAI on X/Twitter)

AI ‘singer-songwriter’ Anna Indiana (photo: @AnnaIndianaAI on X/Twitter)

Can AI create a superstar on the level of Elvis, Prince, or Taylor Swift? There’s ample reason to believe that the musicians that truly connect and drive the culture will always be ‘human-generated’ — deeply flawed, just like us.

So what are the real limits of AI-generated music?

That’s a question worth reflecting upon as Universal Music Group continues to battle it out with TikTok, partly over AI-generated music. It’s no secret that TikTok and its owner, ByteDance, are gung-ho on AI-generated music and triggering serious copyright concerns in the process.

But perhaps it’s useful to consider the limits of AI in music, particularly as it surrounds the human element of superstardom.

Check out our recent DMN Pro Weekly report for a complete breakdown of the recent UMG-TikTok standoff and what we know about TikTok’s music deal structures. We dive deeper into what this standoff means, what led to the breakdown, TikTok’s royalty contributions to the music industry compared to other UGC platforms, and an eye-opening comparison between the revenues of UMG versus TikTok owner ByteDance.

It’s not that there aren’t attempts to create an AI-generated idol or pop superstar — not to mention AI-generated best friends and even sexual partners. But there may be serious limitations to this game.

If only it were ‘all about the music,’ to quote an old industry cliché.

One could argue that the music industry is powered by hits — those beautiful, perfectly-timed songs that ripple throughout the world, racking up billions of plays and taking residence in our collective consciousness. But powering every hit is a personality, a human that is typically relatable on some level to fans. In most cases, it’s not just the hit, it’s who’s delivering that hit to the world — and that’s a huge part of what Universal Music Group and companies like it create.

It’s not that AI isn’t attempting to replicate that. But it might be fundamentally impossible to replace the superstar musician, simply because superstars only exist because of the people that love them. And the superstars we form connections with are often deeply flawed, vulnerable, and tragically human.

Nobody particularly likes overdosing on toilets, murderous producers, classical geniuses who die at 35, heroin-addicted singers, bickering band members, or the ’27 Club’. But the dirty, dark history of music is not only tragically human; it might also be the flip side of genius. And it’s something AI isn’t designed to replace.

But maybe that’s a feature, not a bug, for music fans who favor the sometimes ugly — and very human — real thing.

And for proof of that, simply look at the most successful and celebrated ‘catalog’ artists of all time.

Jim Morrison was, at times, a semi-functional alcoholic who had trouble showing up at gigs and exposed himself when he did. But damn, he had a powerful and magnetic charisma — not to mention beautiful lyrics. Elvis helped to redefine and popularize rock n’ roll like nobody before him, yet his waning days were spent popping pills in a Vegas penthouse suite.

Prince seemed like the model of squeaky-clean creativity and control — until the shocking details of his sudden death emerged. Chet Baker couldn’t kick heroin and fell out of a window to his death.

And Michael Jackson, whose catalog was recently valued at $1.2 billion? I rest my case.

The list goes on — and on, and on, and on.

Indeed, the list is filled with extreme meltdowns,  murderous rampages, descents into insanity, suicides, and too many debilitating drug and alcohol addictions to count. It’s a depressingly checkered past, and a stark reminder that flawed human beings — just like us — are on that stage.

The Universal Music-TikTok Licensing Battle Is in Full Swing — But What Do We Actually Know About TikTok’s Licensing Agreements?

Perhaps an AI compositional platform can perfectly concoct the music for a chase scene in 1.4 seconds. But for the biggest stars and the fans who love them, is it ever just ‘all about the music’?

And that goes for the happily non-screwed-up artists as well. Perhaps in a sign of positive societal change, many of the biggest music superstars today — Taylor Swift, Drake, Beyonce, Olivia Rodrigo, Ed Sheeran, Dua Lipa — aren’t defined by their vices but by their togetherness. They show up on time, stay healthy and kick ass.

(That’s not to say there aren’t troubled artists out there, but maybe we’re doing better these days.)

But the real connection goes far beyond the music and into the relatability, the human charisma, and the feeling that despite the searing levels of celebrity, there’s still a human that sleeps, eats, drinks, screws up, and even gets dumped — just like you.

Even if you hate them and wish they didn’t get so much airtime at Chiefs games, that’s engagement — you’re sucked in. There’s a connection, not just to the artist but the entire culture surrounding them.

