A small sampling of 7digital-powered platforms (Photo: 7digital/Songtradr)

When it’s not Spotify, Apple Music, or YouTube playing your music, chances are it’s powered by someone else — and often, that someone is 7digital. While the biggest platforms dominate headlines, a vast ecosystem of music services is thriving behind the scenes, many of them built on 7digital’s infrastructure.

The following comes from Samantha Sawyer, the General Manager of Licensing and Technology Solutions at 7digital parent Songtradr, a company DMN is thrilled to be partnering with.

As the industry shifts its focus from scale to superfans, 7digital’s multi-product, cross-category, and global expertise positions it to help fuel the next phase of higher-value, higher-engagement music experiences.

With streaming growth plateauing and casual listening on autopilot, the push toward deeper fan relationships is gaining urgency. So what does Superfan 2.0 actually look like, and how can platforms get there faster?

Suddenly, the music industry is rethinking the one-size-fits-all streaming model, shifting its focus to deeper, more meaningful engagement with devoted fans. The momentum is real: Universal Music Group is already channeling hundreds of millions into superfan-first platforms and experiences. But despite the headlines, this movement is still in its early days.

So where will the next wave of superfan growth come from? It’s likely to emerge through bold experimentation, and 7digital is well-positioned to help lead the charge. As the engine behind a diverse array of music experiences across categories and markets, 7digital has the flexibility, global reach, and product depth to support the emerging needs of a superfan-driven economy.

If you’re unfamiliar with 7digital, there’s a reason for that.

The company has been powering a wide range of music platforms and experiences for years, but remains a behind-the-scenes player, and that’s by design. Now operating under parent company Songtradr, 7digital continues to expand its B2B footprint.

We’ve spent over two decades helping businesses navigate the complexities associated  with music technology infrastructure and music licensing, ensuring they can deliver incredible music experiences while staying fully compliant. Throughout these implementations, grabbing the spotlight has never been our focus.

Instead, 7digital’s role has always been clear: to provide the critical, often invisible infrastructure that powers music platforms at scale, helping them innovate, grow, and connect more deeply with their audiences.

As the engine behind many of today’s music experiences, 7digital provides fully licensed commercial music while navigating the complexities of rights management and ensuring proper compensation for rightsholders. It’s a notoriously tangled space, one that demands a backend partner with deep technical and legal expertise.

Once integrated, 7digital’s infrastructure supports a wide range of front-end experiences: from streaming and downloads to gaming integrations, background music, user-generated content, and more. It’s also built to flex — enabling platforms designed for niche communities, power users, and high-ARPU audiences alike.

The list of quietly-powered clients includes platforms like Canva and Connyct, fitness apps such as ApexRides, and wellness platforms including Grandpad, MedRhythms, and Resparke. Other platforms, like Triller and Pinterest, previously tapped 7digital’s backend to get their music offerings going.

Beyond that, 7digital also powers background music services for global retail and hospitality brands such as Moodmedia, Nightlife, Audalize, Qsic, and services offering in-flight entertainment to global airlines.

At the heart of these relationships is a robust network of content licensing partnerships that spans major labels, independent music rights holders (including Merlin members), and music publishing licensors.

With a catalog of around 150 million tracks, 7digital ingests an impressive 750,000 tracks per week, with three new independent suppliers joining monthly. This expansive catalog is a key asset in attracting clients who need access to comprehensive independent collections or those focused on specific genre niches.

As the industry continues its shift towards superfan-driven models, 7digital’s catalog depth could play a pivotal role in supporting the experimentation and innovation required to build this new landscape. Universal Music Group, for example, is already pouring significant resources into artist web pages designed to foster direct fan engagement and monetization. Meanwhile, Warner Music Group is experimenting with a Weverse-style fan platform, with Ed Sheeran at the helm.

7digital has already begun to support some fan-focused initiatives with its client Stationhead, a service which allows for collective licensing and engagement around album launches and artist-hosted, artist-led livestreams, with 7digital serving chart eligible download sales of the featured artist recordings.

And what about social media platforms?

As the industry evolves, many are now viewing platforms like TikTok through a different lens; not as opportunities to engage superfans, but as lower-ARPU challenges, fraught with licensing hurdles. This shift has led to a noticeable trend: a growing demand for compliant music solutions in user-generated content (UGC) platforms and emerging digital spaces.

The risks are real. The number of companies facing lawsuits for unlicensed social media content is on the rise, with major brands like Chili’s, Crumbl, Johnson & Johnson, and even the University of Southern California (USC) embroiled in legal battles over alleged licensing violations. Navigating this complex landscape requires expertise, and for the unprepared, the consequences can be severe, and they’re only escalating.

As platforms continue to integrate music into their offerings, the complexities of licensing and rights management have escalated significantly. This is where 7digital’s expertise in legal compliance and infrastructure shines.

Many companies underestimate the intricacies of music licensing and the legal risks associated with using music without proper clearance. 7digital’s solutions provide platforms with a way to navigate those challenges by offering fully licensed music catalogs and handling the often-overlooked reporting obligations that ensure compliance with copyright laws.

While these solutions are essential for the general music ecosystem, they’re especially critical for platforms that aren’t necessarily focused on superfan engagement. For platforms experimenting with niche audiences and higher-ARPU opportunities, 7digital’s flexible infrastructure and expertise in music licensing create a foundation for rapid experimentation and innovation.

That said, Superfan 2.0 presents its own set of complexities. While 7digital doesn’t hold the rights to every artist drawing a cult following, its capabilities can still support platforms built around superfans, particularly those already focused on fan-first models.

Take Bandcamp, for instance. Now part of the broader Songtradr ecosystem, it stands as a compelling example of where 7digital’s licensing and technology could amplify an already superfan-centric approach.

As the industry shifts and grows, the need for seamless, compliant solutions will only intensify. The way companies integrate music is evolving rapidly, and the demand for scalable, compliant solutions to power the next generation of music-driven platforms and superfan engagement has never been greater.

In the evolving landscape of music engagement, 7digital is quietly leading the charge; supporting the infrastructure that enables more meaningful, innovative, and legally sound music experiences.

OpenPlay cofounder and Chief Client Officer Edward Ginis.

Is it time for the music industry to radically reconsider its approach to AI? Edward Ginis, cofounder and Chief Client Officer of OpenPlay, is already focused on monetizing AI instead of fighting it. An ardent activist for modernizing the industry’s data infrastructure, Ginis launched OpenPlay in 2013 after serving as CTO at Concord Music Group and views AI as an opportunity to evolve rather than a threat to resist.

With over 15 years of experience in music, technology, and finance specifically, Ginis has serious chops in building large-scale software systems and data management solutions for the music industry.

At OpenPlay, Ginis’ focus is on building independent and flexible data hubs for artists and IP owners — instead of limiting, isolated silos. At DMN, we’re excited to partner with OpenPlay to further broaden that mission.

In this interview, we asked Edward to share his vision on how the music industry can improve its metadata management and monetize AI, and what he’s doing to bring that vision to reality.

Digital Music News: Edward, thanks so much for joining us. We’re really keen to dive into what’s happening with OpenPlay and your vision for upgrading and changing the music industry’s data infrastructure and approach to metadata.

Let’s start with the AI landscape. What’s your take on the AI battle right now?

Edward: Paul, it’s great to be here. The “AI battle,” as it’s perceived, is fundamentally about monetization. It’s not really about stopping the technology or purely about preserving artistry; it’s about figuring out how to monetize something that the industry doesn’t quite know how to monetize yet. We’ve seen this pattern before with other technological disruptions. For example, YouTube was initially viewed as a threat to the industry until Content ID was developed, allowing rights holders to identify and monetize their content on the platform. Now, Content ID has transformed from a defensive tool into a significant revenue stream that most rights holders embrace.

Digital Music News: Alright, so let’s monetize this AI beast. But how can this industry do that?

Edward: The biggest challenge is attribution. Who gets paid when a piece of AI-generated content draws from thousands of existing works? Very few companies are tackling this.

There’s a need to solve the problem of where the generation comes from. We need to control the input into LLMs by protecting and fingerprinting catalogs before they’re ingested. If we can trace a generated work back to its source, we can accurately distribute fractional royalties, even to creators whose works haven’t seen much revenue in a long time.

Digital Music News: So that’s a good segue into OpenPlay. You created OpenPlay because you saw huge issues with how the music industry handles data. It’s a mess out there, but what are the biggest problems you’re trying to solve?

Edward: The biggest problems in the music industry today revolve around data fragmentation and the lack of control. Content owners often have limited options, relying on distributors or publishing administrators who essentially become gatekeepers to their own intellectual property. When these deals end, retrieving their content and associated data can become a nightmare. At OpenPlay, we abstract all that complexity. Rights holders can maintain control of their assets while still delivering content directly to their distributors, societies, or DSPs via our platform.

Digital Music News: Can you explain how that would change the life of a typical artist or IP owner?

Edward: Absolutely. Whether a rights holder is working with FUGA in Latin America, Spotify directly in the US, or AudioSalad in Europe, OpenPlay acts as a central hub. They can set up all those connections from one place without worrying about getting their content back if relationships change. It’s about giving rights holders leverage. If they’re unhappy with a deal, they should be able to switch within 24 hours, not face a mountain of complications.

Digital Music News: And you’re also expanding beyond distribution?

Edward: Yes, we’re expanding into UGC, royalty processing, video generation, and even providing advanced revenue. We see a future where these services operate more like an app store or HubSpot, where labels and publishers can choose and pay only for what they need.

For instance, companies like AudioShake, which offer stem dissociation and lyric translations, can be seamlessly connected through OpenPlay. It simplifies how content and metadata are exchanged, so the focus can be on the commercial value, not technical headaches.

Digital Music News: Perhaps there’s too much power concentrated in distribution hubs.

Edward: Precisely. Distribution as a revenue source is eroding. We need a marketplace where parties pay for what they need, and OpenPlay facilitates those connections. We’re creating an environment where new players have immediate access to the tools they need and can easily try new technologies. Music is notoriously unfriendly to entrepreneurs, and we want to change that.

Digital Music News: So, speaking of changing things, is there anything stopping a major artist or label from mirroring their content onto OpenPlay, even if they have a major distributor?

Edward: No, not at all. In fact, a big part of our business is helping them do exactly that. We’re not telling them to leave their distributors. We’re saying, bring your content into OpenPlay. Moving forward, they enter their content with us, and we deliver it to their existing distributor. They’ll have one entry point, reducing errors and simplifying their workflow. This also gives them the option to switch distributors easily if needed.

Digital Music News: It seems crazy: why is it so hard to wrestle control over your own IP?

Edward: Rights holders are entitled to all the data related to their IP, including stream data. Distributors often make it technically difficult to get this data, citing issues like file sizes or complexity, but in the end, it isn’t their data. Sidestepping this mess, OpenPlay combines publishing and label data into one ecosystem, offering a full view of the copyright assets and facilitating accurate data delivery to the MLC and others. This helps prevent data “black boxes.”

Digital Music News: You’re building a separate data storage and application hub, which sounds like a refreshing progression. Is it too far-fetched to then reconsider a global resource database?

Edward: Well, to work effectively, it needs to be highly decentralized. Trying to build ‘one silo to rule them all’ is impossible and impractical. What we need instead are interconnected systems with standardized interfaces – what technologists call APIs – that allow data to flow freely between different platforms while respecting ownership.

Think of how Plaid works in the financial industry, connecting your bank to services like Venmo without requiring these companies to directly communicate. Your bank doesn’t need a relationship with Venmo for you to move money between them. This level of interoperability is essential for the music industry to move forward.

Digital Music News: Swinging back to the AI discussion – and next steps – is it too late to identify works already ingested into LLMs?

Edward: No, I don’t think so. We’ve seen the early stages of systems like Suno and Udio, but many more are coming. The most successful ones will start with authorized content, working directly with rights holders and ingesting properly fingerprinted material.There’s also a huge need for AI detection technologies – tools that can analyze music and determine what percentage was AI-generated versus human-created. These detection systems would use pattern recognition and other techniques to identify AI signatures in the music.

Ultimately, DSPs like Spotify and Apple Music will be the arbiters of what gets in and stays out, likely implementing their own detection systems alongside content policies.

Digital Music News: Edward, I think we’ve found our fearless metadata and AI monetization leader. Thanks for outlining your vision here.

Edward: Thank you, Paul. The technology is inevitable, so our focus needs to be on creating systems that benefit artists and rights holders in this new landscape.

Photo Credit: Cho-Liang Lin Collaborations

When a phone rings with an impossible request, most musicians might hesitate. Yet throughout his four-decade career, Taiwanese-American violinist Cho-Liang Lin has repeatedly stepped into uncertainty, whether political, artistic, or personal. His collaborations across continents and musical traditions have become defining moments not just in his own career but in classical music’s ongoing evolution.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

From geopolitically charged performances to partnerships with living legends, Lin’s story illuminates what happens when musical challenge meets meticulous preparation. Each collaboration has tested not just his technical command but also his capacity to bridge seemingly unbridgeable divides.

Musical Diplomacy Across the Taiwan Strait

Few musical collaborations carried the geopolitical weight of Lin’s groundbreaking tour of mainland China in the aftermath of the Cultural Revolution. As the first Taiwanese musician officially invited by the Beijing government to tour China, he navigated complex diplomatic tensions that extended far beyond music.

“I became the first Taiwanese musician to be invited officially by the Beijing government to tour China,” Lin recalls. “Taiwan and China were still officially at war, and still are officially at war, a little like the Koreas.” Lin noted that the performance environment couldn’t have been more challenging, “The venues were horrible. The conservatories were in shambles after culture revolution. Concert halls were in shambles, orchestras were not very good”.

The conservatories and orchestras did not have the luxury of having good instruments, air-conditioning to take refuge during the blistering heat and humidity in August, or acoustically superior concert halls. Orchestra musicians did not get paid well and had to moonlight playing in hotels and restaurants. Yet, the hunger for knowledge from the students and faculty was so strong. “Everybody was thirsty, hungry for knowledge,” he explains. It was very inspiring. “I was witnessing a phoenix rising from the ashes of the Cultural Revolution. Many of those students attending my concerts are now prominent musicians globally.” What made this tour particularly significant was precisely this historical moment. Many faces in those audiences would later emerge as musical figures themselves.

Twenty Years With Isaac Stern

The twenty-year relationship between Cho-Liang Lin and violin legend Isaac Stern ranks among classical music’s most consequential mentorships. Beginning in 1981 and continuing until Stern’s death in 2001, this collaboration transformed his approach to both music and cultural leadership.

Cho-Liang Lin participated in several of Stern’s chamber music recordings, including performances alongside Yo-Yo Ma and Jaime Laredo. “Isaac Stern, the great violinist, became really my mentor,” he explains. “We played a lot of chamber music together. He was very, very good at encouraging young talents to play with him, a unique figure in that respect”.

The mentorship extended beyond purely musical matters. With characteristic humor, Lin notes Stern also taught him “how to order good dinner” and navigate social circles that included “all the shakers and movers on Wall Street and New York City government and all that.” These two decades of collaboration were, in his words, “very beautiful years when I saw him regularly and played with him regularly”.

What made this collaboration particularly challenging was his need to absorb Stern’s musical wisdom while developing his own distinct voice. He had to perform under the scrutiny of one of history’s great violinists while transforming from student to peer, all while maintaining the mentoring relationship that had proven so valuable to his development as an artist.

Cho-Liang Lin’s Fifty-Four World Premieres

Perhaps the most ambitious collaborative undertaking in his career was the eighteen-year leadership of the La Jolla SummerFest, where he initiated a transformative commissioning process that would change the landscape of contemporary classical music.

“During that time, I instigated this commissioning process, and I was very pleased when I was about to leave that festival, I looked at the listing, I had the commission and premiered 54 works during my tenure in La Jolla,” Lin notes with quiet pride. This staggering number of commissions, approximately three premieres annually, demonstrates an extraordinary commitment to expanding the violin repertoire.

As Music Director from 2001 to 2018, the festival transformed from a primarily chamber music event into a multidisciplinary gathering featuring dance, jazz, and new music. The commissioning project included composers spanning wildly different traditions, including rock drummer Stewart Copeland, jazz legends Chick Corea and Wayne Shorter, and contemporary classical composers like Kaija Saariaho and Christopher Rouse.

He approaches this delicate process with remarkable tenderness and care, describing it with a medical metaphor: “You never know whether a piece will endure the test of time, but you have to give the piece a chance. It’s like a baby. The piece is there as a baby, but you have to deliver it. I’m the doctor who brings the baby out to the public and show it to them”.

The risk and reward of these collaborations is evident in the Grammy success with composer Joan Tower. He notes with satisfaction that “one of my recordings of violent concerto by this fabulous American composer, Joan Tower, actually won a Grammy for her. She became the best composer because of that album”.

Cultural Fusion With Tan Dun

Among his most groundbreaking musical partnerships was the collaboration with Chinese-American composer Tan Dun. Their work together represents a fascinating fusion of Eastern and Western musical traditions, presenting unique performance challenges that required stretching far beyond conventional classical technique.

Cho-Liang Lin recorded “Out of Peking Opera” with the Helsinki Philharmonic Orchestra in 1998, a piece that draws heavily on the traditions of Chinese Peking Opera while utilizing Western orchestral techniques. The composition requires the violinist to master techniques from both traditions, incorporating the distinctive slides, bends, and articulations of Chinese music into the classical violin technique.

For this violinist, the challenge was not just technical but conceptual, finding a musical voice that could authentically represent both worlds. He needed to master traditional Chinese musical gestures on a Western instrument, find timbres that evoked Peking Opera vocal techniques, and balance the precision of Western notation with the flexibility of Chinese expression.

This cross-cultural collaboration continued with Tan Dun’s Violin Concerto “The Love,” which he premiered at Carnegie Hall’s China Festival. The concerto further pushed boundaries by integrating rock drumming and hip-hop rhythms with classical structures, requiring an unprecedented adaptation to these diverse stylistic elements.

The Living Partnership With a Stradivarius

Not all musical collaborations involve other human beings. One of the most demanding partnerships has been with the Stradivarius violins played throughout his career.

Cho-Liang Lin performs on the 1715 “Titian” Stradivarius, an instrument with a distinguished pedigree that places him in a lineage of great violinists across generations. Despite his early financial struggles, he made the momentous decision at age 23 to purchase his own Stradivarius, a financial commitment that consumed “six years of just, again, a hundred concerts a year. And I put every penny available into the bank account so I could pay back the debt”.

The artistic challenge of mastering such an instrument proved equally demanding. “A great violin like a Strad did open up whole new horizons and also taught me how to be extremely astute in getting the sound out,” he explains. “Strad is not like your ordinary fiddle. It’s like a person, a very special person. You have to get to know it and before it’s willing to reveal its special qualities to you”.

The Legacy of Musical Challenge

Through pioneering cultural exchanges, mentorship from legends, birthing new musical works, collaborating across traditions, and forming symbiotic relationships with historic instruments, these challenging collaborations illustrate what happens when musical boundaries are pushed to their limits.

In recent interviews, Cho-Liang Lin teaches about these collaborative relationships as defining not just his own musical journey, but also as representative of classical music’s ongoing evolution. As the art form continues its search for relevance in the 21st century, his career offers a compelling document of how tradition and innovation can coexist, how cultural boundaries can be transcended, and how the impossible, when approached with both courage and preparation, often becomes the most memorable.

Photo Credit: Hallie Marie

When silence speaks louder than goodbye.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

In an age of sonic oversaturation, Hallie Marie steps away from the noise with “Pure (Don’t You Still Remember?)”—a quietly devastating folk ballad that explores the aching space left behind when intimacy ends not in fury, but in silence. The new track is less a breakup song and more a meditation on what it means to be forgotten by someone who once knew your laughter, voice, and energy. And Hallie doesn’t scream that ache—she whispers it, layering her voice into something soft but unforgettable.

Now streaming on Spotify, “Pure” is the latest evolution of Hallie’s craft: a single where every note has room to breathe, every lyric settles in your chest. The song’s emotional honesty and stripped-down structure allow space for listeners to reflect—and maybe even feel a little less alone.

A Folk Song That Lingers Long After It Ends

“Pure (Don’t You Still Remember?)” begins with a single guitar, quietly steady. But don’t be fooled by the simplicity—what follows is a meticulous unfolding of layered harmonies, built entirely from Hallie’s own voice. As the track progresses, those voices become a kind of ghostly choir, echoing the interior dialogue of someone reckoning with absence. It’s a sound that recalls the emotional restraint of early Sufjan Stevens, yet it holds a distinct identity rooted in Hallie’s personal expression.

The song isn’t angry, and it doesn’t beg for answers or closure. Instead, Hallie offers a raw depiction of that hollow limbo, where love used to live and memory now echoes without invitation. “It can be a jarring experience,” she shares, “going from being super intimate and vulnerable with someone, to not interacting with them at all.”

Lyrically, “Pure” feels deliberate, pared down to its emotional essence. Lines like “Now you won’t even look at me, am I nothing to you?” speak plainly, but they hit hard. In one particularly gripping moment, Hallie sings, “If you only see a woman as Mary the virgin or Mary the other… You should take a look at your hands.” The words carry more than heartbreak—they hint at how memory, particularly male memory, can flatten and distort the complexity of women after love fades.

Far from abstract, these lyrics root the song in something deeply human. They question not just the end of a relationship, but what it means to be seen, idealized, and then dismissed without explanation. Hallie doesn’t try to resolve these questions for the listener. Instead, she leaves the space open, daring you to sit in it with her.

A Solo Voice, Fully in Command

While Hallie Marie has already built a following through collaborations with Denver-based band Direville and previous solo tracks like “Indebted” and “Sanity,” “Pure” marks a moment of creative confidence. The choral layers that define the track’s atmosphere? All her. It’s a bold move, but it doesn’t feel self-important. It feels honest.

Her work continues to echo the depth and lyrical resonance of artists like Phoebe Bridgers and Billy Joel, but with a voice unmistakably her own. The result is music that doesn’t just tell a story—it lets the listener live inside one.

For those seeking something quieter but no less moving, “Pure (Don’t You Still Remember?)” is now available on all major platforms. You can hear it now on Spotify, follow her poetic visuals and updates on Instagram, and connect with her creative world on Facebook.

For more about Hallie’s journey and upcoming projects, visit her official website.

Sometimes, the songs that whisper are the ones that stay with you the longest. Let this one linger.

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.

Photo: Joshua Sortino

As someone who has spent years navigating the complexities of digital music, I’ve seen firsthand how crucial it is for rightsholders to take control of their content and data. The ability to manage your assets independently isn’t just a matter of convenience – it’s a strategic advantage that unlocks new opportunities, reduces operational headaches and gives you the flexibility to work with the best partners for your needs. In an increasingly complex digital landscape, direct control over your intellectual property, data and assets is the key to maximizing your income, minimizing costs and simplifying your business.

In this partner op-ed Digital Music News, Edward Ginis, CEO and co-founder of OpenPlay, explores why music rightsholders must take direct control of their content, data and assets to maximize revenue, reduce costs and stay agile in a changing digital landscape.

Too often, I’ve seen rightsholders struggle because their content is tied up in systems they don’t control, making it difficult to switch vendors, optimize distribution or even access their own metadata. As consolidation in music distribution continues, there are fewer and fewer truly independent options to manage deliveries. Now more than ever, maintaining independence is critical.

If we want to future-proof our businesses, we need to prioritize control. 

Here’s how you can do it:

Own your Content Management System

One of the most common mistakes rightsholders make is relying on distributors to manage their content within their own proprietary systems. While these platforms may be convenient, they ultimately limit flexibility. If you ever need to change partners, retrieve your data or adapt to new industry standards, you could find yourself stuck.

Instead, invest in a content management system (CMS) that you own and control – one that allows you to manage your metadata and assets independently. By having a CMS separate from service providers – one that can generate market-ready digital data exchange (DDEX) files for digital service providers (DSPs) – you give yourself maximum flexibility to use whatever delivery mechanism best suits your needs. 

With an independent CMS, such as OpenPlay, you’re not locked into a single vendor and you can deliver your music wherever you choose, ensuring seamless collaboration with any distributor, DSP or marketing partner. This was one of the drivers behind our recently announced OpenPlay Reach, a new service that allows labels and publishers of all sizes to select the distribution option that best fits their objectives. 

Establish a single source of truth

Metadata inconsistencies can be a nightmare, leading to missed royalties, incorrect credits, and operational inefficiencies. The best way to avoid this is by maintaining a centralized, authoritative repository – a “single source of truth” for all your assets and data.

This ensures that your entire team is working with accurate, up-to-date information, reducing errors and making collaboration more efficient. Everyone knows where to find approved masters, metadata and assets, eliminating confusion and improving workflow. By keeping data and assets in sync, updates happen in one place and are reflected everywhere they need to be. Storing only the highest resolution, approved assets – while allowing ancillary systems to generate necessary variations – ensures the best quality control. Additionally, logging every update or change simplifies troubleshooting, making it easier to maintain accuracy across your entire catalog.

When your data is consistent across all platforms and partners, you gain confidence in your reporting, royalties and overall business decisions.

Deliver your content on your terms

The way you distribute your content should be intentional. Rather than sending everything to everyone, focus on delivering only what’s needed, when it’s needed and in the correct format. This allows you to work with different distributors for different markets, negotiate better deals and explore new revenue opportunities without any unnecessary restrictions.

Maintaining control over your delivery process ensures that you can switch vendors seamlessly, scale efficiently and stay in command of your own content strategy. It also means you avoid being forced into vendor-specific formatting that can create long-term dependencies. By ensuring your content is always accessible in industry-standard formats, you can quickly adapt to new opportunities and partnerships without additional hurdles.

Build a future-proof infrastructure

As your business grows, so does the complexity of your operations. Royalties, licensing, analytics and finance systems all rely on a core set of metadata, and if that data isn’t properly managed, inefficiencies start to creep in.

By integrating systems through automation and APIs, you can ensure data consistency, minimize manual work and reduce errors. A well-organized infrastructure allows you to scale your business without being bogged down by data management challenges. When your systems work together seamlessly, you’re free to focus on what really matters – building and monetizing your catalog.

Stay agile in a changing industry

The music industry is evolving faster than ever. New platforms, revenue streams and business models are emerging all the time. To stay competitive, rightsholders need the ability to pivot quickly, experiment with different partnerships and optimize their distribution strategies without unnecessary barriers.

When you control your content and data, you gain the agility needed to respond to industry shifts with confidence. Whether it’s exploring new licensing opportunities, entering new markets or leveraging emerging technologies, maintaining independence gives you the flexibility to adapt and thrive.