What’s true in music may also be true for other areas of entertainment, including sports. We love a comeback because it’s human. A hole-in-one shot by an AI-powered humanoid would be a novelty, not a daring exploit for the ages.

And no matter how sophisticated the Black Mirror dystopian future plays out for the music industry, it’s hard to imagine AI touching that human connection. Because AI isn’t human, it’s designed to do better than humans and eliminate their flaws. And if the Black Mirror AI hellscape truly emerges, you may prefer to listen to a human artist battling against dystopia than an AI-concocted singer feeding you happy vibes.

But if the human connection isn’t replaceable, what is the real threat that AI music poses to the industry?

This isn’t a light question and serious threats are looming on the horizon. It’s part of what pushed Universal Music Group and TikTok past the brink. But UMG also builds superstar careers and fame, which is extremely difficult to replicate and requires deep expertise and experience.

Does that offer UMG more leverage in the TikTok standoff? Even subconsciously, a viral video with a superstar-associated soundtrack feels more powerful. And even TikTok stars are relatable humans, not AI-concocted personalities.

None of that solves the UMG-TikTok standoff, particularly as it relates to copyright concerns. But from the perspective of UMG, a company that specializes in finding and building human superstars, it’s worth noting. Perhaps there’s only so much that AI can replace.

]]> https://www.digitalmusicnews.com/2024/02/22/ai-generated-music-limits/feed/ 1 Warner Music Inks ‘Landmark’ Partnership Deal With Pakistan’s Giraffe, Targets ‘Coke Studio’ Involvement https://www.digitalmusicnews.com/2024/01/24/warner-music-giraffe-partnership/ Wed, 24 Jan 2024 18:21:55 +0000 https://www.digitalmusicnews.com/?p=278754 warner music group giraffe partnership

Giraffe co-founders Xulfi (left) and Muhammad Ibrahim, who serves as CEO. Photo Credit: Warner Music Group

Warner Music Group (WMG) has officially inked a partnership deal with Pakistan’s Giraffe, the producer behind a number of regionally popular music shows.

The Big Three label and seven-year-old Giraffe disclosed their tie-up today, amid significant music industry growth in South Asia as well as Pakistan itself. Population 245 million, the latter nation is home to commercially prominent acts including Xulfi (real name Zulfiqar Jabbar Khan), who co-founded Giraffe alongside entrepreneur and Pricewaterhouse Coopers vet Muhammad Ibrahim.

To date, the self-described “idea space driven by culture” has produced music programs such as Drummers of Pakistan, Red Bull Music Sound Clash, Nescafé Basement, and, perhaps most notably, season 14 of Coke Studio.

Executive produced by the namesake Coca-Cola, Coke Studio features performances (seemingly captured in the studio, not live) from emerging Pakistani artists; its clips have garnered almost 4.4 billion views on YouTube alone.

With Spotify onboard as “the official music streaming partner” of Coke Studio, WMG and Giraffe are now set to coordinate on the forthcoming season 15. While the precise commercial byproducts of the collaboration remain to be seen, Warner Music took the opportunity to emphasize the Giraffe pact’s importance on the A&R front.

And in a statement, Xulfi, previously the guitarist for bands Entity Paradigm and Call, expressed the belief that the deal will prove “a beautiful and adventurous journey.”

“Our aim has always been to use art to build bridges for conversing with the world,” the 43-year-old said in part. “Warner Music, while leveraging its immense global influence, will also help support the artists and their artistry in Pakistan. … Together with Warner Music, we will endeavor to scout stories that can catalyze transformative change, in the pursuit of nurturing a vibrant music ecosystem for the future, and present a greater narrative of love from Pakistan to the world.”

Ibrahim, for his part, indicated that Giraffe is eager to continue “signing and developing our talent by delivering the best-in-class service,” while Warner Music president of emerging markets Alfonso Perez Soto noted that Giraffe “will be invaluable in Warner Music’s growth in the region.”

Lastly, WMG’s president of international for recorded music, Simon Robson, drove home a wider objective of helping Pakistani acts broaden their global reach.

“This is a landmark moment for Warner Music as we work with Giraffe to establish a presence in Pakistan,” communicated Robson. “The combination of its local A&R experience and our global network will mean we can offer talented artists from Pakistan a chance to shine on an international stage.”

Of course, the Giraffe agreement marks only the latest in a line of efforts from WMG to bolster its positioning in quick-developing markets. Last year, the Qanawat owner and Rotana stakeholder invested in Dubai’s HuManagement, expanded its union with Punjabi music consortium Sky Digital India, and scored an album-distribution deal with China’s Lay Zhang.

]]> Radio Still Matters: How to Take Full Advantage of Radio With Play MPE https://www.digitalmusicnews.com/2024/01/08/radio-still-matters-how-to-take-full-advantage-of-radio-with-play-mpe/ Mon, 08 Jan 2024 17:15:04 +0000 https://www.digitalmusicnews.com/?p=262738 Radio Promotion with Play MPE

For a long time, radio has been known to be a decisive platform for music discovery. In recent years, there has been more focus on vying for playlist adds and creating masses of content in hopes of going viral on TikTok. But despite these shifts, radio shouldn’t be ignored — here’s why.

Play MPE is a long-term partner of Digital Music News — we’re proud to jointly share this massive announcement.

The industry has changed a lot over the last couple of decades. Topping the list is music streaming, which has grown into a digital tsunami. Radio may no longer seem to be the MVP in the game, but it’s still very relevant for any development strategy.

Generating Real Organic Growth Through Radio

Artist development strategies are constantly getting more and more inventive. Radio should definitely be part of it. Finding success at radio (or at least getting regular spins) is an excellent strategy for artists to be more visible to music industry professionals. Major labels have yet to discount the impact an artist can have at radio. Getting played on the radio is a tangible vector of validation that still has a consequential impact.

Perhaps there is still a sense that radio is less accessible to independent artists and smaller labels. Or that radio requires large budgets only big companies can unlock. Well, that is where companies like Play MPE come in. In this case, the platform acts as a space for music promotion and discovery by music professionals worldwide. Artists are welcome to use these means, too.

“Programmers are now used to getting their music digitally with a bio, album credits, tour dates, etc. It is also great to see the reporting from Play MPE and see who has opened, streamed and downloaded the songs is definitely helpful.” observed Joel Habbeshaw, VP of radio promotion at New West Records. “I have been utilizing Play MPE for a long time and I have found it to be super easy to upload and create a blast to radio and not have to keep updating my own database of contacts. Their worldwide collection of stations continues to grow and I am thankful for their ability to make the delivery to radio one less thing I have to worry about.”

Play MPE is a two-sided platform:

  • Caster addresses artists, promoters, record labels, and managers. They can promote releases to verified tastemakers in radio, media, music supervision, curation, and more. Promotions include email blasts and hosting on the discovery side of the platform, Player. Users can add broadcast-ready music files, metadata, promotional information, assets, etc.
  • Player enables radio programmers, music supervisors, curators, and even A&R professionals to discover the latest releases. From artists and labels around the globe, Player displays all tracks, in all music formats, with all the needed information. Music professionals can go from there to get a song on the air, do a sync placement, or plan a review by a music magazine.

As for indie artists, their releases can benefit from the same visibility as any other top artist. By existing in this context, this provides even more credibility to a name yet to be discovered.

A Strong Presence Starts With Radio

So why focus on radio when everything seems about getting on playlists or trending on TikTok?

If a music director or radio programmer chooses to add a song to rotation, it’s a deliberate choice. There’s no guaranteed way to get on the radio. Of course, hiring a radio promoter can bring an artist closer to the goal. But ultimately, the choice relies on the radio station alone. Working with promotion companies helps target the right people and networks, making it a great choice, but it still requires a budget. Many professional radio promoters are users of Play MPE. But indie artists are also welcome to take control and promote themselves, which allows them to target the same key industry decision-makers.

Another key factor is that radio plays last longer. Today, placement strategies are mainly focused on streaming playlists. However, they change every week or so. Radio stations might spin a song for 3 to 4 months or even longer if it becomes an instant classic.

It’ll come as no surprise that any artist should aim to diversify their revenue. Streaming can’t be the only stream of income. Other possibilities for getting your music not only heard, but played, have to be taken into account.

“Ditch sending 1000-plus cold emails to radio stations and instead use Play MPE,” said indie artist Sally Dige. “It will save you so much time, money, and effort and be WAY more effective. I cannot recommend this platform enough for independent artists like myself.”

So You Got on the Radio, Now What?

The next step is tracking radio plays and learning more about the artist’s audience. Data can inform a global strategy by showing which territories a track is more appreciated. For instance, an artist may want to book live shows in these target markets. Knowing which stations are playing music means new ways to contact fans, including ticket giveaways, contests to win merchandise, and more. There could also be opportunities to set up on-air interviews or live sessions. Beyond the touring aspect, this is great intel for music marketing.