Owning and controlling your content gives you ultimate independence and allows you to position yourself for long-term success in a changing digital landscape. By taking control of your CMS, centralizing your data, refining your distribution strategy and future-proofing your infrastructure, you create a business that’s not only more efficient but also more resilient.

I’ve spent my career helping rightsholders navigate these challenges, and one thing remains clear: control is power. When you own your data and content, you open the door to new opportunities, better partnerships and a more sustainable future in music.

Photo Credit: Flou

For all the attention paid to missing music metadata, copyright infringement, and royalty battles, the music industry often overlooks a potentially bigger issue: chaotic music contracting. Enter Flou, whose CEO, Alexiomar Rodriguez, is helming one of the more promising missions in the music industry: to fix the chaos that surrounds music agreements. Here’s a breakdown of his vision for ‘Music Contracts 2.0’ — including a detailed white paper.

What’s wrong with music contracts? For the answer to that question, one must start at the beginning — i.e., the first draft of an agreement.

Bad deals happen, and plenty of court cases focus on missed deliverables and differing interpretations. However, according to Flou founder and CEO Alexiomar Rodriguez, the bigger problem lies in the chaos surrounding the contract drafting, signing, and post-signature stages.

Rodriguez — an Orlando-based music attorney who cut his teeth in the music industry hotbed of Puerto Rico — battled the same pile of shared docs and ‘versioning hell’ familiar to lawyers, labels, and artists alike. In response, Flou is aiming to reengineer the entire music contracting process, and replace the current chaos with a SaaS-like update that prevents downstream disagreements, metadata issues, and missed deliverables.

Just recently, DMN joined forces with Flou to accelerate the industry’s shift to a completely different contracting approach. The very real possibility is that in just a few years, it’s entirely possible that the music industry lands in a totally different — and saner — place.

Investors love this kind of problem/solution startup — and Flou is focused on a specific music industry problem. But what is ‘Music Contracts 2.0’?

At its core, Flou’s ‘Music Contracts 2.0’ system features a centralized ‘Contract Lifecycle Management (CLM)’ platform that replaces a constellation of disconnected applications and sharing protocols like Gmail and Dropbox. On the creation side, Flou also includes automating contract drafting with templates and forms, streamlining sending, signing, and storing contracts with tracking and notifications, and integrating with other management and royalty systems.

The logical solution is rooted in serious pain — felt every day by lawyers, artists, and everyone in between. “Current music contract management is messy, outdated, and leads to lawsuits, lost money, delayed releases, missed payments, and broken relationships,” Rodriguez relayed.

Surprisingly, current contracting still features paper-based systems, manual tracking, and reliance on email and spreadsheets. It’s not that the tools themselves are bad, but they are rarely interconnected and frequently impossible to track cohesively. The result is a familiar, headache-producing swirl of disjointed elements.

Flou envisions a 2.0 replacement that accelerates deal-making and offers better control on both sides of the table, as well as stronger privacy protection, time savings, reduced costs, and increased efficiency.

“Flou is specifically designed for the music industry with pre-made templates, bilingual contracts, smart automation, and a secure central location for all contracts,” Rodriguez explained.

“Our goal is to shift the music industry from a slow, stressful, and expensive contract process to a fast, simple, and clear one, ultimately turning contracts into an advantage rather than a headache.”

If this sounds like a glass of ice water in your current hell, check out the white paper below – and theflou.com for more info.

Photo Credit: Alain Vasquez

Music has the unique power to inspire, bring together, and uplift, and Jamie Alimorad is a living testament to that fact. Over a career built upon infectious energy and a love for vintage rock and pop music, Alimorad has established himself as a niche player in the industry, resonating with fans worldwide. His journey is built upon resilience, family tradition, and an unyielding drive towards his aspirations.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

A Musical Heritage and a Childhood Dream

Born into a family of musically gifted members, Jamie Alimorad was inspired by his father, Jamshid Alimorad, an iconic Iranian pop and rock vocalist of the 1960s. Music was his medium of expression right from a tender age. Singing in his church choir as a seven-year-old and then being the drum major for his high school marching band, Alimorad’s passion for music was present from the beginning. He studied at Northeastern University in Boston, earning a Bachelor of Science in Music Technology, establishing a strong foundation both as a performer and producer.

From Bars to Breakthroughs

Like most new artists, Alimorad started playing in the Boston community’s local clubs, bars, and festivals. His charisma as a performer and high-energy performances immediately captured a growing fan base. In 2014, his debut music video, “Beautiful,” became a hit with more than 2 million views, marking his arrival on the broader musical landscape. This success was followed by another, including first prize in the USA Songwriting Competition in 2019 for his hit “Brighter Days.”

Resilience Against Adversity

His journey to success has not been easy. The pandemic devastated Alimorad’s career, requiring the cancellation of a highly anticipated tour and a headlining performance at SXSW. More debilitating was the death of his father, his musical guru and greatest champion. In grief and bewilderment, Alimorad sought solace in his music, expressing himself through songwriting and recommitting himself to his craft. His commitment paid off when he was named Best New Artist at the 2024 World Entertainment Awards.

A Vision for the Future

Down the road, Jamie Alimorad’s ambitions are lofty. He began 2025 with a landmark performance at Carnegie Hall and has a string of new releases throughout this year and next, beginning with the single “Fade Into You” which topped the Amazon Movers & Shakers Chart, and hit #34 on the iTunes Pop Charts respectively. But his dreams go higher—to sacred venues like Madison Square Garden, Fenway Park, and London’s Royal Albert Hall. “Music is about connection,” Alimorad says. “It’s about sharing moments that connect with people from all walks of life.”

The Sound of Nostalgic Optimism

Alimorad’s music borrows from the golden age of rock and pop, blending familiar sounds with new, contemporary spin. His songs are fitted with upbeat hooks, honest lyrics, and an infectious attitude of optimism. Songs like “Give a Little Lovin'” and “Break the Fall” testify to his belief that music can bring hope and happiness, especially in challenging times.

Follow Jamie Alimorad’s journey on social media: Instagram, Facebook, TikTok, Threads, X/Twitter, and Bluesky.

Mock deal terms in beatBread’s Deal Comparison Tool, with an ‘Expected Case’ for content performance during the deal term (photo: beatBread)

For those artists and indie labels lucky enough to have multiple funding offers, beatBread now offers a potentially game-changing tool for weighing competing options. Surprisingly, beatBread’s initial results show that most artists and indie labels (60%) would likely sign a sub-optimal deal before thoroughly vetting their options.

Once upon a time, music financing was a dark art driven by elusive A&R instinct. These days, thankfully, there’s a lot more data behind funding decisions, and labels (and their distributors) aren’t the only game in town. And while indie labels and artists now have more choices, sorting through what is a good and bad deal is difficult, as terms are complex, hard to understand, and fraught with traps and pitfalls. But 2025 might be the year that artists and indie labels gain a serious upper hand.

Last month, we profiled beatBread’s recently released Deal Comparison Tool, a handy platform for weighing a stack of competing music financing offers. In a nutshell, the Tool allows an artist or indie label to view a number of offers side-by-side and weigh those offers according to a variety of parameters. Just recently, DMN partnered with beatBread to further amplify this newly released platform.

Artists and labels can simultaneously compare up to five offers, analyzing upfront cash, fees, recoupment time, and long-term costs. Even better, it allows artists, indie labels, and IP owners to ‘normalize’ offer metrics, which comes in handy if deals are being extended from labels, distributors, publishers, or investors.

Of course, any artist or label can manually compare offers before deciding. The problem is that there are so many variables to weigh, and headline terms don’t tell you how costs and recoupment will likely play out over time.

‘Headline’ deal terms can mask a deal’s actual costs. And understanding outcomes based on catalog and new release performance is extremely difficult.

“Even the most sophisticated executives are sometimes deceived by ‘headline terms’ in a deal,” beatBread CEO Peter Sinclair relayed. “The Deal Comparison Tool gives artists and labels the chance to cut through the fog and get a true understanding of a deal because it links the key terms of a contract to a real range of probable outcomes as music is released and continues to perform.”

Sinclair is hugely confident about the comparison platform’s power. To put it bluntly, he’s not sure there’s a better tool out there for weighing different offers—online or off—which is exactly the confidence you need to release something of this magnitude. Just a few weeks after its launch, the Tool is being used by a significant number of artists and labels to weigh their funding options.

The strange part is that a majority of those using the Tool have chosen not to work with beatBread.

“If beatBread is only funding four, three, or even two out of ten deals we’re helping to vet, then we’re winning,” Sinclair explained. “Artists or indie labels might choose a beatBread partner or select a deal on a party entirely unaffiliated with beatBread.”

But, according to Sinclair, they know they’re signing the best offer.

“I’d rather beatBread develop a reputation as a straight shooter than try and convince an extra three or four people out of ten to take our deal when it’s not the best deal,” he continued.

Sinclair clarified, however, that this isn’t a self-service tool.

Instead, beatBread has experts to help artists and indie labels visualize the trade-offs between deal structures, including revenue splits, term lengths, and long-run costs. Once everything is laid out, determining the “best deal” depends on various factors and preferences, including the artist or indie labels’ expectation of catalog performance, risk appetite, and need for upfront cash vs. long-term cash flow.

Among the early adopters is Dan Englander, founder of indie label KingUnderground.

“When I came to beatBread, I had what I thought were two quite attractive distribution offers,” Englander said. “After seeing the output of beatBread’s Deal Comparison Tool, I realized there were several scenarios where I could have ended up strapped for cash.”

Englander didn’t end up selecting beatBread’s deal, though he did sign with a beatBread partner, which means beatBread co-invested in the deal alongside its partner.

Sinclair noted that Englander’s situation is not unique. The landscape for music financing presents a number of choices to artists and indie labels, but those choices often have many pitfalls and traps.

“It has become standard industry practice to offer headline terms (nominal term length, total deal value) that simply do not reflect how a deal is likely to play out in the real world,” Sinclair added.

“In the worst cases, beatBread’s beta test showed that some independent labels would most likely end up forced into a distress sale after a few years had they taken the seemingly best distribution or label JV offer in front of them.”

“It’s no secret that indie artists and labels have more options than ever,” Sinclair said. “BeatBread’s mission is to help them make the right decision, even if they choose a funding partner other than beatBread.”

Photo Credit: Society of the Silver Cross Summons

In a world that continuously feels louder, faster, and harder to survive, Society of the Silver Cross creates a space where you can finally catch your breath. Their new album, Festival of Invocations, opens a portal to another reality. It is a dark, spellbinding antidote to the chaos outside, created for anyone ready to surrender to the unknown.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

A Cathedral for the Damaged and Dreamers

Recorded inside Temple of the Trees, a studio the band built from the ground up to resemble a gothic cathedral, Festival of Invocations feels like stepping inside a fever dream. There is no cheap spectacle here. Every sound—the haunted thrum of a 12-string acoustic, the ghostly wheeze of a harmonium, the eerie, metallic shimmer of the shahi baaja—was meticulously woven together to create an immersive sonic experience. Each track feels like a step along a pilgrimage, where the destination is as mysterious as the journey itself. Joe Reineke and Karyn Gold-Reineke guide you into a space where shadows stretch long and light flickers at the edges.

A Sound Forged from Survival

The heart of Festival of Invocations rises from raw survival. Written during the isolating years of the pandemic, the album carries the weight of Joe’s personal battles with addiction and cancer. Yet instead of drowning in darkness, Society of the Silver Cross twists pain into something fierce and defiantly alive.

This music captures a spirit of resilience. It pulls itself through the wreckage and finds beauty waiting on the other side.

Where East Meets West, and Time Fades Out

Society of the Silver Cross rejects easy categorization. They fuse ancient Eastern instruments, such as the harmonium and shahi baaja, with heavy, doom-soaked Americana. The resulting sound feels untethered from both geography and time itself.

The band weaves a hypnotic, low-lit swirl of neofolk, funeral home rock, and what some critics have called “yogic metal.” It is eerie, lush, and impossible to ignore. It exists in a world entirely of its own.

Music That Refuses to Rush

In a digital culture obsessed with instant gratification, Festival of Invocations asks for something rare: your undivided attention. It invites you to stop scrolling, stop rushing, and surrender fully. Let the chant-like vocals, textured synths, and bombastic rhythms take hold.

When you give yourself to it, the album delivers something most modern music barely dares to attempt: true transcendence.

A Pulse That Will Not Let Go

Even beneath the album’s slowest, most meditative moments, a primal heartbeat continues to pulse. Society of the Silver Cross understands that darkness is not stillness. It is motion, change, and rebirth, even at its most shadowed. Festival of Invocations hums with the electricity of transformation.

It shapes your midnight moods into something more profound.

Time to Step Inside

While the rest of the world competes for your attention, Society of the Silver Cross offers something more seductive. Step out of the noise and into the invocation.

Festival of Invocations is streaming now. Follow Society of the Silver Cross on Instagram, listen to the album on Spotify, and explore their hypnotic world on TikTok.

Photo Credit: Bosaya

Bosaya is creating new music that channels something far older and more cosmic. With a voice that stretches across four octaves and a sound rooted in indie pop, classical training, and global soul, the singer-songwriter is carving out a space all her own. Her performances resemble rituals, moments of shared energy in which the audience not only listens but is also moved.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

From Forest Whispers to Festival Stages

Long before she shared stages with Wiz Khalifa and Flo Rida, Bosaya was singing to trees and rivers, saving pocket change to buy tapes by eRa, Seal, and Sting. Her first instrument was the cello, a love sparked by a visit to a music school. She studied choral conducting, fronted a rock band singing about eternal love, and eventually earned a degree in pop jazz.

Her band, Bosaya, was born soon after. Its name is a tribute to her grandfather and a philosophy of creative freedom. It means barefoot dancing on the earth, singing with your whole soul.

A Style Beyond Borders

Bosaya’s music resists easy classification. It blends Bach and Brahms with Beyoncé and Christina Aguilera, filtered through the sharp lens of producer Vadim Zariuta. The result is independent pop with spiritual depth.

She may not have roots in hip-hop, but her English-language songs are co-written with lyricist Nadirah X, whose poetic edge lends them a global reach.

Also Bosaya and Tony B with single, “AYA,” has cracked the European charts and garnered over a million views on YouTube, a bold sign that Bosaya’s sound is gaining recognition.

Concerts That Feel Like Ceremonies

What sets Bosaya apart is the way her performances become shared, charged experiences. At her shows, fans often rise from their seats, form circles, or lie on the floor in spontaneous waves of movement. Her voice carries more than melody; it carries intention.

Getting here involved significant challenges. Bosaya juggled school, work, and performances to fund her path. She lost her voice for a year due to overuse and had to rebuild through intensive vocal rehab. Later, mysterious health issues sidelined her once again. Only recently, after eight years, did she receive a clear diagnosis. Now, she’s emerging with clarity and renewed determination.

Bosaya Is Building a Movement with Her Music

Looking ahead, Bosaya envisions large-scale conceptual shows across the U.S. and beyond. These performances are not typical concerts. They are immersive experiences where sound, visuals, and human connection come together. Think spiritual revival meeting avant-garde stagecraft.

She is also drawn to intimate settings, such as wellness retreats, where the connection between artist and audience feels personal and immediate. Wherever she performs, she seeks to awaken something ancient within the listener. Her goal is to entertain while also guiding others toward a sense of presence and purpose.

Her guiding truth is that love is the strongest vibration, capable of healing and awakening the body, mind, and soul. She encourages audiences to live intentionally, stay grounded in the present, and choose their frequency carefully.

Follow the Frequency

Bosaya’s music resonates on a deeper level, inviting emotional and physical connection. Follow her online to join the next gathering of soul and sound, becoming part of a growing movement where each note carries meaning.

Listen on Spotify and YouTube, and stay connected on Instagram and TikTok to witness the unfolding of a sonic path where reflection and renewal rise in harmony.

Duplexity (Photo Credit: Teren Oddo)

Inside the rise of an indie rock duo who refuse to play it safe.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

On April 18th, sibling duo Duplexity made a statement, and it wasn’t a whisper. It hums, it swells, it crashes like a rogue wave against the polished shores of modern indie. Their new single, “Waveless Tide,” is less of a debut and more of a declaration: this is what growth sounds like.

Formed by teenage siblings Luke and Savannah Judy, Duplexity is an act shaped by memory as much as by melody. Before music, there were movie sets. The pair moved to Los Angeles a dozen years ago, chasing careers in film and television. But when the cameras stopped rolling, the music started, and what began as a creative pivot has turned into a full-fledged movement.

The Soundtrack of a Mood Shift

If their breakout EP Billboards lit the fuse, “Waveless Tide” is the detonation. Recorded live at Nashville’s iconic Sound Emporium, the track captures something raw, almost tactile. There’s a heartbeat underneath the ambient keys and shimmering guitar lines. The vocals, delivered with an unflinching softness, sound like they were born in a single breath and recorded just before it escaped.

Luke and Savannah’s harmonies aren’t simply blood-deep; they’re cinematic. Each line carries the weight of something unspoken, built from years of shared experience and sharp artistic instinct. That background in performance shines through here, as every rise and fall in the track feels intentional, storyboarded, lived-in.

Built in Nashville, Designed for Everywhere

To bring “Waveless Tide” to life, the duo leaned on an ensemble of studio veterans. Miles McPherson holds the rhythm on drums, while Craig Young lays down bass lines that feel like ocean currents: steady, slow-burning, essential. Guitars by Justin Ostrander, Luke Judy, and co-writer Trey Bruce weave effortlessly through the mix, while keys and synths from Luke Moseley add that dreamy, underwater sheen.

The mixing, done by David Buchanan at Cake Mix, gives the song room to breathe. Adam Grover’s mastering at Sterling Sound grounds it with clarity and punch. It’s polished, but not sterile. It’s studio-made, but heart-forward.

SXSW and Beyond

Earlier this year, Duplexity took home the title of Rolling Stone’s America’s Next Top Hitmaker. Days later, they opened the magazine’s Future of Music showcase at SXSW, sharing the bill with heavy-hitters like Benson Boone, Hannah Bahng, and Leila! It was a coming-of-age moment for the duo, not just in exposure but in confidence.

Before that, their 2023 debut EP Billboards racked up over 2 million streams and landed them a #3 spot on the iTunes Alternative Charts. Their track “Drop the Act” climbed to #5. But while those numbers speak volumes, it’s “Waveless Tide” that truly speaks for them.

No Labels, No Limits

Genres bend around Duplexity, not the other way around. This isn’t alt rock, pop, or indie. It’s something in between. Part Radiohead ache, part London Grammar atmosphere, all filtered through a Gen Z lens that’s fluent in both feeling and form.

“Waveless Tide” isn’t loud, and it doesn’t need to be. It’s confident in its stillness and bold in its refusal to conform. The track unfolds slowly, asking you to lean in, to catch the detail, to hear the silence between the chords.

The Tide Is Turning

It’s just the beginning. With dreams of headlining Welcome to Rockville and Sick New World, Duplexity is aiming high, and they’ve got the sound to carry them. Their message to fans and critics alike? Feel the fear, do it anyway. Let the nerves come, and then let them go.

“Waveless Tide” is available on all major streaming platforms.

Follow the band on TikTok, Instagram, YouTube, and Spotify. Be there when the tide turns.

Photo Credit: Matt Oakley

The music industry is in a unique and precarious position in the modern media landscape. On the one hand, sites such as YouTube, TikTok, and Spotify afford independent musicians platforms through which they have the unimpeded opportunity to reach brand-new audiences directly. However, because everyone has access to these platforms, that access has ceased to be as unique or impactful. It’s become difficult for artists to break through and truly make their mark. Fortunately, through his unique combination of heartfelt storytelling and Southern charm, Matt Oakley has forged his own path and become a successful American country music singer-songwriter.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

A Diverse Upbringing

Growing up in a military family, Matt’s childhood was in flux, with his family constantly relocating. This resulted in a diverse upbringing in which Matt was just as comfortable in the US as he was in South Korea, further honing and refining his unique perspective. This kineticism and wealth of international influences greatly influenced the variety and breadth of his musical sound, which blends traditional country roots with more modern rock and pop influences.

Early Challenges and Hardships

Despite building some positive initial momentum in the late 2010s as a musician, all of Matt’s progress looked as if it would come screeching to a halt amidst lockdowns and the cancellations of numerous shows thanks to the pandemic. Rather than growing resentful or disparaged by this impediment to his career, Matt turned to platforms like Facebook and TikTok to stay connected with fans and demonstrate his won creativity and resilience in the face of adversity. This early career period also fortified his perspective on staying true to his roots amidst evolving industry trends. No matter what, Matt was determined to make it on his terms.

Finding Success on His Terms

After spending several years carefully cultivating a sound he was proud to call his own, Matt’s professional music career hit the big time following a standout performance at CCMF 2023. The music festival performance earned him numerous new fans both within the industry and in the audience. He secured numerous more scene-stealing spots at festivals like Patriots Fest and Carolina Country Music Festival. Furthermore, this included sharing the stage with major musical acts such as Bailey Zimmerman, Big & Rich, and even 3 Doors Down, serving as their opening act in front of huge audiences. This led to even further exposure and success, with Spotify even placing him in premium spots on popular listening stations such as All New Country and Fresh Finds Country.

With a forthcoming album slated for 2025, Matt is poised to further cement his place in the country music scene. His new singles “Can’t Take The Dogs,” “Single This Summer,” and “Party on 95,” produced by David Ray Stevens (known for work with Jelly Roll and Luke Bryan), showcase his versatility and knack for connecting with audiences while emphasizing his distinct tastes.

A Bright Musical Future

Moving forward, Matt is focused on staying true to his roots while embracing growth. He aspires to headline major festivals and build a global fanbase. Throughout his career, he has learned many lessons on resilience, authenticity, and persistence. He’s excited to reach even larger audiences with his distinct brand of country music. By curating a sound that is true to himself and staying true to his instincts, Matt Oakley has cut through the crowded music scene and left his mark.

Photo Credit: The Art of Jazz Composition

Jazz composition is a delicate interplay between technical sophistication and emotional accessibility. While jazz thrives on harmonic depth and rhythmic freedom, the most compelling compositions combine complex structures with memorable, compelling themes that connect with listeners.

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Ievgen Pugachov is an award-winning jazz guitarist, whose history is lengthy and notable. Here, he discusses how jazz composers manage this balance by incorporating unconventional harmonies and advanced techniques while maintaining coherence and expressiveness in their music.

Jazz composition rests on three core elements: melody, harmony, and rhythm. While jazz encourages freedom, these elements provide the structure and cohesion that give a piece its shape. A strong melody makes it memorable, harmony adds depth, and rhythm drives its energy.

Traditional jazz forms balance stability and creativity:

– The 12-bar blues remains a foundational structure.

– The AABA form offers contrast through repetition and variation.

– Modal jazz, led by artists like Miles Davis, opened new paths for harmony and improvisation.

Composers like Duke Ellington, Thelonious Monk, and Charles Mingus redefined these forms – through rich orchestration, bold harmonic choices, and genre fusion – showing how jazz structures can evolve while preserving their core identity.

Ievgen Pugachov has also come a long way in combining traditional jazz frameworks with modern harmonic shifts, unexpected modulations, and contemporary rhythmic patterns. As he claims, improvisation and one’s own unique sound appear only after accumulated experience. Listening to such jazz greats as Pat Metheny, Kurt Rosenwinkel and Wayne Shorter, he was able to combine different motives and techniques, thereby developing jazz composition.

Embracing Complexity: Expanding Harmonic and Rhythmic Language

Jazz composition thrives on harmonic and rhythmic experimentation, helping composers create unpredictable and expressive soundscapes. As Ievgen Pugachov notes, stepping beyond traditional forms brings depth and freedom to the music.

A key technique is non-functional harmony, where chords move in unexpected ways. Combined with quartal voicings, chromaticism, and extended harmonies (9ths, 11ths, 13ths), this approach expands the tonal palette. Pat Metheny influenced Ievgen’s use of such methods, which often appear in his work. He has taken it to the next level though and made such sounds his own.

Rhythmically, composers explore odd meters (5/4, 7/8, 11/8) and polyrhythms to add motion and surprise. These tools give modern jazz a progressive, evolving feel.

It is important how different jazz schools approach the expansion of harmony. Performing throughout Poland and Germany, Ievgen noticed how European jazz music gravitates toward avant-garde, original performance and unusual sound. In America, tradition comes to the fore – there, they study the basics of jazz in more depth and implement them in their own playing. This is what distinguishes both the style and the complexity of the performance. By combining both approaches in his performance, Ievgen Pugachov came to the creation of new and avant-garde harmonic textures, while maintaining a strong melodic identity. Thus, even the most complex works remain fascinating and emotionally captivating.

The Power of Simplicity: Crafting Memorable Themes

In a jazz composition, complexity can add depth, but it is the simplicity that makes the music truly resonate. A strong, memorable theme serves as the foundation of any great composition, providing an emotional connection for listeners while allowing room for harmonic and rhythmic exploration.

Ievgen Pugachov’s compositional style is defined by his ability to create melodies that are both accessible and complex. His themes appeal to both casual listeners and trained musicians, finding a balance between singability and harmonic richness. Rather than overloading a piece with complexity, he focuses on melodic clarity, ensuring that each phrase has a distinct identity.

As Ievgen notes, there are several effective techniques that can be used to write a jazz melody:

– Singable, yet harmonically rich lines: strong melodies should be easy to hear, but also allow for harmonic depth and variation.

– Use of space and phrasing: leaving space between notes gives the melody more impact, allowing it to be expressive and natural.

– Repetition and variation: repeating motifs create a sense of familiarity, while subtle variations keep the listener’s attention.

Blending the Two: Finding Balance in Jazz Composition

The most compelling jazz compositions balance complexity and accessibility, ensuring that complex ideas remain engaging rather than overwhelming. By blending rich harmonic and rhythmic layers with clear, memorable themes, composers create music that is both intellectually and emotionally satisfying.

One effective approach is to anchor the piece in a strong melody, adding depth through extended harmonies, modal interchange, and reharmonization. These techniques introduce color and variation without losing cohesion.

Note that earlier jazz was characterized by simpler harmonies but more complex melodies. This is typical of bebop and the work of Charlie Parker, early Miles Davis, Thelonious Monk. Later, Wayne Shorter began using pentatonic motifs with complex non-functional harmony, which made his melodies easily recognizable and acquired a special sound. Even though this approach originated in the 1960s, it is still considered modern jazz because Shorter set a new trend.

Ievgen Pugachov, having deeply studied Shorter’s music and style, also became a great apologist for this approach, that melodies should be simpler, more logical, more recognizable, but at the same time the harmony can be complex to create an interesting and unusual sound.