Data is critical to building an artist development strategy. For example, marketing campaigns informed by radio data can help complete social media stats. Radio stations involve people working daily at curation. Streaming and social data need to be more reliable when it comes to filling venues. All in all, radio seems to have more staying power. And retention leads to longevity.

Beyond facilitating music promotion and discovery, Play MPE supports accessibility to radio tracking. Currently, you can track radio airplay in Canada with their new platform MTR. The company also has plans to expand tracking very soon.  

On the one hand, Play MPE makes it easier for artists to reach radio stations by providing them with a promotion tool and massive distribution lists. On the other hand, they make discoverability easier for curators and industry professionals, creating a space for the latest releases with relevant information attached. Play MPE works across all music formats and genres in 6 continents. When promoting a release, considering radio can open many opportunities in the long term.

Learn more about Play MPE.

]]> SoundCloud Inks Talent-Discovery Deal With Patrick Moxey’s Payday and Helix Records https://www.digitalmusicnews.com/2023/12/12/soundcloud-patrick-moxey-payday-helix-deal/ Tue, 12 Dec 2023 22:17:15 +0000 https://www.digitalmusicnews.com/?p=265486 soundcloud patrick moxey deal

A live performance from Helix Records-signed Netsky. Photo Credit: James Starkey

Five months after partnering with Sony Music on an artist-accelerator program, SoundCloud has unveiled a talent-discovery deal with Patrick Moxey’s label group.

Berlin-based SoundCloud, which is pushing to achieve profitability, today announced the newer of the pacts, inked specifically with EDM-centered Helix Records and hip-hop-focused Payday Records.

The latter is said to have served as the career launchpad behind high-profile acts including Jay-Z, with a current roster including AntsLive and Lagos-born Deto Black. Helix, for its part, is according to execs “a multi-territory independent home for the world’s best new electronic dance music.”

Both established by Ultra Records founder Patrick Moxey – Payday back in 1992, Helix last year – the labels are now expected to coordinate with the streaming platform “to discover, nurture, and invest in emerging electronic and hip-hop music artists,” the involved entities signaled.

(Moxey in March of 2022 detailed a “global strategic alliance,” extending to Helix as well as Payday, with Warner Music, which was an early adopter of SoundCloud’s “fan-powered” royalties model. Warner’s ADA handles the label group’s distribution, and the deal further encompasses “the option for the parties to co-sign new repertoire.”)

“SoundCloud will identify and refer promising artists on platform for potential signing with Helix or PayDay Records,” the businesses spelled out of the just-disclosed tie-up.

Meanwhile, SoundCloud CEO Eliah Seton in a statement indicated that the A&R union, notwithstanding the substantial layoffs his company’s announced on the year, underscores a continued objective of identifying “what’s next in music.”

“Hip-Hop and Electronic music are core to SoundCloud’s identity, and in Patrick Moxey, there is no better partner with whom to give artists the opportunity to build their careers,” communicated the Warner Music vet Seton.

“I’ve known Patrick for years – as we all know, he’s paved the way for some of the biggest names in the industry, and this partnership exemplifies our commitment to identifying and nurturing what’s next in music,” he concluded.

Beyond today’s agreement and the initially mentioned artist-accelerator pact with Sony Music, SoundCloud has leaned into several other talent-discovery deals in recent years. Towards the beginning of 2022, for instance, the service partnered with Solid Foundation Management, a subsidiary of Quality Control. (Subsequently, BTS agency Hybe in February of 2023 scooped up Quality Control.)

And to close out 2022, SoundCloud debuted a label with Atlanta-based, Kei Henderson-founded Third & Hayden, naming Jordan Hawkins and Key! as the JV’s first signings.

]]> Warner Music Acquires The Fried Music’s Recorded Music Business https://www.digitalmusicnews.com/2023/10/05/warner-music-acquires-the-fried-music-business/ Thu, 05 Oct 2023 11:29:04 +0000 https://www.digitalmusicnews.com/?p=256207 Jukka Immonen Warner Music A&R

Photo Credit: Warner Music (Jukka Immonen)

Warner Music has announced it will acquire the recorded music business of The Fried Music. Its founder, producer Jukka Immonen will become the Head of A&R at Warner Music Finland in 2024.