Ievgen also believes in striving for balance. His lead performances with such Grammy Award-winning artists as John Beasley, Paul Francis, Dan Pugach, Dave Smith, Frank Parker and others clearly illustrate how structured compositions can still leave room for improvisation, making each performance both sophisticated and spontaneous. His music combines harmonic sophistication and melodic power, resonating with both musicians and audiences.

Modern Jazz Composition: Adapting to Contemporary Influences

Jazz continues to evolve under the influence of technology, cross-genre experimentation, and new listening habits. Contemporary composers are combining electronic elements, traditional and world music influences, and digital production tools, expanding the genre’s sound while maintaining its improvisational core.

Electronic elements like synthesizers, loop pedals, and digital effects have transformed jazz, adding depth and atmosphere. Sampling and layering allow musicians to create textures beyond traditional acoustic settings. At the same time, jazz continues to blend with rock, funk, and traditional music to create fresh, dynamic compositions that appeal to a wider audience.

Streaming platforms have also shaped modern jazz, encouraging shorter, more structured compositions that fit modern listening habits while maintaining artistic integrity.

As time moves on, musicians shouldn’t stand still either. In 2021, Ievgen launched the House Sessions project on YouTube. This project has become a platform for musicians who bring their original compositions and experiment with different styles and sounds. For example, a piece may be written for a saxophone, but here it will be played on a trumpet. The participants of House Sessions try something new and unusual to look at their works from a different angle and rethink them. In a way, this approach becomes the driving force of the genre, opening up new facets.

Jazz composition today is a constantly evolving craft – a dialogue between tradition and innovation. The most powerful works are those that find a balance: between complex harmonic ideas and melodic clarity, between freedom and form, between intellect and emotion.

Throughout this article, we’ve seen how Ievgen Pugachov embodies that balance. Rooted in the American jazz tradition and shaped by diverse influences from Europe and the U.S., his approach to composition blends avant-garde harmony, rhythmic experimentation, and strong thematic identity. Whether drawing inspiration from legends like Pat Metheny and Kurt Rosenwinkel, or creating accessible, memorable melodies for broad audiences, Ievgen demonstrates that great jazz builds on its roots.

As jazz continues to intersect with technology, global genres, and new modes of consumption, the challenge for modern composers remains the same: to innovate without losing the soul of the music. Pugachov’s work – especially through his House Sessions project – shows how this can be done, offering a blueprint for the next generation of jazz composers.

Ultimately, the art of jazz composition lies in balance: complexity that invites exploration, simplicity that touches the heart, and improvisation that makes each performance truly alive.

Photo Credit: Blacktop Mojo

In the heart of East Texas, where the lines between Southern rock, metal, and grunge blur into something raw and untamed, Blacktop Mojo has carved out a sound that refuses to fit neatly into any one box. With whiskey-soaked vocals, thunderous grooves, and an uncompromising live presence, they’ve become a band that doesn’t just play rock and roll; they live it.

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From Whiskey to a Band of Brothers

Blacktop Mojo’s story began in 2012 when vocalist Matt James and drummer Nathan Gillis met at a concert. That night, fueled by a fair amount of whiskey, James invited Gillis to watch him perform at a local coffee shop. A few drinks later, the two found themselves jamming together, and James quickly realized Gillis was a powerhouse behind the kit. The foundation of the band was set.

With the addition of bassist Matt Curtis, lead guitarist Ryan Kiefer, and rhythm guitarist Kenneth Irwin, Blacktop Mojo took their first steps onto the Texas live circuit. But breaking through wasn’t easy. Playing heavy rock in a state dominated by country music meant winning over audiences who weren’t always interested in distorted guitars and grunge-inspired vocals. “Converting an audience that wants to hear country, that’ll help any band cut their teeth,” James recalls. “You’d get drunk rednecks throwing things at you.”

Rather than backing down, they dug in, refining their sound and sharpening their stage presence. By the time they released their debut album, I Am, in 2014, they were already known for their no-frills, high-energy performances.

No Way Home, No Plan B

The defining moment for the band came in 2017 while recording their second album, Burn The Ships. They made the bold decision to quit their day jobs and move into a house together, committing themselves fully to the music. The album title wasn’t just a catchy phrase; it was a declaration of intent.

“We’d read about Hernán Cortés, the conquistador,” James explains. “He burned his ships so his soldiers had no way to retreat. The only choice was to move forward. At that point, we were all quitting our jobs and going all-in, so that theme really struck us.”

Their gamble paid off. That same year, Burn The Ships put them on the rock charts, with the single “Where The Wind Blows” climbing to No. 27 on Billboard and Mediabase. It was the first of many charting songs, including “Dream On” (No. 31, 2018) and “Can’t Sleep” (No. 27, 2019).

Surviving the Bon Jovi Test

One of their biggest career moments came in 2016 when they opened for Bon Jovi at the American Airlines Center. Before the show, Jon Bon Jovi himself shared a story with them.

“Their first big gig was with ZZ Top at Madison Square Garden,” James recalls. “Richie Sambora’s guitar didn’t make a sound when he started playing, and the crowd started chanting ‘ZZ Top! ZZ Top!’ Jon told us, ‘If we could make it through that, you guys can do this.’”

That moment was a turning point, proving they could hold their own in an arena setting. Since then, they’ve played hundreds of shows, steadily building a reputation for delivering explosive performances that feel like a throwback to rock’s golden era.

Texas Grit, No Backing Tracks

Blacktop Mojo doesn’t rely on fancy production or digital tricks. What fans hear on stage is exactly what the band plays, with no prerecorded tracks filling in the gaps. “When you come see us, you’re seeing rock and roll the way it used to be,” James says.

Their influences are clear—Alice in Chains, Soundgarden, ZZ Top—but their music carries its own identity. Southern blues, metal riffs, and grunge textures collide in a way that feels natural, not forced. While their sound is heavy, they don’t shy away from ballads, a nod to the hair metal bands James grew up with.

With 230,000 YouTube subscribers and 350,000 monthly Spotify listeners, the band continues to grow the old-fashioned way, through touring, sweating it out on stage, and earning fans one electrifying performance at a time. Currently on tour in the UK for March 2025, Blacktop Mojo is proving that rock and roll isn’t dead. It just needs a little whiskey, a lot of grit, and a band willing to burn the ships.

For those looking to experience Blacktop Mojo’s sound, their music is available on Spotify, YouTube, and Apple Music, and fans can stay connected through Instagram.

Photo Credit: Rapper Haiti

In a fast-changing hip-hop scene, few artists carry the torch of cultural pride and creativity as boldly as Prospere James, known to fans as Tha Rapper Haiti. A rapper, songwriter, and performer, he represents a fresh generation of Creole rap: fiercely authentic, deeply rooted, and unapologetically global.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

From Delmas to the U.S.: A Story of Resilience

Born in Delmas, Haiti, Tha Rapper Haiti’s journey began in the heart of a close-knit community. His early life shaped his values and music, offering a well of stories and emotions that continue to define his artistry today. At 15, he moved to the United States, a significant turning point that introduced new challenges and opportunities. While adjusting to a new culture, he found his voice through music, using rap to connect his past with his future.

A Sound That Stays True

Tha Rapper Haiti’s music stands out for its rich blend of Creole culture and modern hip-hop influences. Tracks like “Blese m,” “No Chill,” and “Pale vit Pale Cho” resonate deeply with listeners, not just for their rhythms but for the real-life experiences they reflect. His single “I Do What I Want” has already surpassed 50,000 streams on iTunes, a sign of growing recognition for an artist who refuses to compromise his message.

His lyrics tell stories of identity, perseverance, and love for his roots. In a world where industry pressure often pushes artists to conform, Tha Rapper Haiti stands his ground. He grows sonically while remaining committed to authenticity, a rare and powerful combination.

Cultural Connection Through Music

With loyal fan bases in Haiti and the U.S., Tha Rapper Haiti connects communities across borders. His ability to represent Haitian pride while engaging with broader audiences has made him a cultural ambassador of sorts, mixing tradition and modernity with every beat.

He believes music should reflect real life; its pain, joy, struggles, and triumphs. This commitment to truth has helped him overcome one of his biggest challenges: the tug-of-war between creative freedom and industry expectations. Instead of caving to trends, he crafts a sound that stays personal yet speaks universally.

The Message Behind the Music

Tha Rapper Haiti encourages young artists to stay grounded in their identity. His message is simple but powerful: embrace your roots, tell your story, and never lose your voice. He credits his success to persistence, self-belief, and the support of a community that helped shape him. His story shows that where you come from can be your greatest strength.

Looking Ahead: Dreams Beyond Borders

As he looks to the future, Tha Rapper Haiti sets his sights on international collaborations and expanding his reach beyond Creole-speaking communities. He dreams of sharing Haitian music on bigger stages, infusing global hip-hop with his cultural perspective.

Whether you’re new to Creole rap or already a fan, Tha Rapper Haiti invites you to experience a sound that’s rich with meaning and full of heart. He’s making more than music; he’s building a legacy that honors the past and looks boldly toward the future.

Stay connected and stream his latest tracks:

Stay connected with Tha Rapper Haiti through his official website, Instagram, and Facebook page. You can also stream his music on Apple Music and Spotify.

Photo Credit: Glorybots

Glorybots, the brainchild of musician Ethan Drone (pseudonym), will unveil its fourth LP, mad.end, this Spring. The album cements the band’s distinctive blend of post-punk, alternative rock, and electronic elements, refining a signature sound that is dark, atmospheric, and undeniably captivating.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

The first single, “Pain Rain,” is already available on all streaming platforms, and fans can look forward to two more singles dropping in the coming months.

The Evolution of Glorybots’ Sound

Since its inception, Glorybots has carved out a unique space in the music world. Ethan Drone envisioned a project that would fuse edgy, digitized textures with classic analog instrumentation, creating a futuristic rock aesthetic that feels both haunting and electrifying.

Drawing inspiration from bands like The Cure, Depeche Mode, Nine Inch Nails, and Love and Rockets, Glorybots has continually evolved with each album. Dark Alien Pop introduced this distinct vision, but its album, Invisible, solidified a more guitar-driven sound. Radiation Skies took it a step further, refining the balance between eerie atmospheres and post-punk swagger. Now, mad.end promises to be the definitive realization of Ethan’s artistic vision.

The album’s lead single, “Pain Rain,” showcases Glorybots’ knack for blending melancholic melodies with hypnotic rhythms. The track is a compelling introduction to the style of mad.end, hinting at the depth and mystery woven throughout the upcoming release. With two more singles set to drop soon, anticipation continues to build for what could be the band’s most accomplished work yet.

Ethan Drone’s Musical Journey

Ethan Drone’s musical journey has been anything but conventional. Born in Northampton, Massachusetts, he spent several formative years in Brazil before moving to Southern California. His lifelong passion for music began with a woodwind recorder in fourth grade, later expanding to bass, electric and acoustic guitars, keyboards, and piano.

His first band, Onyxial Spirit, was co-founded with his brother, and his music career has since taken him across multiple projects, culminating in Glorybots.

Career Highlights and Achievements

His dedication to creative expression has led to numerous career highlights. The publication outlet, The Ark of Music, recognized Invisible as one of its top ten albums 2018. In 2019, Glorybots embarked on a ten-venue West Coast tour, solidifying a growing fanbase.

The band’s albums have garnered widespread praise, with Radiation Skies receiving accolades from music publications and critics alike. Ethan also opened for the Dandy Warhols with his previous band, Echo Texture, a milestone highlighting his presence in the alternative music scene.

Despite these achievements, Ethan’s path has not been without challenges. Early on, he struggled with allowing his music to take on a life of its own, often trying to steer it toward familiar sonic territories for validation. Over time, he learned to let creativity flow naturally, embracing the uncertainty of true artistic exploration. This philosophy has shaped mad.end, making it an album driven by instinct rather than expectation.

At its core, Glorybots’ music carries a message of hope. Ethan believes that music serves as a channel for human potential, offering listeners a glimpse into what is possible beyond the constraints of reality. With mad.end, he continues to express that message through immersive soundscapes and introspective lyrics.

Looking Ahead: The Future of Glorybots

Ethan envisions Glorybots performing at large festivals and touring more extensively. He wants to continue exploring creative directions and ensure that each new project remains as exciting and unpredictable as the last.

If you want to experience a throwback, check out Ethan’s live performance with Echo Texture here.

Follow Glorybots on Instagram, Facebook, and BlueSky to stay updated on new releases and upcoming shows. Experience the world of Glorybots as they prepare to release Mad End.

Photo Credit: Kaito Shoma

Kaito Shoma, a name now synonymous with innovation in the music scene, has unveiled his latest single, “Rotting Bones.” The track marks a defining moment in sonic development of ‘phonk,’ a genre that’s gone from niche to global sensation.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Phonk, heavily inspired by Memphis rap, has been pushed to new frontiers by Shoma, who blends hip-hop, electronica, and experimental elements.

Unlike many in the genre, “Rotting Bones” is a standalone creation, not a remix or collaboration. The song is a testament to Shoma’s ability to craft something fresh from the ground up.

The track’s backbone is a distinct rhythm structure built on a pulsating beat, combining precise percussion and drums. At the core, a synthesized melody functions as both the lead and bassline, adding a haunting, unconventional texture to the piece.

Shoma’s signature vocal manipulation takes center stage here too, but instead of a guest feature or reworked sample, the vocal is processed and integrated into the track as another instrument, adding depth without relying on lyrical storytelling.

Shoma’s work epitomizes the ethos of drift phonk: raw, atmospheric, and intense. Emerging from Russia’s underground scene in the late 2010s, drift phonk blends gritty lo-fi Memphis rap with contemporary production, evolving into a genre defined by heavy bass lines, distorted sounds, and aggressive drums.

Shoma’s track “Scary Garry,” which went viral on TikTok, helped fuel the genre’s rise to global recognition. As a result, Shoma won the 2024 Music Box Award for Electronic Musician of the Year.

The award is one of the most prestigious in the industry, recognizing innovation in electronic music. It highlights the global impact of his work and offers artists valuable visibility. For Shoma, the award is a testament to his unique style and influence, affirming his status as a trailblazer in the evolution of electronic music.

Drift phonk’s success owes much to its ability to tap into the raw energy of Memphis rap while embracing elements from electronic music. As the genre grows, Shoma’s work is defining its future.

With millions of streams and viral success, Shoma is not just riding the wave of drift phonk’s popularity — he’s shaping it. His music is built on experimentation.

“I don’t follow a preset structure for my music,” he says. “I just find sounds that resonate with me and build from there.”

It’s this approach that has earned him a dedicated following and made his tracks foundational to the drift phonk movement.

Shoma’s rise has caught the attention of DJ Paul of Three 6 Mafia, one of the genre’s pioneering figures. This collaboration further cemented Shoma’s place at the forefront of drift phonk.

DJ Paul’s interest is a sign of how far the genre has come, with legends of Memphis rap recognizing the growing influence of artists like Shoma.

While his profile expands globally, Shoma’s roots remain grounded in his early days as a teacher and content creator. His viral YouTube videos, particularly his tutorials on phonk production, have inspired a new generation of producers who are pushing the genre forward

These guides helped foster a wave of young artists, each adding their unique spin to the phonk sound.

With the release of “Rotting Bones,” Kaito Shoma stands at the crossroads of underground grit and mainstream recognition. His sound, no longer confined to phonk enthusiasts, is set to reach a wider audience.

As he continues to innovate and collaborate with industry icons like DJ Paul, the future of phonk — and Shoma’s own rise — is looking unstoppable.

“Rotting Bones” isn’t just another drop — it’s a raw, evolving movement that’s here to stay. Check out more on Youtube.

Photo Credit: Big.Ass.Kids

Big.Ass.Kids new distribution service BAK Music Man, in partnership with music technology leader Too Lost, is transforming the indie music distribution landscape. Its innovative platform provides community, customized artist services, and enhanced music discovery, connecting artists with a thriving hub of vetted professionals and resources through the BAK Play.Ground.

The following was created in collaboration with Too Lost, a proud partner of Digital Music News.

The partnership with Too Lost will further empower independent artists with enhanced distribution capabilities by providing artists with unparalleled access to over 450 global digital service providers (DSPs), consultation, personalized account managers, innovative funding solutions and the ability to curate their team from a pool of exceptional talent from around the globe.

“Too Lost is excited to partner with Big.Ass.Kids to power their music distribution services,” says Gregory Hirschhorn, Co-Founder & CEO of Too Lost. “Through their Music Man platform—an intelligent music distribution, team curation, and artist funding solution, they are empowering more artists and creators with the tools they need to share their work and connect with audiences worldwide.”

B.A.K also supports their distribution artists by providing several artist discovery opportunities. Their bi-weekly “Another 48 Hours” emerging artist playlist series helps artists tap into a new audience through its collaboration with different curators. Past collaborators include That Good Sh!t, Baby Talks Music, Pusha-T’s Cousinz Festival, and most notably, AFROPUNK. Last summer, B.A.K curated the festival stage at Brooklyn’s Prospect Park with selected artists from the playlist. Artists like LARA, TheARTI$t, and My Friend Shawn were featured on the Another 48 Hours: Battle of the Bands stage opening up for the legendary Erykah Badu.

The annual See You Next Year collaboration with Pigeons and Planes brings some of music’s most exciting new artists together at Rick Rubin’s iconic Shangri La studio to create an album surrounded by unforgettable moments. Some of the past SYNY artists include Teezo Touchdown, Paris Texas, Ekkstacy, Fana Hues, Monte Booker and special guest executive producer Mike Dean.

Digital Music News sat down with B.A.K Co-Founders le’Roy Benros (C.E.O) and Carolyn Ortiz (C.O.O) to discuss the focus Music Man has on helping emerging artists build infrastructure using The B.A.K Play.Ground – their digital, members-only online community for artists, creatives, and music professionals. With Music Man, each artist receives an initial consultation call and will be assigned a dedicated account manager who taps into the Play.Ground to provide curated resources and guidance.

le’Roy told DMN that independent DIY artists often struggle to access the right resources for real growth. BAK Music Man addresses this challenge by replacing the traditional, one-size-fits-all model with a community-driven environment. “Over my 15+ years in the music industry as a music manager I’ve experienced scenarios where we’d sign to a label because the team was the perfect fit only for them to be laid off or switch companies shortly after which left us with uncertain support; or sign with a distribution company that takes 20-30% but you find yourself doing the bulk of the work or even aggregators who fail to provide any kind of “human” support amongst the millions of song deliveries each week. BAK Music Man solves all of these problems with The Play.Ground integration.”

The Play.Ground was built to foster direct hiring and creative collaboration between artists and freelance music professionals. For industry pros looking to connect directly with artists, it’s a space filled with talent eager for meaningful support on a global scale. With over 20 countries represented in the community, we can truly help expand an artist’s reach.”

The Play.Ground approach is a novel one: With over 100k music professionals impacted by the mass industry layoffs, the B.A.K community provides instant opportunity for employees-turned-freelancers to get hired and sustain their career in music. You won’t find full-time job boards in The Play.Ground – only contract work that starts with on-platform direct messaging. From management and marketing consultants, to rights and licensing experts, the vetted community is filled with former corner-office executives ready to propel the next generation of artists.

Photo Credit: Big.Ass. Kids (Carolyn Ortiz)

When it comes to vetting that community, Carolyn Ortiz tells DMN that they are focused on providing a safe space for hiring. “I’ve worked in music for over 15 years, and I’ve come across too many artists who have been taken advantage of by managers, publicists, or producers who locked them into bad deals, overcharged and under-delivered, or gave just God-awful advice.

On the flipside, I’ve seen professionals whose careers were derailed because of a layoff, overworked and underpaid, and in severe mental health crises. Providing a safe space is the intention. Work with people who will treat you with respect and not take advantage of you.”

BAK Music Man launched in November 2024 with several key features. While artist team customization through the Play.Ground is an essential offering, Music Man also provides funding solutions via strategic partnerships. Eligible artists can now access advances ranging from $10,000 to $10 million+ by licensing their back catalog for a fixed short term period, without having to sell their rights.

Photo Credit: Big.Ass. Kids (le’Roy Benros)

“Being independent doesn’t mean you have to do it alone,” Benros tells DMN. “We’re committed to providing emerging artists with the access to the resources and community they need to succeed,” said Benros. “Music Man’s partnership with Too Lost are key steps in that direction”.

To commemorate the partnership, BAK kicked off 2025 with their Another 48 Hours emerging artist collab playlist series with Too Lost. You can listen here.

Are you an independent artist looking for resources and community? Visit www.bakmusicman.com to learn more.

For experienced music professionals looking to join The Play.Ground – please visit www.bakplayground.com to learn more.

Photo Credit: Hurt Season

A powerful team-up can make all the difference in the music industry when it comes to trendsetting and breaking through industry noise to connect with fans. Hurt Season has found his match in 808 Mafia, a hip-hop production powerhouse. The artist’s forthcoming album does his title justice, as it’s infused with raw emotion, intricate storytelling, and top-of-the-line production.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Hurt Season’s upcoming album isn’t just a collection of songs. Instead, it’s a cinematic experience in sound and emotion. The artist drew deep inspiration from his Zodiac connections to craft music that’s both immersive and entertaining.

Between Hurt Season’s Taurus sun’s grounding presence, his Cancer moon’s deep emotional core, and his Pisces rising’s fluid creativity, the artist wants the album to feel as expansive as its influences. In the simplest terms, it’s like the soundtrack to a movie that has yet to be filmed.

The Evolution of Hurt Season’s Sound

Hurt Seasn’s collaboration with 808 Mafia allowed him to experiment with production. Through blending ethereal melodies with hard-hitting beats, Hurt Season produced tracks that redefine the boundaries between hip-hop, alternative R&B, and cinematic soundscapes. The final result is a multi-layered listening experience that stands out within the genre.

Using Fashion to Express Art

Music isn’t just about sound; it’s an all-encompassing art form. The best albums utilize multiple expressions of artistry to paint a picture beyond music and lyrics. Hurt Season tapped into the Y2K aesthetic with influences from Rick Owens, Kanye West, and Virgil Abloh to mesh nostalgia with the avant-garde. Hurt Season is all about bold statements. Fans can expect that visual identity to translate into high-concept music videos and performances that challenge the norms.

Transforming Tragedy Into Triumph

Hurt Season may have survived a serious car accident in May of 2024, but he didn’t let that stop him. In fact, he channeled that experience into an intense drive that’s reflected in his music.

His new album speaks to resiliency, vulnerability, and unstoppable ambition. But more importantly? It tells his story: the raw, unfiltered, and unapologetically real version. Opening up to the masses in such a vulnerable way isn’t easy, but Hurt Season wanted to reach a level of authenticity for the album that would make it feel like a personal diary set to music.

An Artist in All Senses of the Word

Creativity is rarely relegated to one outlet, and that’s certainly the case for Hurt Season. Whether he’s sketching with charcoal or admiring the artistry of tattoo culture and ambient music, Hurt Season’s well-rounded inspirations are palpable in his music, both in terms of sound and storytelling.

Writing a Love Letter to His Personal Influences

Like every artist, Hurt Season drew inspiration from his favorite albums like Pink Floyd’s The Dark Side of the Moon and Alt-J’s An Awesome Wave. By tapping into that kind of throwback sound, Hurt Season’s music emanates a level of timelessness that blends psychedelic introspection with modern-day realism. While Hurt Season taps into the depths of his own emotion, he makes sure that the experience is universal for fans, who can see themselves reflected in the lyrics and production.

The music industry often feels stale and stagnant, but Hurt Season is sidestepping the norm to turn making music into a personal, genre-defying movement with stunning art, soul-baring storytelling, and next-level production. He’s poised to do just that with the help of 808 Mafia.

Photo shot by Cam Major at The Orange Lounge Recording Studios

Rich Pilkington’s journey to success hasn’t been easy. The award-winning music producer and songwriter recalls people telling him at a young age that pursuing music as a career was going to be a challenging path.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

It seems they were right. From working multiple jobs, handling rejection, and relying on self-belief when others couldn’t see his creative vision, Rich persisted in following what he believes is his calling to work in the music industry.

His determination and persistence has paid off. Making a name for himself by writing songs for well-known DJs on labels (including Ultra (Sony) and Armada), getting cuts with well renowned C-Pop artists (including Zhang Zhehan), releasing a remix with Warner Music Brazil and having his music regularly featured on television and radio globally.

He was awarded first place in an international songwriting competition and has toured the UK, playing to tens of thousands of people across multiple arenas. As a quantitative measure of his phenomenal success, he has accumulated over 77 million streams as a music producer and songwriter and dreams of hitting the 777 million streams mark one day.

In addition to this, he also has his own artist project Leon Taro, with multiple label releases and over 17 million streams thus far.

Overcoming challenges to success

Rich speaks of how his passion with music started at a young age, learning to play classical piano and taking an interest in the drums. In his teenage years he learned to use Pro Tools so that he could record and produce the songs of his high school band.

This love of music took him on to study music at Leeds University in the UK, followed by working an unpaid internship at a recording studio in Soho, London. He worked part time at a gym to pay his bills and in his spare time wrote music, networked, and built connections in the industry in the hope that one day he would be able to make this his full time living.

“It was only when I moved to Toronto 7 years ago, in 2018, that I went full-time in music,” he says.

“It was a scary venture as I had to survive solely from my music work. Fortunately it worked out, but it took seven years of hustling and working other jobs to get to that point.” 

Moving past rejection

Considering Rich’s success, it is hard to imagine anyone rejecting his music, however, he says this has been a reality for him, as it is for many others in the industry. “You have to be thick skinned and not get too emotionally invested in a project,” he says. “Music is opinion-based. It’s subjective. Some people will like what you create, and some won’t. It’s simple.”

In the beginning of his career, he was very protective over creative decisions he made. “But over time you learn to let that go. There are so many different ways a song could be written or produced, and there is no one right way,” he says. “Sometimes you have to try dozens of variations before you find the magic sauce.”

He says rejection is just a part of the job, but as creatives we need to learn to be in control of our emotions and also take care of our mental health. “It’s a blessing to be able to feel deeply and be able to create something to try and connect with other people through the medium of music, but it comes at a cost. It’s incredibly important to take care of your mind, body and soul,” he says.

Rich advocates staying healthy through exercise. He loves running and weight training and is about to run his first marathon in Toronto this May.

He also spends quality time in nature, taking frequent breaks from work and being social by connecting with friends.

“It’s so easy to lose track of time being in a dark studio environment for hours on end, neglecting your health. Building longevity in your career means taking care of both your physical and mental health; it took me years to appreciate this and prioritise it. When you spend so much time fighting to build a career in music, why not take care of yourself in order to sustain longevity?”