Warner says Immonen’s appointment will follow the retirement of Asko Kallonen, Warner Music Finaland’s current head of A&R and Domestic General Manager. Jukka Immonen is one of Finland’s most successful producers. He has worked with artists including Anna Puu, Elastinen, Jenni Vartiainen, Lauri Tähkä, Sunrise Avenue and Vesala and has received more than 50 Gold and Platinum records. Immonen will now use his expertise, connections, and creativity to sign and nuture the next generation of Finnish talent to help drive Warner Music Finland’s business forward.

Jukka Immonen founded The Fried Music in 2002. The recorded music side of the company has enjoyed success with artists including Anna Puu, Knipi and Viivi. Together, these artists have generated millions of streams and have landed multiple Number Ones in Finland. They will now integrate into Warner Music’s roster and have access to its global network, helping them connect with a wider international audience.

“Jukka is the best choice to lead Warner Music Finland’s A&R team into the future,” adds Niko Nordström, Managing Director, Warner Music Finland. “He has enjoyed incredible success as a producer and has showed brilliant A&R skills to develop artist and songwriters with The Fried Music. Also, I’m delighted to be able to bring the recorded music side of his company into Warner Music.”

“Asko is an absolute A&R icon in Finland with an unparalleled track record of successful artist careers. I’d like to say a deep thank you to Asko for all the incredible years we’ve shared and for his exceptional work at Warner Music Finland. He has been such a vital and highly appreciated team member, and we truly wish him all the best and happiness in the future.”

Asko Kallonen started his career in the music business in 1994 with BMG, holding roles such as Head of A&R and General Manager. In 2005, he founded the indie label Helsinki Music Company (HMC), alongside Niko Nordström, which was later acquired by Warner Music. During his time at Warner Music, he has worked with artists including Chisu, Behm, J. Karjalainen, Jenni Vartiainen, Lauri Tähkä, Sanni and Samuli Edelmann. Kallonen will continue to serve as an A&R consultant for Warner Music Finland on specific artists and projects.

]]> Defected Records Opens Demo Submissions via Beatport’s LabelRadar, Doubles Down on ‘Commitment to Nurturing Exceptional Musical Talent’ https://www.digitalmusicnews.com/2023/09/13/defected-records-labelradar-deal/ Wed, 13 Sep 2023 21:51:24 +0000 https://www.digitalmusicnews.com/?p=254229

Purple Disco Machine, one of the many artists who have released music via Defected Records. Photo Credit: Kimthaya

Creators can officially submit demos to London-based house label Defected Records via Beatport’s LabelRadar.

Demo-submission platform LabelRadar (which Beatport bought in May of 2022) and 24-year-old Defected Records (which Wez Saunders acquired in July of 2022) detailed their tie-up today.

As part of the straightforward pact, Defected, which is said to be the Ampsuite owner Beatport’s “top-selling label,” has opened its demo process for “the first time.” Submissions can be directed to the main label as well as sub-labels including but not limited to Nu Groove, Classic Music Company, Soulfuric, and The Remedy Project, the involved entities indicated.

The corresponding upload pages, through which professionals can simply drag and drop MP3s, were already live at the time of this writing. (Previously, February of 2023 saw Toolroom Records begin accepting demos via LabelRadar, and the Stay True Sounds parent Defected last year hosted an “Unsung Heroes” contest for emerging DJs.)

Addressing the partnership and the wider goal of “nurturing new talent,” Wez Saunders – who was Defected’s managing director for a number of years before buying the business and beginning as CEO in 2022 – acknowledged that demos “have historically been a challenge.”

“However, with LabelRadar, we believe we have found a solution that will help streamline this process and enable our A&Rs more quality time to check and review demos for the labels within the Defected ecosystem,” he continued.

Elaborating upon the open-demo model’s impact on the talent-discovery process, Defected Records A&R head Allan Nicoll (known also as Kid Fonque) said: “Navigating the deluge of demos that flood any record label can be an exhilarating yet demanding experience.

“I have spent many years trying to find the best way to deal with an unrelenting inbox, and LabelRadar is the definitive solution: streamlining the process, liberating valuable time for concentrated artist development, and propelling our commitment to nurturing exceptional musical talent,” finished the Stay True Sounds founder.

The LabelRadar-Defected Records union represents the latest in a series of high-profile 2023 announcements for the overarching Beatport, which kicked off the year by taking a majority stake in the International Music Summit (IMS) and outlining seemingly far-reaching expansion plans.

Then, March brought with it the launch of Web3 EDM hub Beatport.io, and April saw Believe-owned TuneCore tap Beatport to broaden its electronic artist offerings. “Electronic music is a top genre among TuneCore artists,” TuneCore head Andreea Gleeson said at the time.

]]> Swav6: The Rising Star Is Making His Mark In the Music Industry https://www.digitalmusicnews.com/2023/02/17/swav6-rising-star/ Fri, 17 Feb 2023 09:22:01 +0000 https://www.digitalmusicnews.com/?p=233875 Photo Credit: Swav6

Photo Credit: Swav6

It might be difficult to distinguish them from the pack in the world of rap. But, Swav6, a.k.a. Joseph T. Rosario, has succeeded in doing precisely that.

Ascend Agency is working with Digital Music News to create opportunities for artists to be visible to the music industry.

Swav6 has been perfecting his talent since he was young, drawing inspiration from artists like Michael Jackson, Drake, and Lil Durk. With his most recent single, “Wanna Be,” he is now demonstrating that he is a force to be reckoned with.

You’re missing out if you haven’t heard “Wanna Be ” yet. With Swav6’s silky vocals gliding over a beat that will have you bobbing your head in no time, this song is pure fire. The lyrics, too? Simply put, Swav6 is a skilled storyteller.

Swav6’s hardships as a young father attempting to succeed in the rap world. Although facing his share of challenges, he never gave up on his dream. And with “Wanna Be,” he is now demonstrating to the world that he is a storyteller as well as a rapper.

Yet, Swav6’s heart makes him unique from other rappers. He is still modest and appreciative to his followers despite all of his success. Whether it’s on social media or being in public, he’s always eager to make the effort to interact with them. The fact that “wanna Be” has amassed over 28k views on YouTube in just two weeks shows that his admirers find it to be appreciated.

What follows for Swav6 then? Time will only tell. He has the ability, the desire, and the heart to continue moving up the ladder, that much is certain. And we’re eager to follow his future developments.

We will simply keep playing “wanna Be” in the meanwhile. What are you waiting for if you haven’t already looked it over? You won’t regret it, we promise.

Connect with Swav6 : Instagram| Twitter

]]> Viberate Disrupts the Music Industry by Making Data Affordable for Everyone https://www.digitalmusicnews.com/2023/01/18/viberate-music-analytics/ Thu, 19 Jan 2023 02:00:25 +0000 https://www.digitalmusicnews.com/?p=229470 viberate music analytics

Photo Credit: Viberate

“Reducing the price from $129 to only $9.90 per month feels like the right thing to do,” says the co-founder of music data analytics platform Viberate, which also started the year by rolling out the most powerful artist chart on the market.

The following comes from Viberate, a company DMN is proud to be partnering with.

For the past couple of years, data was the strongest tool of the music industry’s power players – enabling them to discover promising talent, identify trends, and analyze their activities. However, access to high-quality analytics has mostly been a privilege for those who could afford them. For most artists and indie labels, access to comprehensive services was too expensive.

Viberate now wants to make the music business more inclusive by making access to one of the world’s leading music data analytics affordable for every industry professional.

Viberate’s co-founder, Vasja Veber: “Up until now, Viberate as well as other data analytics services were priced similarly, and we all catered to the wealthier, more established clients. We did offer a free tier, but we noticed that artists especially desperately wanted more data. Some of them even went as far as creating tens of different emails to keep using our free weekly trial. Reducing the price from $129 to only $9.90 per month might seem scary for us, but it also feels like the right thing to do. If we want the entire industry to prosper, we need to provide the tools at an affordable price. Streaming services nailed the price range and revolutionized how we consume music today. Now, we are doing the same for music data.”

vasja veber viberate music analytics

Vasja Veber, Viberate’s co-founder

Veber announced the new pricing at the NY:LON Connect conference in London, effective immediately, and hinted that Viberate has more in the pipeline for artists this year.

The music data analytics platform also started the year by rolling out what’s currently the market’s most powerful artist chart. It provides a cross-channel ranking of every artist out there and features filters to help you find exactly the artists you’re looking for – by trending parameters, genre, subgenre, country, performance on specific channels, timeframe, and even by setting the fanbase size and ranking range. Viberate’s chart was created to simplify the way A&Rs discover new talent, event organizers find the right artists for their event, and generally, the way that music professionals benchmark the artists they’re following.