Learning to be your own biggest supporter and advocate

Rich explains one of the biggest challenges creatives have is a lack of self-belief. “We have to learn to be our biggest supporter and our strongest advocate.” He says there will be days when you question what you’re doing, or if something you’ve created is good enough. “We get caught up in our heads sometimes but it’s imperative to believe in yourself and what you’re creating, even if no one else does. Believing in what you’re making and putting it out into the world is the only way to grow and build your career.”

Knowing how hard it is to make a name for yourself in the music industry, Rich helps guide artists he works with to maximise the reach of each song they release.

“A lot of new artists think that writing a song, getting it produced, mixed and mastered, and then uploading it onto digital streaming services is sufficient. But that’s far from it,” he says, adding: “Creating the music is only half the challenge. Especially if you’re not backed by a label and releasing independently.”

He explains that thought needs to go into the marketing and promotion, plus also into an artist’s branding.

What’s next for Rich?

He says he plans to move to LA, to be at the core of the music industry. He hopes to keep following his call to embrace music with everything he has. Like most producers and songwriters, he dreams of having multiple number 1 hits, but for now he’s embracing the journey and enjoying the ride.

Photo Credit: Tim Qualls

Tim Qualls has never been one to simply revisit the past—he prefers to reshape it. With Feel (Stripped), the Houston-based singer-songwriter breathes new life into his celebrated album Feel, peeling back the layers to reveal a more intimate, unfiltered sound. Inspired by Gavin DeGraw’s Chariot – Stripped, Qualls crafts an album that’s not an echo of its predecessor but a reinvention.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Qualls didn’t approach this project with a rigid blueprint. Instead, Feel (Stripped) came to life through spontaneous late-night recording sessions, where creativity took the lead. Longtime collaborator Ben Rothberg and a group of seasoned musicians, who had previously played Feel live together, gathered with Qualls to let the music unfold naturally. It was about instinct—finding the overlooked notes and the spaces between melodies and letting the songs guide them.

“We would show up late at night to record, with no preconceived ideas of how the tracks would go,” Qualls reflects.

“We’d talk for a bit, then eventually find our way over to an instrument or two and start to noodle around until we found a sound, tone, or vibe.” This organic approach ensured that every track retained the emotional weight of the original while taking on a new depth and resonance.

While Feel boasted standout moments, one track – Mine – Stripped emerges as a defining moment on this reimagined album, finding new strength in its raw vulnerability. Stripped of studio polish, it highlights the aching sincerity in Qualls’ voice, making it a must-listen for both longtime fans and newcomers.

Listen to Mine – Stripped here.

Stripping these songs back wasn’t just about changing their sound; it was about rediscovering their essence. Qualls saw Feel (Stripped) as an opportunity to pause and listen to his own words, his own melodies, and the emotions woven through them. “It was about trying to find the notes in between the piano keys, those that are often overlooked,” he explains. That philosophy carries through in every note, transforming familiar songs into something more immediate, more personal.

Unlike the polished production of Feel, this stripped-down version thrives on its live energy. Every track was recorded with a sense of immediacy, a feeling of musicians in a room feeding off one another’s instincts. The result? A record that doesn’t just play—it breathes.

Listen to Feel (Stripped) here.

A New Way to Experience Tim Qualls

Feel (Stripped) isn’t just a retelling—it’s a reawakening. Whether you’ve had Feel on repeat since its release or are just discovering Qualls’ music, this album invites you to experience his artistry in a way that feels closer, more immediate. It’s a reminder that sometimes, the most influential music isn’t about what’s added, but what’s left behind.

With Feel (Stripped), Tim Qualls reaffirms his dedication to artistic exploration and emotional authenticity. By peeling back the layers, he breathes new life into his past work and invites listeners into a space of raw honesty and intimate connection. This stripped-down collection is more than an album—it’s an experience reflecting the ever-evolving relationship between an artist and his music.

Whether you’ve followed Qualls from the beginning or are just discovering his artistry, Feel (Stripped) offers a fresh, deeply personal way to engage with his sound. It’s a testament to the beauty of simplicity, proving that sometimes, less truly is more.

Visit Tim Qualls’ website or follow him on Instagram and Facebook for updates on his tour.

Photo Credit: OnewayN

OnewayN is causing a commotion in the underground rap and they need no stamp of approval. OnewayN Records is represented by three talented artists Jedi Tripp, Don Logan, and Jah Litty, and presents a vision about the pillars of grind, individuality, and authentic love for the culture they represent.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

What distinguishes OnewayN is not so much what they do, what they make music for, but how they do it collectively. There is something each musician brings uniquely to the table, and each knows that what leads to success is consistency and follow-through. No fad, no filler, and no shortcut. Jedi Tripp, Don Logan, and Jah Litty have built great chemistry over time and they continue to push each other as success grows.

Jedi Tripp’s move from Raleigh, NC to New York speaks volumes about the work ethic of this group. It was never about seeking attention, but rather putting himself into a position to grow, build connections, and advance his sound. That same work ethic is evident in all that OnewayN produces, both in beat-making and video content he and his team create and post on YouTube.

Don Logan and Jah Litty add to the crew with their own distinctive voices and perspectives and add depth to what is offered. With confrontational rhymes and easy cadences, they keep it balanced and dynamic. There is no waste in what they do. There is a message to it all and that is something that is getting harder and harder to find in a crowded market with instant material.

OnewayN is not so much concerned about being flashy or catering to whatever’s “hot” right now. They’re building themselves through quality and pure talent while having fun. You can tell that on songs like “Crash The Party” and “DTF,” where the energy matches the message. These are just the beginning pieces to a picture that OnewayN is putting together.

They’ve stated that they’re not searching for fleeting fame. They are in it for the long haul and plan to stay consistent and respectable. OnewayN wishes to establish a fanbase that truly connects with both music and what music is truly about.

OnewayN’s audience is growing one release at a time and their momentum is only building. Stay tapped in with OnewayN:

Instagram | Spotify | YouTube

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’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.”

Joey Myron (Photo Credit: Logan Hill)

In an era where fleeting trends often overshadow genuine artistry, Joey Myron stands apart as a dedicated musician with a deep-seated passion for storytelling. His upbringing, steeped in both classical piano and traditional country music, has shaped a sound that is equal parts tribute to the legends and an ode to the future.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Classical Upbringing

Myron’s musical story begins with his Russian immigrant parents, who passed on their appreciation for timeless tunes. His father, a skilled pianist, introduced him to classical and blues piano at an early age, offering a disciplined foundation for his developing talent.

Meanwhile, Myron’s grandfather—an American patriot—exposed him to classic country records, igniting a fascination with rugged melodies and heartfelt lyrics. This merging of classical instruction and country nostalgia laid the groundwork for what would later become Myron’s distinctive approach.

Making Waves in Los Angeles

As a young artist, Myron ventured to Los Angeles, where opportunities for collaboration abound. He discovered new ways to sharpen his craft while working alongside top producers and writers. One notable partnership was with DJ/producer Mickey Valen on the track “Chills,” which went on to amass over 90 million streams. Although Myron thrived creatively in the vibrant LA scene, he yearned for the rootsy atmosphere of country music.

Reinventing “Chills” in Nashville

Seeking a stronger connection to his cherished musical traditions, Myron moved to Nashville—a town synonymous with country heritage.

“I was craving a music scene that honored the legacy of the genre I grew up on,” he shares.

This transition sparked a new iteration of “Chills,” trading glossy pop layers for a darker, more rustic allure. Inspired by the haunting majesty of the Smoky Mountains, Myron infused raw guitar tones and cinematic textures into the track. The result is a version that captures both the grit of old-school country and the ambient flair of modern pop, showcasing Myron’s ability to embrace past and present.

Writing Credits and Industry Challenges

Myron’s dedication to songwriting hasn’t gone unnoticed. He holds a writing credit on “Farewell, Neverland” for the K-pop group TXT, and a standout performance in Winter Park, Colorado, earned him a feature in Vogue Magazine. Despite these accomplishments, the journey has been far from simple.

In a music industry dominated by short attention spans, Myron struggles with the tension between genuine artistry and the demands of quick-turnaround entertainment. Still, he remains true to his beliefs, favoring depth and quality over instant, disposable hits.

A Return to Crooner Glam

Looking ahead, Myron aims to bridge his love of Western aesthetics with the suave flair of crooners. Influenced by Johnny Cash, Waylon Jennings, Tom Jones, and even The Weeknd and Post Malone, he aspires to reinvigorate country music with live instrumentation and a renewed focus on vocal performance.

“It’s all about delivering genuine stories and emotions,” he reflects.

His vision centers on crafting a space where the heartfelt traditions of country intermingle with rock, pop, and everything in between.

Passion, Patience, and Live Entertainment

For Joey Myron, the future holds a renewed commitment to passion and patience—qualities he deems essential for any aspiring musician. He dreams of an era where authenticity and real-time audience connection eclipse the fleeting spotlight of viral fame.

“I’m eager to bring back proper live entertainment,” Myron says, “and reintroduce listeners to that moment when a single voice can captivate a whole room.”

Joey Myron has carved out a path uniquely his own by weaving his classical roots with his love of country music. He’s not just making songs; he’s creating a lasting impression that merges heartfelt legacy with contemporary flair.

You can catch Joey Myron’s latest tracks on Spotify, follow him on Instagram for updates, watch his performances on YouTube, connect with him on Facebook, and join him on TikTok to see more of his music journey.

Photo Credit: Saydung89

The music industry faces a bevy of challenges in 2025 – as we’ll cover exhaustively in the pages of Digital Music News – but ensuring accurate and timely payments to rights owners shouldn’t be one of them.  In partnership with Tipalti, we’ve created a guide to address this issue: introducing our playbook on How to Pay People In the Music Industry.

The global music industry is now projected to exceed $100 billion in annual revenue, though payment structures and splits are becoming a lot more complicated. You can’t wing it anymore: the complexity of accounts payable in the music industry necessitates robust financial platforms and partnerships to guarantee prompt and precise payments.

To address this critical music industry need, Digital Music News and Tipalti have collaborated to provide a comprehensive playbook for streamlining payments in the music industry.  This guide offers solutions for payment challenges faced by music businesses of all sizes, from startups to large enterprises. We hope it offers some critical tips to companies in any industry sub-category, as well as entrepreneurs, investors, and music platforms of all varieties.

The playbook is available here – and it’s a great guide for plotting out your entire accounts payable stack or simply upgrading your existing one.

This was pretty fun to build, and also offered some optimistic takeaways.

The good news? We quickly realized that there are a number of companies who are already killing it in this sphere, pumping out millions of payments often within 30 days of a usage, license, or other triggering event. The reason is that music accounts payable (or AP) is now a manageable art, and no longer a hindrance to a company’s success in this space.

The available tools and infrastructure are advanced and can be implemented swiftly and efficiently. That was our biggest and most hopeful lesson learned while creating this playbook.

Tipalti also observed that the music industry is rapidly establishing competitive benchmarks for payments. Indeed, AP industry standards are quickly becoming established.

These benchmarks include capturing, accounting for, and paying rights owners for every play on any platform, in any territory, within 30 days.  Payment infrastructure must also accommodate various payment methods and automatically handle tax obligations across different regions (whether states, provinces, or countries). 

Furthermore, seamless integration with existing cloud ERP software is crucial for managing large volumes of payees and clients without excessive manual labor.

Something else Tipalti taught us during this process: you should always be able to definitively answer the question, “Who are we paying, exactly?”

A key step is to figure out exactly who you need to pay, where and when you need to pay them — and of course, how much they should receive. Then you can evaluate your current accounting and payment infrastructure against industry standards.

Anyway: the playbook kicks off with a number of checklists to assess your AP stack, with solutions on how to fill the gaps. 

We hope you’ll check out the playbook – and hope it helps!

Photo Credit: Rikardos Garib

Rikardos Garib, also known as Richard Ghareeb, has established himself as a visionary force in the world of makeup artistry, particularly through his collaborations with iconic Arab stars like Nawal El Zoghbi. Their creative partnership has resulted in breathtaking visuals that have captivated millions of viewers on YouTube, solidifying Rikardos’s reputation as a leading figure in the industry.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Rikardos’s journey with Nawal El Zoghbi began with the music video for “Hafla,” where his artistry brought unparalleled elegance to the production. Tasked with complementing Nawal’s timeless appeal, Rikardos crafted a look that blended classic sophistication with modern flair. His innovative approach enhanced Nawal’s natural beauty while aligning with the visual narrative of the song. The result was stunning, garnering widespread acclaim and contributing to the video’s massive success.

Following “Hafla,” Rikardos collaborated with Nawal on two additional projects: “Fakhamet Maalik” and “Rayto.” Each video presented a unique creative challenge, and Rikardos rose to the occasion by tailoring his techniques to match the distinct themes and energy of the songs. In “Fakhamet Maalik,” he emphasized glamour and opulence, while in “Rayto,” his bold choices added depth and vibrancy to the visuals. All three videos achieved remarkable success, amassing millions of views on YouTube and leaving a lasting impression on audiences worldwide.

What sets Rikardos apart is his meticulous attention to detail and his ability to blend artistry with storytelling seamlessly. In his collaborations with Nawal, he didn’t just create looks—he crafted visual identities that amplified the emotional resonance of the music. By understanding the interplay between makeup, lighting, and camera angles, Rikardos ensured that every frame was a masterpiece.

Rikardos’s work with Nawal El Zoghbi is a testament to his exceptional talent and dedication to his craft. Their collaborations have elevated the standard for music video aesthetics and highlighted the transformative power of makeup artistry in the entertainment industry. Through his visionary approach, Rikardos Garib continues to inspire and set new benchmarks in beauty and beyond.

Navigating the complexities of the music industry can be overwhelming. For independent artists, publishers, and smaller labels, managing royalties, rights, and registrations often feels like an uphill battle. With countless acronyms like ASCAP, BMI, and MCPS, plus the challenge of juggling numerous platforms, you might find yourself spending more time on admin than on creating music.

The following was created in collaboration with Melody Rights.

That’s where Melody Rights comes in—a comprehensive solution for rights management in the music industry. Melody Rights doesn’t focus on getting your music onto Spotify or Apple Music (in fact, they’ve intentionally avoided that route). Instead, they’ve specialized in the essential, behind-the-scenes work of ensuring musicians get paid whenever their music is streamed, downloaded, synced, or performed.

What Does Melody Rights Offer?

At its heart, Melody Rights ensures musicians can effectively manage their royalties. Think of it as having a dedicated team member who ensures you never miss out on the revenue you’ve earned.

Here’s what sets Melody Rights apart: they go beyond the usual distribution channels like DSPs (Spotify, Amazon Music, etc.) and open the door to a broader array of revenue streams. Their services include:

• Songwriter Royalties: Revenue earned as a composer or lyricist.
• Publishing Royalties: Making sure publishers (or self-publishers) get their due.
• Neighbouring Rights: Payments for public performances or broadcasts of your music.
• Traditional Mechanicals: Royalties for physical formats like vinyl and CDs.
• Digital Mechanicals: Royalties from streaming and downloads.
• Content ID Revenue: Capturing earnings from platforms like YouTube when your music is used.
• Micro Stock Licensing: Distribution to platforms such as Pond5 and DepositPhotos, where your music can be licensed for videos and other media.
• Gaming Marketplaces: Selling music for use in video games via platforms like Itch.io and Game Dev Marketplace.

Melody Rights ensures no revenue opportunity is overlooked. The best part? You have complete control, with the ability to pick and choose the services that suit your needs.

Why No Spotify Distribution?

Here’s where Melody Rights stands out. They don’t handle music distribution to DSPs like Spotify or Apple Music. Why? Because they focus on areas that other platforms, like DistroKid, CD Baby, and TuneCore, don’t. While those services are excellent at distributing music, they often leave the intricate work of rights management and royalty collection untouched.

By stepping away from the DSP space, Melody Rights complements existing services rather than competing with them. They’ve positioned themselves as a valuable add-on for artists who want to ensure every backend detail is handled professionally.

How Does It Work?

Getting started with Melody Rights is simple. Choose a membership plan that suits your needs, from a free option (for up to five tracks) to advanced plans for producers and labels. Once registered, you gain access to an intuitive dashboard where you can upload tracks, select endpoints, and let the platform handle the rest.

Customization is key. If your music is already distributed through a specific service, you can opt out of that endpoint. Whether you want to focus solely on micro stock licensing, gaming marketplaces, or other niches, Melody Rights offers flexibility tailored to your goals.

A Revenue Model That Works for Everyone

Melody Rights operates on a revenue-sharing basis. Depending on the plan you choose, they take a small percentage of the royalties they help you collect, while the rest goes to you. For instance:

• Artist Plan: A 50/50 split.
• Producer Plan: A 60/40 split in your favor.
• Label Plan: A 70/30 split in favor of the label.

For businesses like labels, publishers, and promotion services, there’s even a commission model for royalties generated through the platform, making it a win-win for everyone involved.

Why This Matters

For many musicians, the industry can feel like a minefield of missed opportunities. With so many revenue streams to monitor and a seemingly endless amount of admin work, it’s easy for things to slip through the cracks. Melody Rights provides a streamlined system to ensure every artist, label, and publisher receives their fair share.

Most importantly, it offers peace of mind. In an industry where small details can have big financial implications, having a platform that guarantees your royalties are tracked and paid is invaluable.

The Road Ahead for Melody Rights

Melody Rights isn’t stopping here. They’re actively working to expand their services, including plans to partner with platforms like Unity and Unreal for gaming music, as well as increasing their reach into sync libraries and content platforms. Full API integration is also in the works, enabling other businesses to integrate Melody Rights’ technology seamlessly.

Why You Should Consider Melody Rights

In a world where musicians often have to navigate the industry alone, Melody Rights offers a dependable safety net. They don’t aim to replace your distributor—they’re here to enhance it. By focusing on the backend of music rights management, they’ve carved out a unique niche to ensure every sync, stream, or sale counts toward your bottom line.

If you’re ready to stop leaving money on the table and want a more efficient way to manage your music rights, Melody Rights is worth exploring. After all, isn’t it time to let someone else handle the admin so you can focus on what you do best—making music?

Photo Credit: NAMM Foundation

NAMM (National Association of Music Merchants), the largest global nonprofit music trade organization, has committed $50,000 to establish the LA Wildfires Relief Fund in response to the devastating fires in the Los Angeles area. Additional donations to NAMM’s fund are welcome as the trade organization prepares to kick off the 2025 NAMM Show in Anaheim this week.

The following comes in collaboration with NAMM, a proud partner of DMN. 

This fund will provide needs-based assistance to NAMM members, employees of NAMM member companies, music programs, and music makers affected by the wildfires. The NAMM Foundation is performing a needs assessment and will provide more information in the coming days on the distribution and application of these funds.

NAMM has also made clear they have “taken every precaution” in preparing this year’s NAMM Show at the Anaheim Convention Center. The music products community will gather for a week full of sessions led by industry thought leaders, over 100 concerts from up-and-coming artists and established stars, and endless gear innovation. Especially in the wake of the wildfires in Greater Los Angeles, this year’s NAMM Show is about coming together and celebrating people who serve the music industry.

“We continue to stay in close contact with our NAMM members and partners in Los Angeles, including those impacted by the wildfires. Anaheim has remained unaffected by the fires all week, which are located 60 miles northwest,” begins a statement from NAMM CEO John Mlynczak. “Air quality has remained safe all week, with no fire-related impact on Anaheim or the surrounding areas.”

“We have taken every precaution to confirm that we can gather for a safe and successful NAMM show while also supporting the ongoing relief efforts,” Mlynczak’s statement continues. “The 2025 NAMM Show will unite our global industry in support of those impacted in Los Angeles. We are coordinating relief efforts with our partners and continue to communicate with our members in Los Angeles on their needs. […] The NAMM Show will provide two dedicated LA Wildfire Relief Centers for attendees to learn more about how they can support the coordinated efforts of our members and partners.”

This year, the NAMM Show 2025 kicks off its full slate of events beginning January 21 through January 25 in Anaheim, California. Event highlights this year include a performance by Jack White at the 2025 TEC Awards, hosted by Skunk Baxter on Thursday, January 23; An Evening with Jon Batiste on Friday, January 24; and a performance by Jacob Collier at The Grand Rally for Music Education on Saturday, January 25, hosted by NAMM president and CEO John Mlynczak.

The Parnelli Awards, the industry’s highest honor for live event professionals since 2001, takes place on Friday, January 24. The award recognizes pioneering, influential professionals and their contributions, honoring individuals, companies, and game-changing products. On Saturday, January 25, the NAMM Show’s She Rock Awards kick off with live performances by Christina Perri, Samantha Fish, Amanda Palmer, Stitched Up Heart, Lindsey Stirling, AIJIA, Paula Cole, and more.

Other important events include a session called Master the Fundamentals of Audio in Hybrid Events: Techniques Every Technician Must Know. Presented in collaboration with AXIVA, the session promises to show attendees how to create a mix-minus quickly and effectively for broadcast or overflow rooms using fader flip mode on a digital console.

Those interested in attending the NAMM Show 2025 but who cannot make it to Anaheim can register for an online-only badge and access exclusive gear, product launches, networking, livestreamed and on-demand education sessions, and more.

Photo Credit: Country Radio Seminar (CRS 2025)

Country Radio Seminar (CRS) 2025 will be held at the Omni Hotel in Nashville from February 19 – February 21. The CRS Digital Music Summit returns for a fifth year; now included in all three days of CRS.

The following was created in collaboration with Country Radio Seminar (CRS), a company DMN is proud to be partnering with.

Some of the highlights from the Digital Music Summit sessions scheduled for CRS 2025 include Streaming 101, Capitalizing on the Country Moment in Streaming, and The Label, Radio, and Streaming relationship. Take a peek at some of the sessions. Interested? You can register for CRS 2025 here.

Streaming 101: Everything You Want To Know | This comprehensive session is an evolution of past streaming discussions, diving deeper into the business structures of streaming platforms, free vs. premium tiers, and demystifying key myths. With leaders from each digital service provider (DSP) speaking on behalf of their platforms, the panel will cover the current state of country music streaming. It will share best practices for labels, managers, and marketing teams. Moderated by a C-Suite executive, this session aims to integrate the streaming and radio communities further, ensuring both thrive together.

Teamwork Makes the Dream Work: Capitalizing on the Country Moment in Streaming | Country music is experiencing unprecedented growth, with cross-genre collaborations, joint ventures, and major labels expanding into Nashville. This session will explore how the country genre reached this moment, how DSPs are handling the cross-genre boom, and what the future holds for labels, artists, and DSPs alike. The discussion will focus on working together to sustain this momentum.

Why Can’t We Be Friends? The Label, Radio, and Streaming Relationship | In this candid conversation, panelists will examine the current relationship between streaming, radio, and labels. They’ll address challenges and opportunities for increased collaboration between all three. How do these entities work together, and how can they do so more effectively to drive the genre forward? Attendees will gain insights into the differences in timelines between streaming and radio, and the strategies labels use to navigate both spaces.

Sustaining Momentum: How To Turn Moments Into A Career | This session will focus on strategies and tools needed to maintain momentum for country artists, especially when working singles at country radio for extended periods. This panel explores digital marketing strategies, DSP tools, and how to build a sustainable career in today’s music landscape.

The CRS Digital Music Summit also continues with its popular ‘Cycle of a Song’ sessions, examining successful, impactful songs on digital platforms—featuring the artist who performed them. This year, CRS is proud to feature Ella Langley, Tucker Wetmore, and one more artist TBA.

Jelly Roll and Eric Church will close out CRS 2025, with a heartfelt interview simply dubbed ‘The Conversation.’ Eric Church, a modern-day icon of country music, will interview Jelly Roll, an artist with boundary-pushing creativity spanning multiple genres.

Old Dominion will also sit for an exclusive artist interview conducted by Shane McAnally, their long-time song writing collaborator and producer. Old Dominion will also headline the annual ‘Acoustic Alley’ songwriter showcase, which also features Tyler Hubbard, formerly of Florida Georgia Line and Rhett Akins.

CRS has once again commissioned a custom research project to be conducted and presented by Nuvoodoo. The comprehensive three-tiered study will include a targeted look at how, where and how often smartphone users access different media platforms. The data was gathered as part of a quantitative 1,500 person questionnaire gathering thoughts on country music’s current state. Questions asked if country was mainstream, if that’s good or bad, and how different generations of country music fans relate to radio vs. other listening options.

Registration for CRS 2025 is now open.

Photo Credit: Nick Duane

Nick Duane, the acclaimed Providence-based indie artist, has released his fifth album, Credibility. The album, which spans 12 tracks, masterfully explores the human condition and captures life’s emotional spectrum.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

The release further cements Nick’s position as an innovative voice in indie rock by blending decades of musical expertise with a distinctly personal edge.

A Personal Yet Universal Journey

Written, recorded, and produced between May and November 2024, Credibility is a testament to Nick’s lifelong dedication to music. The album showcases his ability to create deeply personal and universally relatable narratives. Tracks like “Oceans” and “Miles Away” stand out as emotional highlights, showcasing his knack for crafting music that resonates with listeners on multiple levels.

“‘Oceans’ is probably the most honest song I’ve ever written,” Nick shared. The track, recorded in just three takes, embodies the vulnerability that runs throughout the album. On the lighter side, “Lost My Cell Phone” injects humor into the mix, showcasing Nick’s versatility as a songwriter.

Classic Influences, Futuristic Sounds

With a style influenced by icons like The Beatles and David Bowie and infused with modern synth-pop elements, Nick’s sound is as timeless as it is forward-thinking. The opening track, “It Wasn’t Me,” immediately draws listeners in with its cinematic storytelling, setting the tone for the following immersive experience.

Each track on Credibility represents a different facet of the human experience, from imagined relationships to heartfelt introspections. It’s this unique blend of realism and artistry that makes Nick’s work stand out in a crowded industry.

A Legacy of Originality

Nick Duane is no stranger to the spotlight. From his early days as a founding member of the Backslap Blues Band—famed for their historic performance at Lupo’s Heartbreak Hotel—to his time with DC Tenz, he has always prioritized originality over trends. This dedication has earned him accolades, including a runner-up nomination for Singer-Songwriter of the Year at the Limelight Magazine Music Awards.

In addition to his solo work, Nick has collaborated with Jim Hall on the Cold Shivers project, further demonstrating his range as an artist. With Credibility, he builds on this legacy, offering an album that feels both fresh and reflective.

Discover the Album

Credibility is available now on Spotify and Bandcamp, allowing fans to explore Nick Duane’s world of raw emotion and expert craftsmanship. It’s a testament to Nick’s unwavering commitment to storytelling and creativity, pushing boundaries in indie music while resonating deeply with listeners.

For a front-row seat to Nick’s artistry, check out his YouTube channel, where he shares music videos, live performances, and more. Stay updated on his latest projects by following him on Instagram and Facebook or visiting his official website.

Whether you’re a long-time fan or a newcomer to his music, Credibility is a journey worth taking. Don’t miss the chance to experience Nick Duane’s latest masterpiece—stream it now and immerse yourself in a musical exploration of life’s most profound moments.

Photo Credit: Spotify

Explicit videos are appearing in Spotify search results. A Redditor captured an image of their search results after typing in the phrase ‘mia’.

In a thread titled, ‘what the actual f*ck’ with the screenshot attached, redditor ‘Milk_Steak_Jabroni’ posted the screenshot to ask the r/truespotify community about the issue. The screen grab contains an explicit image with the caption, ‘Mia Khalifa F—s on the Casting Couch.’ Upon investigating this instance of porn popping up, The Verge says it was unable to find this specific video when searching—but found several other pornographic results on Spotify.

At least one of the accounts that is posting the videos is taking advantage of Spotify’s new video feature. The account has published erotic audio on the platform for years, but now sexually explicit material is now appearing. Another account appears to have began posting in November 2024 and exclusively posts these videos.

Spotify has quickly responded to these explicit results appearing in searches and removed them due to “violation of our policies.” Spotify’s policy forbids uploading sexually explicit material to the platform. Those uploading the videos appear to be using an unmoderated podcast upload to get the videos to appear as a Spotify search results. Reporting content like this isn’t convenient because Spotify only allows reports through a webpage rather than anywhere on the offending content in the app.

Spotify as a platform is no stranger to sexually explicit content, despite its policies. In 2022, Vice reported on sexually explicit audio on the platform and other graphic nudity including user-made playlist cover art. Aside from sexually explicit material, Spotify also hosted dozens of neo-Nazi and white supremacist playlists for years.

A Digital Music News report was instrumental in helping Spotify take action against 37 different bands whose lyrics contained white supremacist messages, neo-Nazi allegories, and hate against others. Spotify’s policy forbids any content with a principle purpose of inciting hate against others.

Photo Credit: Abigail Keenan

The global music industry is racing towards $100 billion+ in annual revenues, with success for many businesses defined by their ability to manage extreme complexity. Accounts payable in the music industry now demands a serious financial platform and partners to get it right and get everyone paid on time. But how can you know if your company is getting it right?

To answer this critical make-or-break question, Digital Music News and Tipalti have teamed up to offer a playbook for getting people paid in the music industry—quickly, accurately, and automatically. This definitive pocket guide covers payment issues in the music industry, from startups to enterprise-level platforms. Now, we’re excited to share this resource with the industry.

When it comes to getting payments right, a self-assessment of your business’s current operating procedure is a great place to start. If you’re ready for a diagnostic, then keep reading.

First, the (very) good news. After consulting with Tipalti on this project, we quickly realized that the tools and infrastructure in this realm are in mature state. As a result, they can be deployed relatively quickly and without endless trial-and-error. These are make-or-break details for any music company dealing with complex rights, royalties, and accounting challenges, but they don’t have to ‘break’ anything.

Heading into 2025, Tipalti noted that competitive benchmarks on payments are quickly being established in the music industry. But what are these competitive benchmarks?

For starters, accounting and payment infrastructure should be capturing, accounting for, and paying rights owners for every play on any platform, in any territory worldwide, within 30 days of its occurrence. Your payments infrastructure should be able to handle every type of payment method (PayPal, ACH, eCheck, foreign currency) demanded by rights owners and clients.

However, getting people paid on time and in their preferred currency is the baseline. Does your infrastructure automatically handle all tax concerns, thresholds, and deductions for every U.S. state and territory worldwide? Can it manage complex payouts involving multiple rights owners, splits, disputes, and advances?

Does your payments platform integrate with existing cloud enterprise resource planning (ERP) software like NetSuite, Intacct, Microsoft, SAP, QuickBooks, or others? If not, managing these mandatory details with tens of thousands of payees and clients can add up to thousands of hours of manual labor.

One of the key areas in which many music companies struggle is appropriately identifying and paying every recipient tied to a monetized asset. At a fundamental level, your team should always be able to answer the question, ‘Who are we paying, exactly?’

A key step is to assess whether your accounting and payment infrastructure is industry-level competitive with this checklist. Tipalti provides solutions for each of these instances to create smart, efficient accounting and payments with automated help—does your current solution?

Pop quiz: can you handle the following functionalities with ease?

(1) Capturing, accounting for, and paying rights owners for every play, on any platform, in any territory worldwide within 30 days?

(2) Handling every type of payment method demanded by rights owners and clients (PayPal, ACH, eCheck, foreign currency?

(3) Automatically handling all tax concerns, thresholds, and deductions for every U.S. state and territory across the globe?

(4) Managing complex payouts involving multiple rights owners, splits, disputes, and advances?

(5) Tightly integrating your payments platform with existing cloud ERPs or accounting solutions like NetSuite, Intacct, Microsoft, SAP, QuickBooks, and others?

(6) Managing these details with tens of thousands of payees and clients without extensive manual work?

If you can’t definitively answer each of these questions with a resounding yes, then your payment and accounting workflow might need an upgrade.

One impressive takeaway for us during this process: Tipalti was not only capable of handling extreme complexity and hundreds of thousands of payees, but they were also eager to embrace extreme payout quantities via automation. Tipalti’s automation also helps businesses stay tax compliant while keeping payments flowing for rights owners and clients—all while managing complex pay structures to boot.

Photo Credit: GXTP

Rock music has a way of gripping listeners, often blending raw emotion with biting commentary on the human experience. In this spirit, GXTP, the band whose name evokes a tongue-in-cheek nod to pandemic chaos, is rewriting the playbook.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

With their sophomore album, Reloaded, released on November 8th, GXTP is stepping into uncharted territory while staying true to their roots.

The trio—Jason Paul, Sasha Sirota, and Triple Sixx—emerged in 2020, crafting songs that reflect the absurdities of modern life. Their debut album, Smoke & Mirrors, resonated with fans by combining sharp storytelling and commanding soundscapes. Now, Reloaded aims to deepen that connection, proving GXTP is more than a moment—it’s a movement.

An Album Fueled by Collaboration

The heartbeat of Reloaded lies in its collaborations. Fans were introduced to this new chapter with two powerhouse singles: “My Devil At Home”, featuring Sueco, and “Couldn’t Keep the Faith”, a haunting anthem with Faris Zahid. Both tracks set the tone for an album that promises intrigue, depth, and a touch of mischief.

Adding to the allure, the music video for My Devil At Home captures a stark, cinematic world where light and shadow collide, underscoring the song’s duality. It’s no wonder the video has sparked widespread anticipation for the full album.

Perhaps the album’s boldest collaboration comes in “Te’Kill’Ya,” featuring Killer Mike and Santana. The track marries blistering rhythms with electric precision, showcasing GXTP’s knack for weaving humor into their intensity.

Born of Chaos, Thriving in Harmony

The name GXTP, short for “guns and toilet paper,” reflects the absurdity of its origin during the height of the pandemic. Yet beneath the playful acronym lies a band unafraid to tackle weighty themes. Their music is both commentary and catharsis, dissecting societal fissures with wit and grit.

Sasha Sirota describes their creative process as a blend of spontaneity and intent, saying, “Reloaded is about exploring the stories we’ve carried with us while bringing in new voices to amplify those ideas.”

A Tracklist Worth Anticipating

Reloaded spans 11 tracks, each offering something distinct. From the blistering energy of “Angel Born in Hell” to the reflective tones of “Matter,” every song feels like a statement. Collaborations like “One Race” with David Bryan of Bon Jovi and the hard-hitting “Brothers Till the End” cement the album’s diverse appeal.

The Future of Rock, Reimagined

GXTP has captured something rare—a sound that feels familiar yet unmistakably their own. With Reloaded, they invite listeners to reconsider what modern rock can be. The album isn’t just a follow-up to their debut; it’s a declaration of intent, a promise to keep creating music that challenges, engages, and entertains.

If you failed to catch this album on it’s release November 8th, then get ready to experience the world through GXTP’s lens. For now, dive into the evocative world of “My Devil At Home” and revisit the haunting melodies of “Couldn’t Keep the Faith”. You’ll find yourself counting down the days until Reloaded finally hits.

Stay Connected

Follow GXTP on Instagram, Spotify, TikTok, and YouTube for exclusive updates and behind-the-scenes glimpses of what’s next. This is a band that refuses to rest on its laurels—be ready to join them for the ride.

Photo Credit: Muso.AI

Celebrate your music milestones with Muso.AI’s Encore 2024—a celebration of people behind the music who make the industry thrive. From producers, songwriters, engineers, to the companies themselves, this powerful end-of-year campaign highlights music achievements with exclusive shareable stats, personalized highlights, and the opportunity to purchase a custom Encore profile or milestone plaques.

The following was created in collaboration with Muso.AI, a proud partner of Digital Music News.

Muso.AI Encore 2024 turns a year’s worth of hard work into a tangible, lasting tribute. Encore 2024  builds on the success of previous Encore campaigns, aiming to amplify the visibility of behind-the-scenes music professionals and companies. Now they can celebrate their music milestones and tangibly impact across the industry.

Encore 2024 also compiles key metrics, including total streams into a sleek and shareable format for posts or stories on social media. Shareable key metrics help music professionals and companies increase their visibility within their social networks. Encore also gives users the opportunity to correct or update their credits before sharing their stats—ensuring every achievement is accurately reflected. 

Photo Credit: Muso.AI

The Encore 2024 wrap-up features comprehensive career highlights with reels that showcase contributions, top tracks, and total career stats—providing users with a complete year-end review snapshot. Music professionals and companies can commemorate their lifetime stats or milestones by purchasing a custom Encore plaque.

The Encore plaque is a physical representation of those achievements that can be displayed in a studio, home, or office. Music companies can grant an Encore plaque to members of their roster, commemorating their achievement. The plaque lists the company logo at the bottom with ‘presented by [Company Name].’

Photo Credit: Muso.AI

And for the first time ever, Muso.AI is bringing Milestone tracks to the plaque offering. If users or companies have achieved specific milestones from as little as 30,000 streams to over 700 million streams, they can commemorate this achievement with a specific milestone plaque. Previously, Muso.AI only offered plaques for lifetime stats for an individual or company. The RIAA only recognizes tracks that achieve 37.5 million streams—Muso.AI allows users to celebrate each milestone along the way.

Now specific tracks can be celebrated for anybody who worked on the track. Companies that choose to gift milestone plaques to members of their roster will have the same ‘presented by [Company Name]’ branding on the bottom of the plaque. 

Photo Credit: Muso.AI

The format is designed to bring attention to the contributions of producers, engineers, songwriters, and other behind-the-scenes music professionals. For an industry that often prioritizes front-facing talent, Muso.AI’s Encore shines a light on those who are the backbone for every great track we enjoy. 

“Encore has shown us, year after year, how making credits fun, engaging, and shareable can really make an impact on the music industry’s credit challenges,” Kyran de Keijzer, Co-Founder, Muso.AI tells Digital Music News. “Last year during Encore 2023, we saw over one million credits fixed and updated simply because people were excited to share their stats.”

“That kind of energy doesn’t just celebrate achievements—it helps make sure everyone’s hard work is seen and recognized. It’s a huge step toward our mission of solving music credits,” de Keijzer continues.

Ready to Celebrate Your Music Career in 2024?

Encore 2024 is now live—music professionals can access stats, download shareable highlights, and order custom plaques celebrating those achievements right now. Start sharing your achievements with the world—because everyone’s contributions to the industry deserve to be celebrated. The service is available to all Muso.AI members but be quick, the window for plaque orders closes at the end of the year.

Greg O’Connor at his home studio in Los Angeles, CA (Photo Credit: Kevin Sikorski)

Greg O’Connor isn’t an immediately recognizable name, but his work has likely shaped your viewing and listening experience.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Greg O’Connor, a multi-talented composer, songwriter, record producer, and artist, has spent his career crafting music that resonates across genres and mediums. From scoring over 30 television series to penning over 1,000 songs for TV, films, and commercials, he’s a creative force whose journey has recently taken a deeply personal turn.

After decades of creating for others, Greg decided to step into the spotlight with a solo album inspired by his own experiences. For years, fans and collaborators alike encouraged him to make music reflecting his story. Despite his success, Greg admits he initially hesitated, wrestling with imposter syndrome and fearing that his solo work might not measure up. However, he embraced the challenge, discovering that performing songs rooted in personal emotion vastly differs from writing music for a pre-existing storyline.

This shift culminated in his latest album—a collection of songs that reveal a more vulnerable, introspective side of an artist often behind the scenes. Reflecting on the process, Greg noted how his years of stepping into the performer’s role while creating songs for TV and film prepared him to pour his voice and perspective into the project. “There’s a huge difference between acting out a scene and singing about your life,” he says.

A Storied Career in the Spotlight

Greg’s professional accolades are remarkable. A Primetime Emmy-winning composer and four-time nominee, his work spans animation, comedy, drama, reality TV, and even virtual reality. Recent projects include scoring the Threshold Entertainment drama My Home Unknown and Universal Pictures’ animated feature Bobbleheads the Movie. His viral “Laura Dern” song for the 2020 Film Independent Spirit Awards is another standout moment, featured in major news outlets and beloved by fans.

Television viewers will recognize Greg’s work from shows like Disney+’s Prop Culture and ABC’s Greatest Hits. He composed the memorable theme song for the series Gay Skit Happens with the Grammy-nominated group Pentatonix and wrote the theme for Will Sasso’s Ten Minute Podcast. His extensive credits include scoring MAD TV, The Jamie Kennedy Experiment, and Aaron Spelling’s cop drama 10-8.

Beyond television, Greg has collaborated with legendary artists. He co-wrote and produced multiple songs for Chicago, including Billboard AC Top 20 hits like “The Only One” and “Show Me a Sign.” He’s also worked with icons like Barry Manilow, producing tracks for his album The Greatest Songs of the Eighties and his holiday hit “Christmas is Just Around the Corner.”

Overcoming Challenges and Sharing Wisdom

Greg has faced his share of challenges despite his long list of achievements. Performance anxiety and self-doubt were obstacles he learned to manage through disciplined goal-setting. Breaking daunting projects into smaller, manageable tasks allowed him to stay focused. He also emphasizes the importance of honesty and vulnerability when collaborating with other artists, creating an environment where real connections—and better songs—can thrive.

Greg’s advice to aspiring artists is refreshingly candid: “Write what you love. Write often. Don’t chase someone else’s path.” He firmly believes in the zigzag nature of success, encouraging artists to focus on curiosity and growth rather than worrying about gatekeepers and trends.

Looking Ahead

Greg’s aspirations are as versatile as his career. He dreams of composing scores and writing songs for stories that highlight the human condition, underdog narratives, and universal emotions. He’s also keen to expand his horizons with more solo projects and perhaps even starting a band. Inspired by legends like Quincy Jones, Greg is committed to staying curious and breaking genre boundaries.

With technology enabling collaboration worldwide, Greg’s creative reach is only growing. His latest album, crafted across two continents and five studios, reflects his dedication to connecting with listeners through music.

To experience Greg O’Connor’s personal and meaningful journey, visit his website, Instagram, or YouTube account.

Photo Credit: Muso.AI

Music credits are no longer relegated to the back of a CD insert or a vinyl sleeve. Yet despite the move to the digital era, 63% of popular tracks have missing credits. Muso.AI aims to fix that by bringing together the industry’s entire credit and analytical data. Muso.AI has enabled music professionals and now music businesses to clean up inaccuracies, ensure credits are complete, and showcase their work—all in one place.

The following was created in collaboration with Muso.AI, a proud partner of Digital Music News.

Music credit management has long been a headache to manage for individuals and companies alike. Incomplete or inaccurate data prevents proper recognition of all parties involved and hinders promotional efforts. Muso.AI helps solve these challenges by providing a comprehensive platform to consolidate, verify, and showcase credits across the music ecosystem.

Muso.AI is launching a suite of advanced tools tailored for music industry companies to manage their profiles, credits, and rosters efficiently. The platform already handles modifications of up to 40,000 credits per week. Now it is expanding its exclusive credit ecosystem beyond top-tier clients (RIMAS Publishing, Sony Music Publishing, Neon16) to make the platform accessible for all music industry players.

Inaccurate or incomplete credit representation can hinder a company’s ability to promote its roster, track accomplishments by its creatives, and close data gaps. Without accurate data, companies may miss milestone achievements for their songwriters, producers, and engineers. Muso.AI offers a streamlined solution to these challenges by enabling companies to manage and promote their roster’s accomplishments as they happen.

Photo Credit: Muso.AI

Manage Music Credits — Muso.AI B2B Tools Can Make A Difference

• Create a Music Business Profile: Build a comprehensive public page to showcase company credits, staff, and roster. Perfect for Labels, Publishers, Management, Agencies, Studios, Schools, and Brands.
• Centralized Credit Management: Oversee and manage an entire catalog to ensure accuracy, enabling smoother royalty tracking and promotional efforts.
• Roster Analytics & Collaboration: Share access with roster members, allowing them to view analytics and manage their own credits while maintaining central oversight.
• Promote Achievements: Showcase your company and roster’s accomplishments with analytics, custom playlists, and more.
• Discover Talent & Affiliations: Access detailed artist profiles, affiliations, and subsidiaries to foster talent discovery and collaboration.

Use Muso.AI’s music business profile to showcase your company’s roster’s achievements, access analytics, or create custom playlists to highlight the success of the team. It can also be used to view detailed artist profiles, affiliations, subsidiaries, and more to support talent discovery and collaboration among creatives.

Photo Credit: Muso.AI

Music professionals and businesses across the industry are already seeing the transformative impact of Muso.AI. Here’s what they have to say:

“Expanding our ecosystem to involve companies is a logical next step for us,” Kyran de Keijzer, Co-Founder, Muso.AI tells Digital Music News. “Seeing individuals take control of their own credits has been inspiring, and it’s no surprise that the first businesses are now wanting to be involved. It feels like we’re part of a larger movement toward transparency and a shared commitment to valuing everyone’s contributions in the industry.”

“Muso is an invaluable tool both for me as a songwriter and for Vidrio Music as a publisher,” shares Erika Vidrio, Owner of Vidrio Music. “It allows us to monitor the monthly growth of our works in streaming and showcase impactful results, strengthening our marketing strategy and opening up new recording opportunities.”

“Muso.AI empowers our ability to keep up with the vast array of music that gets recorded in our space,” adds Dewey Boyd, Owner of Forty-One Fifteen. “We care deeply about fostering community, and the songs we record are the product of a lot of love and collaboration. Muso.AI is how we keep up with our family. It’s how we know when one of our song babies is doing really well, and it’s the tool we use to keep our community woven together.”

Interested in getting started with Muso.AI? It’s easy and free to start—companies can join the platform by claiming an existing company out of the 12 million pre-seeded companies or create one from scratch. Experience the power of organized credits, seamless catalog management, and meaningful milestone tracking all under one roof with Muso.AI.

Toronto’s own Raquel (@raquelllofficial) has a knack for turning music into magic, and her new series, Sessions With Raquel, is proof. For her second installment, Raquel takes on the song “Fashion Week” with the help of fellow Toronto artists Smiley and Sadboi, delivering a version that’s raw, intimate, and undeniably captivating. The first session featured Toronto R&B singer Luna Elle.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

For the newest performance, “Fashion Week,” is filmed on a rainy New York City rooftop. And it feels like something out of a movie. Raquel’s soulful piano arrangement, paired with her rich vocals, reimagines the track as a ballad, letting listeners connect with the lyrics in a way they haven’t before.

“Rain often feels like renewal or reflection,” Raquel says of the setting. “This song is about being present with your emotions, and the rain was the perfect backdrop for that.”

Smiley and Sadboi complement Raquel’s delivery effortlessly, their verses blending seamlessly into the stripped-down arrangement. Together, the trio creates a moment that feels deeply personal yet universally relatable.

The beauty of Raquel’s Sessions series lies in its ability to transform not just songs but also the way we experience them. By reinterpreting music with her signature style and thoughtfully chosen visuals, Raquel invites audiences to see familiar tracks through a new, emotional lens.

Ready to be moved? Watch Raquel’s rainy rooftop rendition of “Fashion Week” here.

Watch Raquel on YouTube. 

Photo Credit: Pablo Hell

Life rarely goes as planned, but it’s the ability to adapt that sets certain people apart. One of those people is Pablo Hell, an 18-year-old music producer and songwriter from Germany who has quietly been building a name for himself.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Though low key in public, Pablo Hell has been making big waves behind the scenes with his unique sound and undeniable work ethic.

Pablo’s journey into music started early. In 2021, at just 15, he began sharing beats on SoundCloud. What started as a small experiment quickly turned into something bigger when his distinct style started catching attention within underground circles. By the end of 2020, one of his beats took off unexpectedly, going viral on TikTok and being used in thousands of videos. This moment became Pablo’s first taste of recognition and proved that his sound had real potential.

Despite the growing buzz, Pablo stayed grounded and focused. He didn’t chase fame or flood social media with his face—instead, he let the music speak. Over time, he became known for his atmospheric and melodic beats, which blend raw emotion with modern production styles. These qualities made his tracks highly sought after by emerging artists in the Hip-Hop scenes.

Pablo has quietly worked on collaborations that many listeners would recognize but might not realize he’s behind. His beats have connected with creators worldwide, and his name continues to come up in conversations among artists looking for fresh production.

In addition to producing, Pablo launched his independent label, Push & Keep Reaching Records (PKR Records), as a platform for creative freedom. Through PKR, he’s been able to experiment with new sounds and support other artists.

This year, fans got a rare glimpse into what’s next when Pablo teased his debut album, expected to drop in Spring 2025, through an Instagram story on @pabo. The announcement was brief, but it was enough to send his growing fanbase into a frenzy.

At only 18, Pablo Hell has already proven that you don’t need to shout to be heard. His quiet determination, creative vision, and unique sound have earned him respect in an industry that’s always searching for the next big thing. With his debut album on the way, there’s no doubt that Pablo Hell is just getting started—and he’s doing it on his own terms.

Photo Credit: Chartmetric

The days of Star Search are long past. Now finding the next big musical hitmaker means having access to tons of data to analyze. That’s where Chartmetric steps in, offering a tool to help live and recorded music industries identify artists who have the greatest potential to become successful. Sign new artists before they blow up—helping them ride the wave of superfans to stardom.

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

Chartmetric tells Digital Music News that its new predictive talent search tool uses several metrics to identify the hottest rising stars on the platform. It is available at no extra cost to all Chartmetric Premium subscribers. Artists who curate and build a dedicated, built-in fan base are a hot commodity and Chartmetric can help you find them.

Developed over 18 months, this predictive talent search tool analyzes data for over 10 million artists to identify some common signals that are exhibited by artists early in their careers. These signals can sometimes be used to predict long-term success for the artist. Every artist receives a daily score of 1-10 for each signal, helping users more easily identify artists who may warrant further investigation.

Photo Credit: Chartmetric

“Data has always been an essential component of the gut instinct that A&Rs rely on, although it was never thought of as data in the past, but rather as knowledge. An encyclopedic knowledge of the marketplace and current trends enabled successful A&Rs and bookers to make better decisions on gut instinct,” Chaz Jenkins, Chief Commercial Officer of Chartmetric tells Digital Music News.

“But with far more artists releasing music globally today than at any point in the past, and so many more people consuming so much more music, it is almost impossible for anyone to have sufficient awareness of the marketplace.”

That’s because music has become hyper local and appeals to local superfans where artists begin building their audiences. San Antonio honky-tonker Braxton Keith is one such example—a built-in, loyal following of country western fans who see the talent as a clever homage to classic country western acts like George Strait.

Thanks to Chartmetric’s talent search tool, identifying these types of artists just became even easier. Simply rank by key metrics such as audience development, fan engagement, and consistent growth to see which developing artists are emitting signals for long-term success.

Photo Credit: Chartmetric

“We’re not able to analyze the marketplace over the past decade and utilize data to learn and understand how successful artists develop and how consumers engage with them across multiple services,” adds Akash Mukerjee, VP of Product Management for Chartmetric. “There is no single metric that can predict success. Each of the signals we identified integrates multiple data points from many services. By handling the heavy analytical work behind the scenes, our distinct signals can be used to identify emerging talent far earlier than was ever possible before.”

Chartmetric says it worked closely with A&Rs and agents to understand how to present its data signals in a concise and easy to understand format. Although everyone is seeking new stars, they’re each looking for something slightly different. So the tool is predictive but also highly customizable and able to filter through millions of artists so you find potential stars with the right skills and services that a particular organization offers.

The new Talent Search Tool is available for free for all Chartmetric Premium subscribers. The Chartmetric Premium dashboard is an essential service used by over 5,000 companies in live and recorded music. Some sectors of television, film, advertising, and finance also find Chartmetric’s data presentation useful. Chartmetric offers dedicated services for tens of thousands of artists and artist managers, working extensively with universities and business schools to train the next generation of musicians and music executives.

For a deeper look into the tool and how it works, read Chartmetric’s latest product update at their blog, How Music Charts.

Music Tectonics 2024 featured informative panels on hot industry topics like streaming fraud, fan relationship management, music investments, financing options for artists, and more.

The Music Tectonics 2024 conference is all about the fusion of music and tech. There are certain things you come to expect at Music Tectonics in sunny Santa Monica — beautiful beach backgrounds and engaging activities. And the 2024 conference did not disappoint.

Dmitri Vietze, conference director and founder of PR firm Rock Paper Scissors, welcomed attendees along the Santa Monica pier.

“I started this company twenty-five years ago in late October. So this is our 25th anniversary right now and you guys are here with me to celebrate this party,” Vietze said.

The first informative panel was a fireside chat with former Managing Director of Techstars Music (and investor) Bob Moczydlowsky, and Joe Tou from Sony Ventures.

The duo had abundant valuable insights on how businesses and startup owners looking to secure financing can attain their goals.

“There are a lot of startup companies here that people are trying to build. The world’s ready for new creative ideas. And there are a lot of people here who are building the pipes and the platforms to do that,” Tou said.

Taking it all in were the finalists of this year’s startup competition, companies like Soloist. Parker Busick, founder of Soloist, relayed the company’s inspiration and journey.