]]> Tunedly’s Masked Music Discovery Platform Is Cranking Out Publishing Deals — Artist Signings to Hit 200 in 2023  https://www.digitalmusicnews.com/2023/01/09/tunedly-masked-music-discovery-platform-publishing-deals/ Mon, 09 Jan 2023 19:35:09 +0000 https://www.digitalmusicnews.com/?p=228655

The first song for the year will be released in February. “Rest In My Shadow” is written by Troy Raymond, and re-recorded by The Voice finalist Ryan Whyte.

Tunedly, a company that first splashed onto the scene with a decentralized music recording and collaboration concept is now seeing serious traction on its unconventional ‘Masked Music Discovery Platform.’

Tunedly’s decentralized platform for recording music involves a network of studio pros and musicians. The company’s roster of session musicians has made it easier for artists to assemble teams and dramatically lower the cost of recording music. Tunedly estimates that Rihanna spends roughly $50,000 to record a hit song, while an artist using Tunedly can slash that cost by more than 90%.

Beyond the recording and studio platform, Tunedly has been spending the past few months expanding its ‘Masked Music Discovery Platform,’ which aims to put songwriters and performers on an equal playing field with seasoned musicians.

In a nutshell, the discovery platform ‘masks’ non-musical elements like the artist’s name and image to avoid selection bias and help lesser-known indies and unsigned artists receive a more authentic evaluation. DMN first joined forces with Tunedly last year to further accelerate this fast-growing concept.

Chris Erhardt, Tunedly’s CEO and cofounder, told DMN that the goal is to isolate great songwriting and artists by stripping out the fluff of celebrity names and promotional hype. “The problem with existing music discovery services is that they replicate existing inequalities in the music industry,” Erhardt said. “Unsigned artists are at a disadvantage because it’s not a true level playing field, and they are judged on more than just their music.”

The platform analyzes listener stats and streaming patterns, unlocking opportunities for audience favorites to earn lucrative publishing deals with Tunedly in partnership with Spirit Music Group.

Tunedly also rewards listeners for their role in selecting winning songs — making artist success a community project.

Listeners can earn TunedCoin (TUC), Tunedly’s native crypto token. The ability to earn TunedCoin while they discover and rate music facilitates a community aspect, ultimately allowing deserving artists the opportunity to acquire a publishing deal.

For listeners, signing up for Tunedly is free of charge. The platform notes their genre of choice, and every listener receives one ‘star’ per day to place on any song they believe has the potential to become a hit.

Tunedly’s algorithm tracks a range of usage stats, including listener metrics like stars given to songs, number of skips, and average listening duration, among other metrics. That data allows Tunedly’s A&R team to sift through thousands of tracks and judge which songs have the most potential. A community-selected track can ultimately bubble into a publishing deal with Tunedly in cooperation with Spirit Music Group.

Other perks also await participants. If a listener gives their star to a song that ends up receiving a publishing deal, they obtain that song’s NFT. Moreover, the first 1,000 listeners who initially awarded their star to that winning song will receive 1 TunedCoin each.

Apart from TunedCoin bringing access to exclusive events, every listener who owns that song’s NFT and TunedCoins is eligible to receive a split of royalties from that song, facilitated by Tunedly’s TunedCoin project.

The more TunedCoin a listener owns, the higher their share of Tunedly royalties. This blockchain-fueled reward mechanism encourages user engagement and has drawn the attention of artists, publishers, agents, managers, and more. The platform is a way to involve music fans and enhance the perceived value of music, which Erhardt says has been lost with the emergence of unlimited music streaming platforms.

Royalty splits are dictated by individual TunedCoin holdings. As a hypothetical explanation, if Tunedly and one other individual are the sole owners of an NFT of a song, and each owns 100 TunedCoins, a $1,000 royalty will be split as $500 each. However, the following month, if the user acquired an additional 200 TunedCoins and now owns 300 TunedCoins, while Tunedly’s share remains 100 TunedCoins, the $1,000 royalty would be split differently. From the same hypothetical $1,000 royalty, 75% would go to the user (receiving $750), and Tunedly would retain merely 25% ($250).

Tunedly’s inclusion, rewards, and support model is unusual, though the aim is to surface artists that could potentially make waves. As 2023 kicks off, the company is focused on providing lucrative deals to independent musicians and artists who deserve an audience.

]]>