“We took that loop pedal and put it on your phone and connected it to every other loop pedal in the world so you could use any loop uploaded by any musician — and the result is that you have bandmates in your pocket. You can create with them and play with them,” Busick said, adding, “It allows you to practice with yourself as if you were your bandmate.”

Riley Lemons, Head of Design at Soloist, said, “I’m grateful to be up here with so many other incredible companies.”

After a sunset carousel mixer along the pier, Music Tectonics shifted for day-two to the Annenberg Community Beach House — a stunning poolside venue that’s the perfect setting to network and exchange ideas.

Panel discussions focused on the latest and most significant industry topics: preventing streaming fraud, and moves that help artists develop more profound relationships with their fans.

Tetris Kelly with Billboard explained that for labels to cash in, fans need to feel appreciated by the artist before they can be motivated to spend money on merch and concert tickets.

This year at Music Tectonics, Vietze added a creators’ fair where musicians and music minds could present and share new innovations. Participants included companies like Roland.

Vietze said, “Our focus is on innovation. We’re not solely focused on the recording industry, startups, new creator tools — but we’re bringing it all together.”

Vietze also explained his views on the innovation ecosystem that thrives when conversations can happen in a unique way, at a fabulous destination, and in a fun spot. “We also want a great experience.”

Music Tectonics 2024 took place October 22 — 24.

Photo Credit: Earthprogram

New York-based singer-songwriter Carly Glenn has dropped her debut album, The Beauty of It All Pt. 1, crafted with the boldness featured in Chappell Roan’s songwriting and the dynamic energy and upbeat tones present in Dua Lipa’s music.

The New York native holds a BFA in musical theater from The Hartt School and completed studies in comedic filmmaking at The Harold Ramis Film School. She also graduated from the conservatory program at The Second City—studying improv and sketch comedy.

Now she’s turned her attention to music, expressing herself in a sound likened to late noughties pop that gets hips swinging and fingers snapping. “I am the type of artist that sees something I love, whether it be a TV Show or film or an album or even a Broadway show, and I always think, ‘oh I could do that too!’ And once I set my mind to do something, it absolutely gets done,” Carly Glenn told Digital Music News.

Glenn says writing music has been a creative medium for her to process a lot of what has happened in her life. She says the music creation process has been therapeutic, “My secret sauce is that I am not afraid to be vulnerable—I write what I know. I sound like Carly Glenn. I really don’t know anyone else who sounds like me, and I sure am not trying to sound like anyone else. My sound comes naturally, and I don’t imitate other artists.”

Glenn says her musical works are a form of storytelling for her, with her first EP Who Is Carly Glenn dropping in 2018. Glenn has released three music videos and three more singles since—with The Beauty of It All Pt. 1 marking her debut album.

“My art quite literally imitates life. If nothing significant is happening to me, then I usually have nothing to say. I have so much to say after a major battle with mental health that I have won! I hope that as an artist, my platform can reach a lot of people. I love to perform, but I mostly love being able to share things about myself that others can relate to. Life is lonely if you don’t share your stories and everything I do is just that—storytelling,” Glenn tells DMN.

Carly’s experience in all things film, performance, voice, business, marketing, and music combines to make an album that captures a sincere moment in time for an emerging artist. You can listen to The Beauty of It All Pt. 1 on Spotify (or your favorite DSP) now.

The music market has undergone a real transformation in recent years. Faster, stronger, louder – this is how we could summarize the shift. The distribution channels, in particular, have evolved. Today, the market dances to the tune of streaming giants, especially Spotify, which controls a whopping 30% of the global market.

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

However, this may soon change. More and more artists and labels are voicing complaints about the model created by the Swedish streaming powerhouse, arguing that it benefits the largest players, while the rest only get crumbs. There is a strong possibility that new alternatives, or apps where streaming is just part of the full offering, will emerge soon.

If you’re also considering creating a music or music streaming app or incorporating this type of functionality into your application, this article is for you. Let’s examine both successful and failed projects in this niche, the biggest challenges, and the standards set by industry giants. Let’s check the pulse of the industry.

The Complexities of Building a Music Streaming App

In music streaming, there’s no room for errors. The competitiveness of this niche means that even the smallest design, UX, or functionality misstep can have serious consequences. This is compounded by issues of legal compliance, which are so critical in the music industry. What must you consider when creating such a solution?

Copyright and Music Licensing

Every streaming app must adhere to copyright regulations, which include securing the appropriate licenses from copyright owners such as labels, artists, and collective rights management organizations (e.g., ZAiKS in Poland or ASCAP in the US). Music licensing is a complex process, especially since different countries have unique copyright regulations. Streaming providers must ensure that every song is legally distributed and that royalties are paid in accordance with agreements.

Data Protection and User Privacy

Without personalized feeds and accurate recommendations, success in the streaming industry today is nearly impossible. However, this requires advanced user data processing, which is strictly regulated. In the EU, streaming apps must comply with GDPR – otherwise, they risk significant financial penalties. These regulations define how companies can collect, store, and process personal data, and specify user rights (e.g., the right to be forgotten, the right to access data).

Content Responsibility and Anti-Piracy Measures

When allowing content to be published by independent artists and creators (not affiliated with labels), a streaming app must prevent illegal music distribution and ensure it does not support piracy or intellectual property violations.

The GenAI boom has added even more complexity to this, as there is still no clear legal precedent for generative artificial intelligence and copyright. AI-generated content is based on data the model was trained on, though the original creators may not have given consent for this use. While the output isn’t an exact copy of an existing work, but a blend of millions of references, it’s challenging to determine copyright in these cases.

The same applies to “resurrecting” artists’ voices. The so-called “digital necromancy” or “posthumous art” is becoming more common among music creators. Here, too, there is no clear legal consensus, and the laws are somewhat ambiguous. In the GenAI era, a music streaming app provider must navigate these complexities, taking responsibility for potential violations.

Hitting the Wrong Note – What We Can Learn From Failed Streaming Projects

The music streaming industry is filled with stories of platforms that failed. These cautionary tales can serve as guideposts for companies entering the market. Many examples date back to when the music streaming industry was still forming.

Consider Napster– a platform that popularized P2P sharing and paved the way for torrenting. At its peak, it became a nightmare for music labels, with its widespread, unauthorized sharing of copyrighted songs eroding traditional sales and threatening artists’ livelihoods and label revenues. Legal actions from major players like Metallica ultimately forced Napster to shut down in 2001, marking it as both a catalyst for digital music disruption and a cautionary tale for unlicensed content sharing. Later, LimeWire  followed a similar path, ultimately shutting down despite attempts at legitimacy. 

Though the turbulent era of torrenting and platforms operating without licenses or against copyright law is now over, new platforms still encounter// issues. Recently, a celebrity-backed NFT platform called OneOf was accused of selling securities without SEC approval.One thing is certain – when it comes copyright and licenses, you shouldn’t play it by the ear. One wrong move is enough for the regulatory units to blow the whistle. But worry not – with our tips, you can prepare yourself for any eventuality.

Legal and Licensing Framework: Avoiding Pitfalls

How can you avoid mistakes when navigating these legal complexities? Start by understanding the types of licenses you need to obtain before distributing music through your platform:

• Mechanical licenses allow platforms to distribute and reproduce music, ensuring that songwriters and publishers are compensated for each play or download.
• Performance licenses permit the public playback of music, which is essential for complying with rights organizations that protect artists’ earnings from public broadcasts, streams, and live performances.
• Sync licenses are required for pairing music with visual media, such as ads or videos, which is increasingly significant in multimedia marketing and social media content.

Regional laws are also crucial, as countries have unique regulations on royalties, copyright, and distribution rights. Failing to acquire these licenses and comply with local laws can lead to legal battles, hefty fines, and even platform shutdowns. Peloton, a fitness app, serves as an example.

Though not specifically a streaming app, music is an essential part of Peloton’s user experience. In 2020, the company was sued for copyright infringement for using mechanical instead of sync licenses, which are necessary for music paired with visual media. Although Peloton emerged unscathed, the National Music Publisher’s Association (NMPA) sent a clear message.

Music apps are at the highest risk, but licensing issues can also impact streaming platforms and social media. Platforms like Twitch, for example, where internet content streaming is central, highlight the importance of acquiring proper licenses and ensuring compliance with regional laws. Twitch has already had some legal issues due to improper use of licenses and despite the deal with NMPA, its case serves as a cautionary tale for other streaming giants.

Engaging Users: Features That Keep Them Coming Back

Attracting users in a monopolized niche like music streaming is an achievement in itself. Keeping them engaged, however, is like climbing Everest! Much of this depends on habits – users already have standards from popular apps. On one hand, they may be looking for something new, something better, but on the other, they don’t want to completely change their routines. Finding the balance between these two aspects is key to success in this industry. So, which elements are absolute must-haves?

Personalized Recommendations

Successful apps today must offer personalized recommendations. The best algorithms subtly combine data on listener behavior in the app and their external online activity. Play history, interactions with tracks and playlists, other app actions, ratings, and demographics – all these factors are taken into account to create personalized music suggestions in apps like Spotify. There is also data on similar users, which the algorithm uses for community modeling.

Playlists and Social Sharing

Social features are becoming increasingly important in streaming, and the lines between music streaming platforms and social media are blurring. Including social media-like features in your app is essential to its success. It should allow users to easily and intuitively create, share, and follow playlists or favorite artists.

Taking a step further could mean integrating GenAI features, allowing users to interact with music in more creative ways. Personalized visualizations, blending favorite artists’ voices with music not in their repertoire – this could be the future of streaming. Your users will shift from passive listeners to artists and curators. However, remember to keep an eye on legislative progress in the GenAI domain – otherwise, you might find yourself on shaky ground.

Community Development – Identifying and Engaging Superfans

Building community is equally essential to engagement. Accurate recommendation are a foundation of a successful music app, but don’t forget that the users want to feel a part of a bigger whole. Including these features, you will strike a chord with them!

User Profiles: Implement features that allow users to identify as superfans (badges, special status, or exclusive content).

Rewards: Offer exclusive access to content, merchandise, early ticket sales, or special events.

Influencer Collaborations: Collaborate with music influencers and artists to create exclusive playlists, livestream events, or behind-the-scenes content. Encourage them to share their music journeys, favorite tracks, or curated playlists within the app to inspire fans and promote frequent engagement.

Community Features: Introduce forums or discussion boards where users can share their thoughts on new releases, concerts, and music trends.

User-Generated Content: Encourage users to create and share content, such as reviews, concert experiences, or music challenges.

Exclusive Events: Organize virtual concerts, Q&A sessions, or listening parties hosted by popular artists or influencers.

Music Challenges: Launch music-themed challenges where users can showcase their musical skills, such as remixing a song or creating a dance challenge.

Offline Listening: Integrate offline functionality to keep users engaged even without internet access.

Designing for Users: UI/UX That Elevates Experience

Streaming apps are our everyday companions. Similarly, apps that include streaming features (such as fitness assistants or social media platforms) are designed to serve us on the go, accompanying daily situations and filling breaks. This makes impeccable UI and UX central to their success. These apps should adapt easily to different devices and function smoothly in the background.

In a nutshell, they should “dance to the user’s tune,” providing a seamless experience whether at home, at work, on public transport, or while doing sports. To achieve this, particular attention should be paid to these aspects:

Simplified Navigation

Start with intuitive wireframes and mockups that outline a clean, easy-to-use interface, focusing on smooth navigation for users to interact with the app effortlessly. This process involves creating wireframes that act as a blueprint for layout and functionalities, allowing users to quickly understand the app’s structure.

Inclusive Design

Use mood boards and standardized design systems to ensure accessibility options, such as voice control and adaptive interfaces for users with disabilities. These systems allow for the consistent implementation of accessibility features across the app, making it more inclusive to a wide range of users. Additionally, usability testing can refine the app’s design to ensure it accommodates all users effectively.

Building a Scalable Backend: Meeting Growing Demand

Even the best UI design won’t work wonders if your backend isn’t strong enough. When faced with performance issues, users may change their tune instantly, fueling your churn rate. Think big and design your backend to adapt easily to growing demand. Paying attention to these aspects will pave the way for success.

Cloud-Based Solutions

Adopt scalable cloud infrastructure, allowing the app to handle high data loads and provide fast access to large music libraries. This setup ensures that user data is stored securely while offering rapid, on-demand access to streaming content.

APIs and Third-Party Integrations

Integrate essential APIs for streaming, analytics, licensing, and payment. Using third-party APIs from established providers broadens the app’s functionality, giving users access to a comprehensive music library and seamless payment options while enhancing the overall app performance.

Load Management and Optimization

To accommodate peak usage times, distribute server loads efficiently and optimize app speed. Load balancing techniques and data caching ensure that even during high-traffic times, users experience smooth functionality and quick response times.

Business Model Planning: Finding the Right Monetization Strategy

Although the subscription model dominates today’s streaming landscape, it is not the only path available. Much depends on whether music streaming is the core of your application or simply one of its flagship features. With a subscription-based approach, acquiring users can be challenging, which may lead to financial instability. However, once you establish a solid user base, this model can yield the most benefits. You can also combine various strategies or gradually shift from one to another, depending on your needs.

Subscription and Freemium Models

Provide different subscription options, from free ad-supported versions to premium tiers offering exclusive features. This approach allows users to experience basic functionalities for free while incentivizing upgrades to ad-free, premium experiences.

In-App Purchases

Introduce exclusive content or high-definition audio upgrades to increase user spending within the app. Offering valuable content upgrades can appeal to dedicated users willing to enhance their experience.

Ad Integration

Implement an unobtrusive ad model for free-tier users to maintain engagement without disrupting their experience. This can include audio ads between songs or visual ads that appear during less active moments in the app’s interface.

👉 Get the full ebook here: Soundscapes of Tomorrow

Building the Right Team: Expertise at Every Stage

When it comes to the complexities of licensing and copyright law, it’s wise to emphasize clear communication from the outset. You don’t have to do everything on your own—on the contrary, it’s worth enlisting the support of external experts who can protect you from making costly mistakes. A software development partner with legal expertise and experience in building music applications will help you identify potential roadblocks and address them before they lead to problems. You can march to your own drum, but fulfill your vision safely and responsibly!

Key Roles

Employ experienced professionals for frontend and backend development, UX/UI design, audio streaming, and legal compliance. This diverse expertise ensures each component is developed by knowledgeable specialists.

Collaboration

Promote open communication between designers, developers, and legal advisors, as it’s essential for aligning creative and technical goals with legal requirements, particularly around music licensing and data privacy.

Outsourcing or In-House Development

An in-house team allows for tight-knit collaboration, but partnering with a software development has many advantages over it. Collaboration with an experienced development company can reduce costs and streamline the development process, while providing access to specialized expertise and resources that might be challenging to build internally. A reliable partner can also offer flexibility, efficient project management, and scalable solutions that support growth, allowing you to focus on your core business with confidence.

Marketing and Promotion: Launching Your App with Impact

Starting with a bang won’t guarantee long-term success, but it does give you a strong advantage. You only get one market launch—use it to create hype and attract users seeking something new, something better.

In music streaming, influencers and artists can be instrumental in generating buzz. What could be more convincing for a listener than knowing their favorite musician prefers a platform, perhaps due to a more favorable compensation model?

Now, with growing discontent toward the dominant streaming platform, it’s a prime opportunity to attract artists. Make your mark on social media. Choose a powerful angle and stick to it. Strike a chord with users by offering something that other platforms can’t. Tidal, for example, ensured a strong market entry by standing out with high-quality audio and exclusive content from artists.

Pre-Launch Marketing

Build anticipation with targeted social media campaigns and partnerships with artists or influencers, driving awareness before launch. Early marketing strategies can generate excitement and secure initial user interest.

User Acquisition

Use app store optimization and paid ads to boost user downloads and attract early adopters. Strategic keywords and promotional techniques in app stores enhance visibility, while advertising widens reach.

Retention Strategies

Keep users engaged with personalized emails, push notifications, and access to exclusive content. Customized notifications can remind users of app features, introduce new content, and encourage repeat usage.

Budget Management: Controlling Costs Without Compromising Quality

In music streaming, managing costs is critical, as unexpected expenses can pile up fast. Licensing fees often spike based on region, artist contracts, and streaming volume, creating unpredictable costs. Maintaining high-quality audio and smooth, buffer-free streaming demands robust infrastructure, which drives up server and bandwidth expenses. Plus, personalized features, like recommendations and adaptive streaming, need complex algorithms and data processing—both costly and resource-intensive. Balancing these demands is key to delivering a top-tier user experience without breaking the budget.

Cost Breakdown

Plan for each development stage, including app design, coding, licensing, and marketing. Having a clear cost outline allows for better budgeting across essential functions.

Scalability Considerations

Set aside funds for potential scaling, updates, and the addition of new features as the user base grows. A flexible budget enables timely updates, helping the app adapt to rising demands.

Balancing Quality and Costs

Explore cost-control strategies that maintain high quality, such as choosing the right development framework and using cross-platform solutions.

Music App Development in Tune With Your Goals and Budget

Launching a new music streaming app or an app with similar features is, in many ways, a much greater challenge than in other niches. In addition to the usual requirements of app development, there are also legal compliance issues, including copyright law. And since this niche is highly competitive, you need to carefully plan your strategy from the start, considering everything from licensing to the billing model.

Developing a music streaming app in-house is complex and costly, especially without prior experience. The process includes project planning, design, development, testing, and deployment, each needing specialized skills. Selecting the right technology stack is essential, as it impacts performance, scalability, and user experience. 

Total development costs, including hiring skilled professionals and the tech stack, can exceed $40,000 to $100,000, while marketing expenses can range from $10,000 to $50,000 or more, depending on strategy. With our expertise, we can deliver a prototype in just two weeks.

At Miquido, we streamline this process across every phase. From initial project planning to post-launch support, our team of experts ensures that each step is executed efficiently and that the technology stack aligns with your project goals. With over 12 years of experience in music and streaming app development, having delivered projects for top brands like Onkyo Music, Warner Recorded Music, and Abbey Road Studios, we help companies save significantly on both development costs and resources.

Contact Miquido today and let our experts guide your project from concept to launch. Let’s hit the right note together! Meanwhile, dive into the Soundscapes of Tomorrow, Miquido’s ebook on music app development and the future of streaming.

Photo Credit: On Air

Content from the UMG-owned production studio is available to stream now.

With the emergence of concert streaming’s high-growth potential, on-stage performance streaming platform On Air is now offering new monetization opportunities for intellectual property owners and artists. The platform aims to elevate the fan experience by offering a true cinematic experience with content available in 4K UHD with Dolby Vision and Dolby Atmos technologies.

Since 2020, On Air has hosted a serious catalog of live concerts and performances from A-list artists and shows. That includes performances from the likes of Zara Larsson, Noel Gallagher’s High Flying Birds, and Years & Years from iconic music venues spanning Royal Albert Hall, OVO Arena Wembley, BBC Studios, and more.

But that’s just the beginning: expanding upon their existing on-stage video catalog, On Air recently forged a deal with Mercury Studios for concert performance footage. Mercury Studios, a division of UMG, is a multi-faceted music content studio and treasure trove of seminal concert footage. Just recently, On Air joined forces with DMN to further propel the platform.

Mercury Studios’ sizable catalog features over 2,000 hours of standout performances by the most prominent names in music — including Peter Gabriel, Lynyrd Skynrd, Duran Duran, Black Sabbath, Journey, ZZ Top, Santana, Eric Clapton, Toto, and The Who, as well as assets from legendary production company Eagle Rock. Now, that historic and important catalog is finding another outlet via On Air to reach fans – with the ingestion and dissemination process well underway.

“On Air provides an exciting opportunity to showcase the breadth of Mercury Studios’ programming, from award-winning documentaries to concerts by iconic artists like Eric Clapton, Miles Davis, Chicago, Jeff Beck, Cypress Hill, and INXS. This partnership with On Air will further expand the reach of these remarkable performances,” said Rob Gill, SVP Global Operations, Mercury Studios.

Jakub Krampl, co-founder and CEO of On Air, sat down with DMN to reveal how On Air’s latest deal with Mercury Studios expands global exposure opportunities and monetization for all IP owners, labels, and artists on the platform. For starters, Mercury Studio’s catalog is impressive, and that will draw a bigger audience interested in higher-quality live performances.

“We’re here to support the distribution of catalogs and monetization of longform content in 4K with Dolby Vision and Atmos technology,” said Krampl. “On Air provides an end-to-end service to artists, labels and rights holders — all backed by a cutting-edge tech stack.”

On Air’s vast infrastructure expertly covers every aspect of the streaming process, solving problems typically faced by IP owners when they attempt to distribute content across mainstream channels.

A sampling of On Air’s live concerts and performances from A-list artists filmed at iconic music venues. (Photo Credit: On Air)

According to Krampl, On Air offers a ‘premium streaming service for on-stage entertainment,’ handling everything from pre-production and on-site production management to an exclusive post-production process that ensures higher-quality content for its users.

On Air’s DRM-protected streaming platform plays comfortably across desktop, mobile, and TV endpoints. Stretching things further, the company also pushes engagement by marketing content and managing assets across multiple platforms, including social media with tailored campaigns.

And when the opportunity arises, On Air also helps to negotiate branding and agency partnerships to further stretch the reach of its footage.

The platform offers prime viewing experiences to fans in over 190 countries, while taking adequate measures to prevent unlawful distribution. Among the most prominent offerings available to stream are Zara Larsson’s sold-out ‘Venus Tour’ at AFAS Live in Amsterdam, Noel Gallagher’s High-Flying Birds live at Wythenshawe Park in Manchester, Yoshiki’s ‘Requiem Classical World Tour’ recorded at the Royal Albert Hall, and a pair of sold-out All Time Low shows, captured at OVO Arena Wembley (2023) and Merriweather Post Pavilion (2024).

One of On Air’s biggest differentiators is its audio and picture quality, with streams available to watch in 4K UHD with Dolby Vision and Dolby Atmos technologies.

Krampl explains that the solution, crafted by On Air’s partnership with Dolby, “provides every user with the opportunity to experience our productions with the immersive sound of Dolby Atmos and ultra-vivid pictures of Dolby Vision for a premium entertainment experience.”

“On Air has successfully achieved a live stream in Dolby Vision, which hasn’t been done before — and that’s only one of the many advanced solutions we’re capable of providing,” Krampl continued, while pointing to the company’s All Time Low OVO Arena Wembley capture. That show was delivered in 4K UHD with HDR and Dolby Atmos immersive sound, and accessed across 56 countries simultaneously over the web, mobile and TV apps.

In fact, all On Air-produced shows are filmed in close partnership with Dolby. “We’re delighted that On Air uses Dolby Atmos and Dolby Vision to give them an edge in concert streaming,” said Jane Gillard, Head of Music Partnerships Europe for Dolby. “Artists invest so much into live shows – sound, visuals, effects, lighting. In using the best in Dolby technology, On Air are able to deliver an experience that beats standard video and stereo hands down.”

The on-stage performance streaming space has a number of big competitors, though On Air’s focus strategies of Dolby-powered streams, complementary solutions, and competitive pricing could prove to be significant differentiators.

Krampl explains that On Air’s entire service infrastructure is developed in-house, which makes it ‘independent of third-party platforms and agencies.’ This self-developed tech-stack and content delivery platform, according to Krampl, allows On Air to address problems before they arise, ‘while continuing to develop and innovate’ for their stakeholders.

The On Air HD stereo service is available to viewers at $10.99 per show, with the On Air catalog available to stream on-demand with unlimited replays.

Photo Credit: On Air

Why is now the moment for concert video to expand and reach a wider audience? Krampl points out that On Air is aware of how current economic challenges have significantly shuffled audience priorities and where they want to spend their money.

Exorbitant ticket prices and the cost of travelling to venues present barriers that threaten to separate artists from their fans.

On Air aims to democratize access to live music and provide a genuine connection between audiences and performers. Their ‘cutting-edge solutions directly offer the energy and magic of live performances to audiences’ around the world.

The On Air app, available across Apple iOS, Android, and Fire TV, is designed to make viewers feel like they’re in the center of the action. Users can tune in to On Air’s cinematic show library in 4K UHD and spatial audio from anywhere, and seamlessly switch to the big screen at any time.

Photo Credit: Too Lost

Fan engagement is one of the biggest cornerstones of success in the music industry. Engagement empowers artists and their teams to harness the potential of their fan bases, cultivate superfans, and foster a strong bond between those fans and the artist. Too Lost is making it easier than ever to facilitate that connection with Fan Blast—directly from the Too Lost dashboard. Let’s take a peek at how it works.

The following was created in collaboration with Too Lost, a company DMN is proud to be partnered with.

Social media has great tools to help budding artists get discovered by more fans, but how do you contact them once they’re aware of your music? A more extensive reach method is needed to engage fans directly when new music drops as social media by design does not show your updates to everyone who follows you on the platform.

Meta has long been criticized for this, with reach happening to only 5.9% of a person’s organic followers on that platform. That’s better than the 4.3% it used to be, but the result is that artists must hope for a viral post—or pay Meta to reach 100% of their audience who expressed interest.

Email tools are far more effective at maintaining an in-the-know relationship with fans who have expressed interest in new music. That’s because emails are delivered directly to a person and when crafted with catchy headlines and tailored to music fans—they deliver more action in terms of potential sales and new streams. Even merch drop emails tend to be more successful than social media blasts—since the artist shared their email because they’re interested in the music in the first place.

Too Lost is capitalizing on the close connection that email marketing offers by offering artists and managers the ability to build and blast emails to their entire fanbase. Fan Blast allows artists to email anyone who has pre-saved one of their songs, generate early listen links to keep those fans engaged with new music, and notify fans about upcoming releases, merch drops, and more.

Artists and managers can completely customize the message, or use powerful AI tools to generate the message with listening links already inserted. Too Lost says the tool is designed to help add new fans in real-time as they engage with your music, bringing your marketing efforts closer to the fan for a strong artist-fan bond. The ability to engage superfans directly on new releases means those fans are among the first to hear your music—perhaps influencing others and growing your fanbase in the process.

“We understand the importance of owning the communication with your fans. Social media is great, but we know the reach is heavily restricted. Fan Blast makes it easy to get messages directly to your fans, right from your Too Lost dashboard.”

This new fan engagement feature, paired with Too Lost’s other features offer artists a full suite of services to identify and connect with their fans across the web.

Photo Credit: AI

ChatGPT is impressive out-of-the-box but challenging to apply to real-world problems. Area4 Labs and Hearby are building with AI technology to create a data-driven live event concierge.

The following comes from Hearby, a fast-emerging player in concert discovery and a DMN partner. Enjoy!

Full disclosure: “Train” when applied to Chat technology is the same “train” that we might apply to cats. That is, we ask them to do things they were going to do anyway in a way that doesn’t displease them, and then we figure out how to be happy with what they did.

This has been our biggest lesson in creating “Ask Hearby,” our AI chatbot music concierge. In this article, I’ll bring you behind the scenes on our AI adventure.

At Hearby, we aim to use technology to find and uplift grassroots music and help people find the wonderful music hidden right in their neighborhoods.  Whether you’re looking for a night of clubbing, a free classical concert, or music to keep the kid out of your hair, it’s all out there.  You may not realize there’s a great music venue right in the industrial park next door, on the dockyard of Liverpool, or in a thrift shop in London.

We want to get people exploring and finding music that they’ll love, and to do this, we spent a lot of time investing in fast search technologies, data-driven filters, and map visualizations. Then we ran right into the wall of ‘Too Much Stuff.’

Enter the chatbot, which allows fans to fast-forward and say what they want without going through all the tedious steps of searching, filtering, and reviewing results. It’s a lot of work for something that should be fun.

However, my experience with chatbots has been a big meh, and we wanted to do something more intriguing.

Our main product requirement was “be useful and don’t be irritating”.  Yes, it took us a long time to get that, and we fell off the dragon a few too many times. But seeing how this ubiquitous technology works and encouraging more ideas and dreams with it has been interesting.  At its core, it’s a foray into using a Large Language Model (LLM), and I will breathlessly say the possibilities are unlimited.

It took a while, but after several tries, we finally have something useful and entertaining to use. So here’s the behind-the-scenes on what we tried that didn’t work — and what finally did.

• • Train, train, and train again.
  • Give me all the data!  More data!
  • Hybrids: Just how many technologies can we cram in here?
  • It’s a sandwich.

So first, a little more about Training when it comes to Machine Learning.

I need to bring up the topic of training, partly for my snazzy title but also because it’s at the bottom of everything you’re hearing about AI.

To train ML, we first choose a neural net architecture, then give it a vast set of data items labeled with the correct answers (for example, Cat/Dog, T-shirt/Skirt, Pedestrian/Bollard).  This type of supervised learning is expensive in computing power, requiring a huge amount of ethically obtained, accurately labeled data. Training enables the ML architecture – the layers and feedback loops that make up the neural net  – to adjust to create maximally accurate predictions.  For example: “99% chance this image is a cat”.

Going beyond cat/dog to something actually relevant quickly gets expensive and time-consuming. It’s pretty much prohibitive on large data sets for all but the biggest players.  Enter LLMs, which come ready-trained on massive amounts of human text right out-of-the-box for anyone to use.

This is what powers our chat dragon: the ability to “understand” human language, figure out what is being asked, and create amazing responses in human language.  On the topic of whether there is any actual human-style understanding of concepts, I can start an argument in an empty room (so I won’t go there).  It doesn’t matter for our purposes as long as the output is accurate, useful, valuable, safe, and reliable.

This brings me to our challenge: how to make already trained chat technology do what we want.

For a small amount of money and a lot of delight, you can get a subscription to Open AI’s ChatGPT, which will happily write you a letter to Grandma, your term paper, or a pretty decent novel – at least better than anything I can write.  Whether soulless or best-selling is in the eye of the beholder, but I prefer to consider it a fantastic tool to help spur creativity.

But as impressive as this is, these out-of-the-box answers are standalone, and the type of chatbot we wanted to create is a conversation that builds as we go along, with context and informality, powered by accurate event, venue, and band data.  The challenge, then, is how to get a language-based model to incorporate this external data and use it in its responses and how to have the conversation build as it progresses (memory).

Data! Give me all the data!

The challenge is getting our data into ChatGPT to inform its responses.  In a “normal” program, this is a matter of, well, programming.  However, an LLM is different: rather than programming, information needs to be text-based to be taken on board.

It’s weird, but not so much when we remember this is a language model. This is precisely how we listen, take in new info, understand it, and use it to inform our actions.  In all fairness, the latest models also allow other forms of input, expanding beyond text input. But this is where it was when we started, so that’s where we began.

We started with text-to-sql, in which we describe in words how to find the answers to questions using the tables in our database. So, essentially, telling a programmer how to formulate database queries.  This sounded so crazy and improbable that we thought it just might actually work.

Sometimes, it did, but mostly, it sulked, made stuff up, or ignored us.  Or all of the above.  If you’re thinking cat again, I’m right there with you.

Bring in the hybrids.

So, we moved on to hybridizing and searching our database using ChatGPT for its language capabilities. Among the many challenges:

(1) Knowing what the fan is asking about – An event? A venue? A neighborhood? A genre? A person?

(2) Find the data in our database with a fuzzy search – the whole point of chatting is that the fan doesn’t have to be specific.

(3) Get the data into ChatGPT in words, which is all it understands.

(4) Receive a human-ready answer from ChatGPT.

(5) Augment that answer with links and images.

We quickly realized we needed to confirm it was using our data and not going elsewhere, which in LLM terms is called temperature.  Or, in human terms, don’t make stuff up!

It’s a sandwich

After a number of tries, we ended up with a workable sandwich of technologies: Bert NER to understand what the fan is asking about; specialized models to detect essential but idiosyncratic info like informal dates (“in 3 weeks”); a vector database to translate a fuzzy human question into something specific we can ask our already existing search capability; a layer to feed the search answer to ChatGPT in words, and then a method to receive the ChatGPT response in human language. And, finally, a layer to augment it with images and links.

Voila!  If this all sounds like a bit much, I get you.  But we were delighted to see that a fan can ask a reasonable question, “What’s on in London tonight?” or “Where can I take Aunt Nelly for a jazz brunch?” and get a believable answer that makes sense.

More interesting is that a fan can ask an unreasonable question and get an answer about music events or venues, and an explanation as to why, or, if it’s too far a stretch, simply a reasonable on-topic answer.  And, to put your mind at ease somewhat, some questions bring in the guard rails: “I cannot assist you with that”.

Onward!

In addition to our chatbot launching later this year, we are working on several other AI efforts, mainly in Machine Learning and classification. These are focused on highlighting the music scene for fans and encouraging them to explore and find new music and venues.  Off their sofas and into venues!

The chatbot has been a very interesting excursion for us into LLMs, which have enormous potential to change how we live with software. So, I hope this has shone a little light on this powerful technology for you.

We’re focused on music and using these incredible tools to uplift grassroots music. Still, I hope this gave you some ideas on how this kind of technology might help in your part of the music world – places where you want people to be able to get to the point faster, have informal access to better information, or be able to explore and expand on an idea on the fly.

UNIFI Music Founder & CEO La’Shion Robinson (Photo Credit: UNIFI Music)

Finding and retaining effective management is a significant hurdle for many emerging artists. Now, UNIFI Music is building an AI-driven intelligent platform for that.

Superstar music careers frequently start on the fringes: in a poorly-lit rehearsal space, late night on a laptop and cracked DAW, or as part of a local scene that hasn’t yet crossed over.

If an artist or group is lucky, an ardent believer is pulling the strings to get gigs, upload tracks to DSPs, monitor royalties from different licenses and platforms, and settle disputes. But professional managers with acumen, experience, and connections are usually out of reach at the beginning.

And that’s a problem.

The real artist management pros are usually overloaded with their high-demand clientele. And they’re generally inaccessible if they’re taking on emerging artists, or simply too expensive for artists in the early stages of their careers.

The music industry is laser-focused on the profound threat AI-generated music poses – which makes sense. But can AI fill a meaningful role in other areas like artist management?

That was the light bulb for execs at UNIFI Music, a company focused on building artist-focused solutions. “We’ve seen a huge need for artist management from artists in the 0-5 stages of their careers,” La’Shion Robinson, UNIFI’s founder and CEO, told Digital Music News.  “There’s simply an overload of tasks beyond the core competencies of creating music, building a cultural connection, and performing.”

‘Overload’ is a fitting descriptor.

From securing competent management to navigating the complexities of promotion and distribution, the path to success is often fraught with obstacles. And with tasks spanning social media engagement to booking gigs and navigating the complexities of streaming platforms, the workload can be immense – especially in the face of fierce competition.

With that problem in mind, UNIFI Music’s vision is to solve these pain points with an innovative AI-powered solution that could redefine artist management. That is perking the ears of investors, many of whom feel that AI-related models in the music industry are overlapping and saturated.

“Here’s something extremely useful, relevant, with tremendous potential to scale,” Robinson summarized. Just recently, UNIFI joined forces with DMN to further expand their concept.

According to Robinson, AI can play a meaningful role in streamlining artist management and empowering emerging musicians. UNIFI’s AI-powered platform, called Sasha, will act as a centralized toolbox, offering a range of features and services to support artists in their career development.

Sasha is designed to complement platforms like SoundCloud, providing artists with a comprehensive suite of tools to manage their careers effectively. That includes a question-driven interface, with Sasha understanding virtually any language. “This isn’t just a customized ChatGPT,” Robinson continued. “Sasha employs LLMs to provide customized guidance to the artist.”

The SaaS-like Sasha will also integrate with UNIFI’s “LinkedIn for Music” platform, enabling artists to connect with industry professionals and build valuable relationships. The broader aim is to bolster intelligent, AI-driven management with a rich network of connected musicians and opportunities.

According to Robinson, UNIFI Music’s vision for Sasha extends far beyond simple task management.

“This is a brand-new, functional direction for AI in music,” Robinson relayed. “We’re building a complete AI manager built from the ground up for musicians, music companies, and the entire music managerial ecosystem.”

The ultimate goal is to create a virtual manager capable of strategically, tactically, and emotionally guiding an artist’s career. For existing managers, the platform helps to eliminate time-consuming ‘assistant’ tasks like venue research, social media posts, and transportation logistics. “There’s less need for an assistant manager and more opportunity to create the ‘super manager,'” Robinson described.

Currently, Sasha can handle tasks like social media recommendations and identifying promising venues. However, as the platform evolves, it will take on increasingly complex responsibilities like contract negotiation, release planning, and tour management.

Ultimately, UNIFI Music’s vision is to create a virtual manager capable of guiding an artist’s career toward success.

Unifi’s Sasha in action (click to enlarge).

Unifi’s Sasha in action (click to enlarge).

Music management agencies may not like Sasha, but UNIFI’s vision is unique when compared to typical AI creation and management companies.

While the debate over AI-generated music continues, UNIFI Music is simply exploring the potential of AI in other areas of the industry. By leveraging AI’s capabilities, the company’s vision is to provide artists with personalized guidance and support, leveling the playing field and democratizing access to the tools and resources needed to succeed.

“UNIFI has the potential to revolutionize artist management and empower emerging musicians. We may also catapult fringe scenes and artists to the fore by boosting their industry savvy and experience overnight,” Robinson relayed. “That’s exciting stuff.”

If you’d like to connect with UNIFI Music, please contact La’Shion Robinson directly at l@unifimusic.ai.

If you’re not obsessively thinking about the music inside your store, Activaire is. The behind-the-scenes science is impressive – as told by Adesh Deosaran, CEO and Co-Founder of Activaire.

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

It’s 7:00 AM, and I’m waiting to collect my oat latte in a dimly lit cafe in London’s Shoreditch neighborhood. I got in just moments before the rush, and as I waited, a line formed. A vintage uptempo soul song I didn’t recognize is fading out on the cafe’s bigger-than-necessary sound system. 

Chappell Roan’s “Pink Pony Club” follows with its soft opening. For a moment, the energy level drops until the pre-chorus, and the three baristas belt out the lyrics, “God, what have you done? You’re a pink pony girl” in unison. Smiles and giggles emerge from the people in line. 

Suddenly, we all forget that we’re dreading our commute or that 9 AM meeting we’re not ready for, and the baristas I overheard talking about snoozing a 5 AM alarm this morning are having a much better day.

The feeling I and this group of strangers shared is the magic of background music, and I’ve dedicated the last twenty-plus years of my life to making moments like this happen in thousands of business establishments.

I’m not fond of the term “background music” as it feels relatively inconsequential, which is far from true. 

If you look at what happened in the cafe when Chappell Roan played, there were many consequences:

A royalty payment gets paid to the rightsholders of “Pink Pony Club.” 

As a result, the people responsible for this moment of bliss are fairly compensated for making our day a bit brighter.

The cafe makes a simple but powerful statement about its brand and customer demographics. 

Customers immediately know they are in a fun, youthful, inclusive, and vibrant space. Within nanoseconds of entering the cafe, “Pink Pony Club” delivers these messages about the brand. Music is the fastest way to tell a customer “you’re in the right place” while their brains assess the additional indicators like visuals, finishes, colors, and other customers. Think about the times you’ve opened a door, heard a few seconds of a song, and thought, “Hmm, this isn’t for me.”

Aside from letting customers know they’re in the right place, the music psychologically affects them and, in this case, soothes them as they wait. 

We want to calm people down in a cafe setting and lighten their load, especially when waiting for their coffee order. If this were a busy retail store on a Friday evening, a more energized selection would be in order.

The baristas woke up at 5 AM to be ready to serve these customers, and music, based on their sing-along, kept them motivated on this busy morning.

Now, this last point may come as a surprise, but even though “Pink Pony Club” has over 237 million plays on Spotify, there’s still a good chance that a few customers may be listening to the song for the first time.

I can say this confidently because one of the features of my company’s product, Activaire Curator, is that it gives users the ability to submit emoji-based feedback on songs, and letting us know that a song is a new discovery is one of the choices. 

I love it when users discover emerging artists through us, but it’s those times when someone hears a classic song for the first time that gets me, and it happens much more often than you think. It gives me great pleasure to know that someone heard Fleetwood Mac’s “Dreams” for the first time through Activaire Curator (True story).

I returned for an oat latte several more times during my stay in Shoreditch.

I like starting my day with a bit of unexpected joy and was eager to see what the following morning would bring. So there I was at 7:00 AM for my jolt of caffeine with a side of karaoke. 

This time, something felt off right away. The mood was somber, the lights seemed dimmer, and everything felt sluggish. Most customers haven’t fully woken up yet. We wander into the cafe like zombies, hoping to be brought back to life. 

The music is different today; “LoFi beats” softly play against the backdrop of hissing steam. The slow tempo matches my resting heart rate and keeps me in a sleepy state. The J Dilla-inspired drum patterns and Fender Rhodes melodies are all too familiar and immediately feel generic. I could be anywhere, but where I want to be is in this fun local cafe in Shoreditch, where I can feel the artsy energy of the creatives that live there. From what I can see, this specific playlist’s uninspiring monotony and facelessness are dragging me and everyone else down.

LoFi beats are actual background music. Playlists like this are great if you want a steady beat that slowly keeps pace in the background while you focus on work, but it’s 7:00 AM, and the workday hasn’t started yet.

As I whispered my order, I noticed Spotify glowing on an iPad just behind the counter. Do they know that using Spotify in a business establishment is illegal? I wonder. I assume they do, but they either refuse to pay for a licensed service or don’t feel they can trust a provider with their brand.

The consequences now are different.

They aren’t using a licensed music provider, so they risk legal action from rights holders and performance rights societies. 

A licensed business music provider like Activaire includes all required licensing in its monthly subscription fee. Businesses can acquire each license needed independently, but it will cost much more annually than our fees.

Relying on their baristas to select from an infinite library designed for personal use opens the doors to an equally endless number of issues. 

Today, for example, the barista selected a pre-made Spotify playlist with the word “Cafe” in the title, which led to the generic vibe I stepped into. Do they really want to sound like a generic cafe, or is there more to their brand? Judging by the thoughtful consideration of everything from the typefaces to the tile in the bathroom, it’s safe to say they are going for a distinct experience. 

And what about other businesses I’ve visited where staff are playing uber-explicit Hip Hop or club bangers on a sleepy afternoon simply because that’s what they’re into that day? Every brand, no matter how small, has a unique message, and it’s one of its most vital assets. If music communicates that brand message within nanoseconds (and it does), then music should never be arbitrary.

Having worked in retail during my college years, I know how vital in-store music is in motivating staff. 

I remember wanting to find the Muzak box and tearing it from the wall after hearing Jennifer Warnes’s cover of “Whole of the Moon” for the 95th time in a week at the upscale housewares store I worked in. But, 19-year-old me was deeply obsessed with Joy Division at the time, and if I had it my way, that’s what we would have been listening to.

Trust usually plays a major role in the decision to go with a provider or go rogue. 

For many emerging brands, music feels too personal and meaningful to entrust to a background music provider. This hesitation is understandable. In the past few weeks, I’ve spoken with two brands that have voiced their frustration with having to hand-select every song in their in-store playlists because their providers cannot get it right.

The background music space has a bit of an identity crisis, and I believe it keeps many providers from getting the music right. The push toward technology has diverted the attention away from what really matters: music. Do our customers want a tech company or a team of people who understand how to make music an exciting part of their brand?

We’re here to create thoughtfully curated musical experiences for branded spaces, and honestly, the technology behind the music is relatively inconsequential.

Music curation is fundamental to what we do. Whether we deliver that music via cassette on a vintage Walkman or stream it over the internet, it doesn’t matter if we haven’t gotten the curation right.

In the age of algorithms and AI, where streaming numbers and follower counts can easily influence the media on offer, it’s hard not to feel like everything is starting to feel the same. I understand why many brands are wary of working with background music service providers and instead opt for doing it themselves. The tech that’s supposed to improve everything is actually making things worse, and customers are very aware of it.

This fear can quickly turn into a nightmare for store staff and customers. 

I was recently browsing the racks at a major fashion retailer when I was struck by how perfect the last three tracks that played were for the brand. I complimented the salesperson on the selections, and he agreed they were spot on. He admitted that he had been hearing them for the past three years. The playlist contained just thirty songs and was curated by a DJ for the brand’s Fall/Winter campaign three years prior.

It’s hard to overlook that this 30-song playlist was so on-point that the brand would rather play it for three years than have a background music provider handle their music. The fact that I was in the shop three years later trying to discreetly Shazam one of the songs also says a lot about how powerful this selection is.

One of my KPIs for a music program is Shazamability. 

Is this music going to get people thrusting their phones in the air with the Shazam APP pulsating on their screens? In 2022, Apple announced that Shazam had surpassed 70 billion song recognitions. How many of those Shazams are happening inside of businesses? 

Chartmetric updates a list of the top 200 Shazamed songs every week. Sade’s 40-year-old hit “Smooth Operator” is currently locked in at 196, while Lady Gaga and Bruno Mars are number one with their new song. Last week, I heard “Smooth Operator” at a supermarket and a vintage clothing store. These musical blips we hear daily keep songs alive in our memory. A Shazam means we will listen to that song again and make it a part of our personal experience. When we associate a song with a place, we create a more robust and longer-lasting bond with that place.

Occasionally, I’ll tell someone what I do for a living, and they’ll be shocked to learn that my profession exists. “I just never thought about it.” Or, “So, you get to listen to cool music all day?” It’s much more than that, but yes, I do get to listen to really cool music. Sometimes, the challenge of music that I don’t like at all is the most rewarding. This job is less about personal taste and more about understanding how the culture of music applies to the day-to-day realities of brands and their customers.

Music curation is a multidisciplinary endeavor requiring a high level of education and fieldwork that cannot be described or planned for.

As curators, we have placed music in situations for our entire lives. We are hypersensitive to our listeners’ responses and have diligently figured out what works for them through trial and error. We are driven by discovery and cannot wait to share our new finds. We are infinitely curious about music and the people that make it, listen to it, the cultural climate from which it was born, and most importantly, how it fits into today’s world. 

We know too much, and we never feel like we know enough. 

GXTP just dropped their explosive new single, “Te’Kill’Ya,” featuring the powerhouse combination of Killer Mike and the legendary Carlos Santana.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

This track marks another bold step in the band’s impressive rise through the rock world, continuing the momentum they’ve been building with recent releases. Coming hot off the success of their hard-hitting single “Couldn’t Keep the Faith” featuring Faris Zahid and the hauntingly captivating “My Devil at Home” with Sueco, GXTP sets the stage for their next big chapter.

“Te’Kill’Ya” is not just any song—it’s a genre-bending, anthemic record with a unique blend of influences that sets it apart. The eclectic energy comes partly from its featured artists, but the band’s distinct style is also a driving force. GXTP has always had a flair for mixing styles, and this track perfectly balances their signature intensity with the guest stars’ diverse sounds.

Santana’s iconic guitar riffs and Killer Mike’s commanding presence bring an unexpected yet harmonious combination to the table, making “Te’Kill’Ya” a standout hit.

Sasha Sirota of GXTP couldn’t contain his excitement about working with such music legends, saying, “I already feel honored and blessed to share the sonic playfield with my brothers Triple Sixx and Jason Paul, and now to have a banger with the legendary Santana and Killer Mike is something I could’ve never seen coming and couldn’t be happier about.”

His words reflect the humble attitude driving GXTP forward while embracing their ever-growing success.

The band’s signature humor shines through in “Te’Kill’Ya” as well. Known for their sharp wit and playful visuals, as seen in the music videos for “Contraband” and “Lust & Purity,” GXTP takes a cheeky approach to the song’s title—a clear play on the word “tequila.”

This kind of irreverent creativity has endeared them to fans and helped them carve out their own space in the music scene. The humor, paired with hard-hitting music, creates a dynamic that’s as compelling as it is entertaining.

Since their formation in 2020, GXTP—comprising Sasha Sirota, Jason Paul, and Triple Sixx—has been a force to be reckoned with. Coming together during the height of the pandemic, they used their platform to reflect the chaotic energy of the time. Their name, GXTP, is a nod to two of the most hot-button items of the COVID era: guns and toilet paper. Much like their name, their music captures the zeitgeist of modern society, blending sharp social commentary with unparalleled musicianship.

Their rise began with the breakout success of their second single, “Contraband,” which featured legendary Mötley Crüe drummer Tommy Lee.

It was clear from then on that GXTP wasn’t just passing through—they were here to stay. Their debut album, Smoke & Mirrors, solidified their position in the rock world. With “Te’Kill’Ya” dropping ahead of their sophomore album Reloaded, set for a November release, the band is poised to push their success even further.

Fans and newcomers alike can follow GXTP’s journey and check out the latest single on their social media platforms or directly on their website. It’s clear that GXTP’s unique blend of humor, grit, and musical talent will keep them at the forefront of the rock scene for years to come.

Photo Credit: Michael Ghannoum

MPT Agency, MusicPromoToday, announced its official partnership with DimashAli Creative Center supporting internationally acclaimed vocalist Dimash Qudaibergen in his expansion into the U.S. and North American markets. 

The following was created in partnership with MPT Agency.

As one of the most versatile vocalists of our time, Dimash has established a global following through his exceptional musical capacity, vocal range, and diverse repertoire, blending genres from classical to pop, rock, and even dance. 

His work with international icons such as Plácido Domingo, Hauser and Lara Fabian and Grammy-winning songmakers such as Walter Afanasieff and Nathan Wang has underscored Dimash’s ability to bridge cultures effortlessly, creating a fundamentally unique experience for any audience. This partnership with MPT Agency will prioritize collaborations with established industry figures—artists with whom Dimash has long aspired to work—as well as strategic projects designed to solidify his presence in the U.S. and build a rapprochement between his international audiences and the American market. 

Globally, his work has been diverse and exceptional, contributing to box office hit soundtracks such as Jackie Chan’s Vanguard and Legend. Aided by MPT Agency’s long-standing experience with breaking foreign artists, Dimash’s expansion to the North American market represents a deliberate effort to introduce a talent, sound, and genre-defiance like no other to an audience that is starving for innovation in its entertainment industry.

Photo Credit: Michael Ghannoum

Known for his electrifying stage performances, death defying stunts on stage and his signature triple encores, there is no wonder he has sold out stages from Shenzhen to Moscow, London to New York.  His latest two sold-out performances at the closing of the World Nomad Games in Astana drew an audience of 60,000, with over 35% of attendees traveling from Europe and the Americas to Kazakhstan to witness the Strangers tour. His upcoming shows in Prague and Düsseldorf are drawing in global audiences for another one of a kind experience of pop, rock and opera. 

For the American music scene, Dimash’s arrival marks a rare moment of convergence between global talent and local industry. His vocal abilities—recognized as the most expansive of any contemporary singer—offer opportunities for artistic partnerships that could leave a lasting imprint on the North American music landscape. With rumors of a surprise visit before the new year, fans are wondering where this secret city will be.

MPT Agency is actively engaging with artists, promoters, and industry stakeholders to explore collaborations that align with this exciting phase of Dimash’s career. With their established global fanbases and proven records of success, their North American debut is set to be a pivotal moment for both artists and the U.S. music industry.

Dimash records under his own label, DimashAli Creative Center, and maintains a stoutly independent vision of his future. For inquiries about collaborations, media engagements, or concert dates, please contact his press representative at MPT Agency.

Dimash Qudaibergen’s stunning cover of the iconic “SOS d’un terrien en détresse” has captivated audiences worldwide, amassing over a billion impressions globally.

Dimash – TikTok – Instagram – Facebook – YouTube – Spotify – Apple 

Michael Arty – Michael@musicpromotoday.com

Audoo has announced it has appointed several senior music industry executives as board advisors for the music technology company revolutionizing public performance rights.

The following was created in collaboration with Audoo, a company DMN is proud to be partnered with.

Steve Clark (COO of Round Hill Music), Isabel Garvey (COO of Warner Music UK), and Sean O’Malley (CEO & Founder of Regard Music) will help support the growth of Audoo. The music recognition technology and data company is working to improve the collection of public performance royalties with greater accuracy thanks to its unique hardware.

Clark, Garvey, and O’Malley join existing Audoo advisors—Cliff Fluet (Partner at Lewis Silkin) and Alistair Macdonald (former CEO of Syneos Health). These board advisors will further specialist guidance and counsel to the company board, which includes fellow music industry executives Chris Herbert and Nigel Elderton.

“The depth and understanding of music rights and royalties is at a critical juncture in the history of the music industry,” says Steve Clark. “As networks of music rights-holders evolve, we must ensure that systems do too, to meet the ever-changing rhythm and flow of this part of the business. The ethos of the Audoo offering is vitally worthy and the execution of its solutions to meet the growing needs of parties in the data chain has been impressive to observe. I look forward to supporting its progress in improving the landscape of tracking and distribution of royalties.”

“Having helped select Audoo for the Abbey Road Red program years ago during its start-up phase, it’s gratifying to see its elevated and thriving status now,” adds Isabel Garvey. “Audoo’s disruptive technology solution which delivers transparent and efficient royalty tracking and distribution has benefits across the whole value chain in music. I am excited to support Audoo on its growth journey as it transforms the current landscape in this space.”

“The innovation and practicality of Audoo solutions are positively disruptive,” comments Sean O’Malley. “These services will aid the refinement of our source data and change the landscape in this sector of our industry. Working with fellow musicians and music fan Ryan Edwards and his team, this worthy mission originates from the heart and I’m proud to advise and aid its next-level success.”

“The combined experience of Steve, Isabel, and Sean brings a powerful wealth of knowledge across labels, publishers, rights-holders, and creators,” adds Ryan Edwards, Founder & CEO of Audoo. “To have such revered executives join our existing world-class group of board members and advisors demonstrates the strength of belief in the business as we continue to build and refine the Audoo offering.”

Earlier this year, Audoo announced a partnership with PMY Group to integrate its hardware, the Audoo Audio Meter, into tech stacks at major events, enhancing public performance reporting in these settings. The growing tech company also announced a partnership with the Irish Music Rights Organization (IMRO) to amplify public performance royalty distributions in Ireland. Venues can request an audio meter for their premises from Audoo—free of charge.

Santa Monica is famous for many things, but three popular landmarks top the city’s list of must-see spectacles: the pier, the beach, and TrueTone Music. Run by musicians, for musicians, TrueTone is an independently owned and operated guitar shop that attracts local and touring musicians alike. Over three decades in business, TrueTone has established itself as a destination spot for the greater Los Angeles area—and the rest of the world as well. 

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

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today. In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with TrueTone co-owners Sunir Patel and Paul Flynn to discuss the success story behind their legendary guitar shop. “[TrueTone Music] really is the people,” says Paul. “We can put whatever gear [we want] up on the walls. You can’t just get a room and put gear in it, and people will come in and buy it. It does not work that way.” 

“The vast majority of the [staff] has been there for 10-plus years,” Sunir adds. “That’s a really big thing. The most important part of the vibe and the culture of the store are all the guys working there.”

In today’s conversation, Paul and Sunir discuss TrueTone’s origin story, the timeless quality of guitar-based music, and the major differences between their indie shop and the big-box retailers. Tuning in, you’ll also gain insight into the inner workings of TrueTone, including their commitment to creating a welcoming community that treats regular customers like celebrities and celebrities like regular people. (That said, TrueTone has seen its fair share of musical luminaries, including Prince, Andy Summers, Reverend Billy Gibbons, Tenacious D, Tom Petty, and Steely Dan, among others.

As you’ll discover in today’s episode, both Paul and Sunir harbor a deep love for music and the people who craft it, regardless of their celebrity status. They believe it’s the people, not the gear, who make TrueTone Music the special place it is. “If we keep making customers happy, we can keep doing this,” says Paul on their plans for the future. “It’s as simple as that. We like what we do, we like the customers, we like the gear. It’s generally a very nice work environment!”

Flou’s legal drafting process in action.

Earlier this year, we first profiled Flou, an upstart company founded by Puerto Rican music attorney Alexiomar Rodríguez. Flou has a strikingly sensible mission: to transform the generally chaotic way music contracts and agreements are created, negotiated, and maintained throughout their life cycles. Several months later,  the company has successfully road-tested its platform with several early takers – and shared the early results with Digital Music News.

As any DMN reader can attest, the music industry is rife with legal warfare. Copyright battles, contract disputes, and even corporate espionage cram our pages daily, spanning the frivolous to the momentous. Garnering less attention is the contracting process itself, which can often devolve into a chaotic mess of wasted time, expensive legal bills — and if you’re really unlucky, full-blown legal battles that mar the creativity and partnerships involved.

Alexiomar Rodríguez, a music attorney who’s been in the weeds of these contracts for years, has set out to change that reality. Rodríguez’s answer is Flou, an all-in-one platform designed to streamline music contract management — from creation to execution and beyond. The company offers industry-specific templates, AI-assisted collaboration features, e-signature approvals, centralized storage, deliverables tracking, and a range of reminders during the pre- and post-signature phases of a contract’s lifecycle.

As part of its pitch, the company paints a stark contrast between the messiness of current contractual processes and the relaxed orderliness of automated templates, collaborative drafting, and AI-assisted agreement terms. On Flou’s site, the former features a stressed-out dragon surrounded by a swirl of papers; the latter features a happy dragon with a neatly arranged document interface. It’s Flou’s model in a nutshell.

Of course, the music industry is complex and demands a lot of different legal contracts to cover that complexity. But Flou and Rodríguez are determined to address that complexity with a wide range of music industry contracts, including work-for-hire agreements, production contracts, and artist-label contracts. Part of the company’s challenge will be to address all of those scenarios and their nuances, while staying on top of constant changes in agreements and partnership structures.

Regardless of the specific contracts, the game plan is the same: by translating complex legal obligations into manageable tasks, Flou simplifies compliance and reduces legal risks. The platform also offers educational resources to help users navigate the complexities of music agreements.

“The value proposition is the same for indie labels, publishers, and artists’ teams,” Rodríguez told DMN.  “Flou saves money on legal fees, saves time by automating your music contracts, and eliminates all the stress and sleepless nights.”

All of that sounds great in theory. But is it working?

Partnering with Digital Music News, Flou decided to share their early client stories with us. It’s a rare look into the early steps of a young company, with some early success metrics suggesting broader industry-wide changes.

So who were the first takers? 

Flou has the backing of mega-companies like Warner Music Group and Concord Music. But the real proof-of-concept is coming from smaller shops that desperately need simplified legal solutions.

For starters, larger companies are understandably hesitant to trigger extreme overhauls in their contracting processes, while smaller companies have the luxury of being more flexible.

Flou’s initial focus isn’t industry giants, but that’s exactly the point. Rodríguez says Flou is working closely with smaller outfits as its platform grows, an approach that also allows the company to refine its offerings during its developmental and ramp-up phases.

With that, here’s a look at two companies that have thoroughly road-tested Flou and relayed back some serious savings (and gains): Sash Media Group and One Music Global Publishing.

Case Study One: Sash Media Group

Sash Media Group, an Atlanta-based company focused on music production and record label services, faced a common challenge for new businesses: managing legal contracts without incurring exorbitant fees and extreme time drains. Founded by Grammy-winning producer Samuel Ash, the company works with top-tier artists in the US and Latin America, necessitating well-crafted contracts that protect all parties involved.

The Giant Challenge of Legal Organization

As a startup record label, Sash Media Group desperately needed a streamlined, affordable way to create and manage contracts. Traditional legal services, while comprehensive, often come with hefty price tags. Recognizing the importance of legally sound agreements, Ash tapped Flou as a potentially cost-effective solution that would equal the contractual quality that a serious attorney or law firm could offer.

Adding to the complexity for Flou, Sash’s unique business model required customized contracts that deviated from standard templates. There were numerous variations and special cases that demanded a flexible and adaptable legal solution.

Not an easy first client, but Sash Media Group initiated a partnership with Flou in an attempt to resolve those easily-stage issues. Fast-forward a few months, and the pilot has produced some substantive benefits, including lowered legal costs.

Despite being at an earlier stage of development, Flou has an extensive library of pre-approved templates in both English and Spanish. That met Sash’s initial contractual needs to get the partnership started.

“Creating agreements is quick and easy, allowing us to focus on working with the artists instead of trying to figure out all the paperwork,” Samuel Ash described.

Right off the bat, there was the classic challenge of dealing with PDF contracts. “Like many of our users, Sash had contracts they had previously paid a lawyer to draft, which were sent in PDF format,” Rodríguez relayed. “We helped convert those contracts into templates, turning them into automated Q&A forms so they no longer had to rely on manual ‘find and replace’ edits.”

Overall, the newfound efficiency enabled Sash to prioritize its core mission of producing and marketing music, resulting in a nice win. Focusing on the game plan, Rodríguez detailed how Flou’s platform met a number of Sash Media Group’s specific requirements.

Here’s what Rodríguez emphasized in the partnership:

An Ever-Growing Library of Templates: Flou provided a considerable selection of up-to-date, lawyer-approved contract templates in plain language, ensuring clarity and legal compliance.

One System for Contracts: Flou offered an all-in-one solution, covering the entire contract lifecycle from drafting to signing and beyond, eliminating the need for multiple tools and streamlining the process.

Lots of Support: Flou’s implementation team provided a considerable level of support, assisting Sash Media Group in creating a customized template within its first week of signing up.

And the Big Win: Lower Legal Costs: By leveraging Flou’s self-serve platform, Sash Media Group significantly reduced their reliance on external legal counsel, resulting in substantial cost savings.

That last gain is a big win for smaller outfits, many of which lack the big-level budgets of their larger competitors. It’s a major part of the Flou model and why Rodríguez initially wanted to focus on smaller plays.

The real kicker is that Samuel Ash reported saving over $3,000 in legal fees, a significant amount for a fledgling business. That’s not a six-figure windfall, though it offered a nice savings start that can be scaled – with the company planning to reinvest those funds into music production and marketing efforts.

Beyond the monetary savings, Flou’s platform simplified the contract management process, saving valuable time and resources. Samuel Ash emphasized the platform’s ease of use: “We saw the value within the first week of subscribing.”

Case Study Number Two: One Music Global Publishing – A Powerhouse In Latin Christian Music

In the vibrant Latin Christian music scene, One Music Global Publishing has emerged as a serious player for the genre’s top songwriters. This boutique publishing company, based in Puerto Rico and the Dominican Republic, currently boasts a catalog of over five million monthly listeners on Spotify alone.

Already representing a range of established and up-and-coming songwriters, One Music is now focused on solidifying its position in the Latin Christian genre. That means continuing to build strong partnerships with the songwriters that are connecting the most with this audience.

One Music’s popularity has been growing in a solid genre – that’s the good news. But the company also found itself drowning in the complexities of managing contracts and ensuring the equitable distribution of royalties. The company felt that the traditional manual contract process was time-consuming and prone to errors, hindering the company’s efficiency and diverting valuable resources from strategic initiatives.

This is a growth-stage mess that Rodríguez was seeing first-hand while practicing law in Puerto Rico. The situation made One Music an obvious choice for an early client.

Taking things further, One Music also wanted to get its songwriters more involved in the contracting process itself. In short, One Music wanted a tool to empower its publishing team to take control of contract creation and management.

One Music’s requirements were clear: a self-service platform that would streamline the entire contract lifecycle, from drafting to signing and beyond. The platform needed to be user-friendly while enabling quick adoption and integration into their existing workflow. Additionally, real-time visibility into the status of contracts was crucial for identifying and addressing any bottlenecks.

At this point, Flou was already gaining traction as a contract management solution, so they were plucked as the answer to One Music’s needs. Flou’s implementation team jumped in with an onboarding process that included heavy support to get things off the ground.

With a focus on self-servicing, One Music’s publishing team gained the autonomy to create split sheets and other essential contracts using pre-approved templates and simple Q&A forms. This eliminated the need for constant legal intervention, freeing up valuable time and resources. The platform’s real-time tracking capabilities also provided a clear overview of contract statuses, enabling the One Music team to address any delays proactively.

Sounds great, though Rodríguez told DMN that One Music presented some unique challenges that tested Flou’s model.

For example, the label manages both authorized and unauthorized versions of their music, particularly those involving language translations (Spanish and Portuguese are favorites) and remixes (welcome to the modern fan economy).

Flou also helped One Music continue expanding into label and distribution services, which demanded more contractual support. “We had to add more contract templates,” Rodríguez explained.

After the transition towards automation and templating, One Music relayed some early-stage wins.

The biggest win was this: One Music witnessed a staggering 50% reduction in contract turnaround time. This newfound efficiency translated into a significant boost in productivity, allowing the team to focus on strategic initiatives rather than administrative tasks.

Joan Bonilla, founder and CEO of One Music, is now looking to expand the partnership. “Flou has revolutionized our contract management process,” he remarked. “Creating split sheets is now quick and foolproof, allowing us to focus more on expanding our songwriters’ business and less on paperwork.”

The benefits extended beyond time savings. Flou’s centralized platform eliminated the need to juggle multiple systems and manual filing, reducing errors and enhancing overall efficiency. Joan himself found more time to engage in high-value activities such as attending industry events and negotiating favorable deals for his clients.

Rodríguez says that Flou has enabled One Music to focus on its core mission: championing the voices of Christian Latin songwriters and building enduring legacies in the world of music.

Where Flou Is Headed Next

After working with these initial clients, Rodríguez is understandably pleased with the proof-of-concepts. Substantial cost and time savings are core to Flou’s model, but big wins also came in the form of self-service functionality, collaboration, and template flexibility.

In many cases, Flou quickly encounters the exact problem its model is trying to solve: a mountain of disorganized paperwork, digital or otherwise. “Most music companies still use MS Word, DocuSign, and spreadsheets to manage contracts, which leads to missed renewals, decentralized storage, and bottlenecks,” Rodríguez described.

“Our goal is to be the go-to solution for managing all contract-related paperwork in the music industry. So we are open to collaborating and integrating with all types of music companies and solutions.”

That said, Rodríguez feels the biggest challenge for companies is the growing volume of legal and contractual paperwork, based on initial client feedback and what he’s witnessing in the marketplace. That problem is particularly acute for companies that are shrinking in size in response to investor and Wall Street demands.

After working ‘in the wild’ and hearing actual client needs, the model is now expanding substantially towards developing APIs, white label solutions, and a self-service portal that labels and publishers can offer to their artists, producers, and songwriters.

Flou has also been focusing on AI applications, particularly around clause-specific training, advanced contract reviews, and deal suggestions driven by music data analytics.

“Music companies are shrinking in size, but still have to manage a huge amount of paperwork,” Rodríguez said. “Right now, Business & Legal Affairs departments are paying $65,000 to $75,000 a year, plus benefits, bonuses, and profit-sharing programs, to hire contract administrators.”

“Our overarching goal is to shrink the workload around contracts and shift companies more towards their core competencies – developing great music from legendary artists!”

Photo Credit: Sophia Gonzon

A large majority of artists channel their personal pain into creative expression. For them, it’s not just art but a way to heal and feel connected to the world. Music has always been a powerful medium for conveying emotions and life experiences. No wonder many musicians have been immortalized for creating songs that people found relatable because of their emotional calling.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Sophia Gonzon, a rising star in the music world, is following this path, using her journey of overcoming adversity to inspire others. This 22-year-old talented singer-songwriter has turned her real-life trials into a powerful message of resilience and hope that people feel connected to.

Sophia started creating music while battling intense bullying and chronic illness. From a young age, she faced a series of challenges, including PTSD and various health issues that resulted in her traumatic experiences.

In November 2018, she embarked on her first recording session to find solace and healing. What began as a therapeutic outlet for her emotional turmoil soon blossomed into a successful music career. Music became Sophia’s passion as she discovered how to transform her hardships into art. The lyrics and rhythms became her refuge, a way to express her pain in a manner that profoundly resonates with listeners.

One of Sophia’s smashing hits is “Daddy Issues,” a song that inspires people to deal with their emotional struggles. This musical track was based on themes of bullying and self-worth. Within a short span of its release, “Daddy Issues” earned over 3 million streams on Spotify, connecting with listeners who found solace in the heartfelt lyrics.

Sophia’s powerful voice has captured the essence of vulnerability, helping her connect with the audience on a personal level. It is a song of hope that focuses on the goal of rising above adversity.

Sophia Gonzon is one of those contemporary artists who doesn’t hesitate to experiment. With her unique vocal style, she flawlessly blends different genres such as pop, punk, rock, R&B, and even hip-hop to craft a fresh and engaging sound that appeals to a wide array of listeners.

While striving to solidify her place in the music industry, Sophia has earned recognition in the indie pop scene, winning multiple awards. This shows her promising talent as an emerging artist.

Besides music, Sophia is on a mission to inspire others who are facing similar emotional battles in life. For her, music is a way to convey messages of strength, perseverance, and self-love to uplift those who feel isolated in their pain.

Sophia has ambitious goals for her career. She envisions touring the world, sharing her music with more people, and connecting with them on a personal level. Beyond success, she aspires to build a platform to empower others to face their life challenges with courage and grace.

Sophia Gonzon is blending peace, love, and music to show the world that personal struggles can fuel creative expression and also help others heal. In a world shrouded with pain and struggles, Sophia’s voice is a humble reminder that there is always a ray of light at the end of a dark tunnel.

Photo Credit: Leonie Persch

Since embarking on her musical journey in 2020, singer-songwriter and artist Leonie Persch has quickly established herself as a force in the global music scene.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

With a blend of artistic talent and intuitive collaboration, Persch has captured audiences worldwide with a fresh sound and emotionally gripping songwriting.

Leonie began her career honing her craft in Berlin while working with songwriters and producers from across the globe. Her lyrics and distinct voice have successfully launched her three music projects: Bonny Lauren, Evie, and Francie Eliott. To date,
her music has amassed an impressive 60 million streams.

Authenticity and Introspection as an Artist

Leonie Persch emphasizes the importance of silence and self-reflection in her creative process. She believes silence is the canvas upon which her music is built, allowing her to create more authentic and reflective work.

As Leonie says, “For aspiring artists and anyone starting in music, I want to encourage you to recognize that your voice matters. It can be intimidating to speak up, especially in an industry that can be harshly judgmental. However, embracing authenticity will serve you well in the long run. Surround yourself with the right people and know when to leave certain people behind.”

“Distancing yourself from toxic [work] relationships is crucial for personal and professional growth. If you haven’t found your people yet, whether you’re aspiring to build a team in music or just in life, take that time to nurture your creative process and inner development.”

Global Collaboration and Versatility

Having worked with major labels like Universal, Warner, and Spinnin’, Leonie Persch has collaborated with talented artists and producers worldwide. Her diverse collaborations have led to over 60 million streams, demonstrating her growing influence.

Leonie has successfully launched three music projects (Bonny Lauren, EVIE, and Francie Eliott), each representing a different genre. Her debut solo project, under the name Bonny Lauren, made a significant impact by charting on iTunes, a notable milestone early in her career.

Leonie has also released music through other prominent labels such as Robin Schulz’s label, Mentalo, and Martin Garrix’s label, STMPD, further expanding her reach into the EDM scene. While she enjoys working in the EDM space, her project ‘Francie Eliott’ dives deeper into singer-songwriter territory, showing her versatility.

In addition to her label work, Leonie has participated in renowned songwriting camps across Europe, including Amsterdam, Hamburg, and Berlin, organized by industry giants like Kontor and Armada. These experiences have been instrumental in refining her songwriting and collaborative skills.

Resilience, Independence, and Achievements

After completing a three-year publishing deal, Leonie pursued her career as an independent artist. Leonie Persch’s music has charted on iTunes, and her work has been featured in prominent TV shows, including Disney’s ‘Pretty Freekin’ Scary.’ She has also been honored with her official songwriter playlist on Spotify.

Personal Growth Through Music

Leonie’s journey into music led her to personal and artistic growth, and she views her art as a tool for emotional well-being. She aims for her music to embrace the positive as well as the negative feelings that people are experiencing in life, hoping to encourage others to live their most authentic selves. Leonie continually evolves as an artist and has hinted at working on her most meaningful project yet. She aspires to keep creating and influencing the industry with her lyrics and her voice.

Leonie Persch is an independent artist and songwriter who has forged a unique path in the music industry by embracing authenticity, introspection, and creative freedom. Her work spans multiple genres, blending her journey with an impactful sound that resonates globally.

To listen to Leonie Persch’s official songwriter playlist on Spotify, click here.

Photo Credit: Pexels

In 2023, vinyl sales experienced their 17th consecutive year of growth, reaching an impressive revenue of $1.4 billion. With 43 million vinyl albums sold in the United States alone, surpassing CD sales (37 million), vinyl continues to captivate all generations and represents a significant market.

The following was created in partnership with Diggers Factory.

Vinyl: A Medium with Multiple Benefits for Artists

As these figures show, vinyl is a highly sought-after listening format among fans today. In addition to offering exceptionally high sound quality, it creates a sense of belonging to a real community and provides a special, tangible connection between artists and their audience.

Moreover, vinyl offers significantly higher earnings than streaming. On average, streaming platforms pay artists between $0.003 and $0.005 per stream, while the sale of a single vinyl can earn an artist between $5 and $7. Vinyl is thus the most financially rewarding format for artists. While streaming offers minimal returns, selling physical products, especially vinyl, proves to be a much more lucrative way to earn money!

Additionally, physical vinyl sales have a disproportionate impact on chart rankings compared to streams. For instance, on the Billboard charts in the United States, 1,250 paid streams are often equivalent to one physical album sale, highlighting the advantage of physical sales in the charts.

Despite these various advantages, pressing vinyl often seems out of reach for many independent artists. The costs associated with production, coupled with uncertainties about demand and logistical challenges, tend to deter many talented artists from pursuing this path.

Press Your Music on Vinyl with Ease at Diggers Factory

A Fair and Advantageous Pre-Order System

With Diggers Factory, pressing your music on vinyl simply and without upfront costs becomes possible!

Thanks to our on-demand system, any artist, regardless of their level of fame or resources, can bring their project to life without having to advance any money. How? By launching a pre-order campaign! With this system, there’s no need to worry about stock management or overproduction. We produce only the number of products pre-ordered, tailored to the demand from your fans.

Comprehensive Management of Every Aspect of Your Campaign

Since vinyl production is a complex process requiring expertise in many areas, a wide range of services is included with your pre-order campaign, so you don’t have to manage anything.

We handle every aspect of your campaign, including pressing, printing, shipping (via our warehouses worldwide), distribution, design, customer service, and marketing:

Production: Receive personalized support from a member of our team who will guide you through every step of the production process!

Art Direction: Whether you already have existing visuals or are starting from scratch, our creative team offers a variety of services tailored to your needs: creation, adaptation and resizing, restoration, and more.

Marketing/Communication: Since communication is key to selling your products, our marketing team is here to assist you from the launch of your campaign to promote your products!

Logistics: We manage the global shipping of your products from start to finish. Once production is complete, products are sent from the factory to our network of partner warehouses around the world (including the United States, United Kingdom, Europe, Asia and more). This allows us to offer local shipping rates for global markets and customers. We handle logistics at every step of the way!

Customer Service: We do everything possible to ensure the total satisfaction of your fans by managing their requests as quickly as possible.

A Wide Range of Fully Customizable Products

While we are experts in the production and distribution of vinyl records, we also offer you the opportunity to launch campaigns for a wide range of other products: CDs, tapes, merch, and soft goods.

Launch the product that perfectly meets your expectations and customize it as you wish! Whether it’s the format, its color, or the sleeve finishes, we enable you to define every detail according to your preferences.

With Diggers Factory, making your music available on physical formats has never been easier or more accessible.

Offer your worldwide fans a unique product that strengthens their engagement while maximizing your earnings. Whether you’re an established or emerging artist, our platform allows you to bring your ideas to life without financial risks and with complete support.

Don’t wait any longer to bring all your ideas to life! Get started here.

Photo Credit: Too Lost

Too Lost is switching up how music conferences reach the industry with a focus on reaching as many people as possible in a brand-new format. Say goodbye to the usual panels and lectures and get ready for an event that focuses on hands-on learning and real connections. The ‘Game From The GAUDs’ (Goats & Underdogs) music conference is hosted by top industry professionals Ray Daniels, Damien Ritter, and Nyla Symone.

The following was created in collaboration with Too Lost, a company DMN is proud to be partnered with.

Each date will feature music, live games, and prizes from Mackie, so industry vets should come ready to network with their fellow creators in a dynamic and inspiring atmosphere. Whether you’re an artist, producer, manager, label owner, or songwriter—’Game from the GAUDS’ is the ultimate opportunity to elevate your career while making connections with industry peers. Ready to get your learning game on? Here’s the who, what, why, when and where you need to know.

Too Lost Presents ‘Game From The GAUDS’ — Live Music Industry Experience Dates

• Philadelphia — October 9
• Washington D.C. — October 11
• Atlanta — October 12
• New York City — October 14

Ready to attend a date near you? Tickets are available at www.gamefromthegauds.com. General Admission price is $45. Remember—this multi-city music conference experience offers a new way to network in the music industry. It is not divided into panels to attend—instead there will be established music professionals present in every city to give their opinions on industry happenings while participating in the interactive sessions available.

About Ray Daniels

Ray Daniels is an entrepreneur, visionary, and media personality who intimately understands the intersection of music and culture. Daniels has found success weaving these two worlds together. Through his work as the founder of LYI Agency (Leverage Your Influence), the host of The GAUDS Show, and Founder of RAYDAR LLC, Daniels and the artists he represents have played a role in powering some of the most iconic artists and hits of our generation.

Daniels is the power player that every major artist, executive, and culture mover knows. Daniels was born in New York and raised in Atlanta with a contagious drive and passion that has lived on as he rose to prominence—first through his A&R work at Warner Music Group. That drive has continued through his management endeavors, with Daniels understanding the magic it takes to create a hit, as well as the collaboration that goes into delivering chart toppers for artists like Lizzo, Ciara, Usher, Saweetie, Latto, Future, and many more.

About Damien Ritter

Damien Ritter is the Director of Marketing at Too Lost, the former COO of BeatStars and a former Co-Founder of Funk Volume—a Los Angeles-based record label cited as a leader among independent rap labels. Funk Volume ranked up over 600 million YouTube views, consistent Top 10 chart placements on Billboard and iTunes, as well as high profile write-ups in media outlets including Forbes, Billboard, SPIN, and more.

About Nyla Symone

Born in Germany, raised in Maryland, made in Manhattan — DJ Nyla Symone brings her expertise in the music industry as well as her networking experience. She DJs and co-hosts alongside Charlamagne Tha God on Comedy Central’s ‘Tha God’s Honest Truth’ and Revolt TV’s ‘Off Top’ with Big Tigger and Rapsody.

Nyla Symone also hosts a weekly spot on Power 105.1, New York City’s #1 radio station for hip-hop and R&B and became the station’s youngest DJ at 23. In addition to the station’s YouTube channel, Nyla has done deep dives and sit-downs with some of the most prominent figures in the music business. On her own channel, Nyla Symone — The Pretty Tomboy, she has interviewed Roddy Rich, Megan Thee Stallion, Migos, Saweetie, Blueface, Masego, and many more.

About Too Lost

Too Lost is a music and technology company that provides software-as-a-service (SaaS) solutions for independent music rights holders. Their distribution and publishing services deliver, monetize, and protect songs across the globe for over 250,000+ musicians, record labels, studios, brands, investors, and platforms. Too Lost is a proud member of The American Association of Independent Music (A2IM) and MERLIN. The company is headquartered in New York City with satellite offices located in Los Angeles, Barcelona, and Reykjavik.

As a composer, songwriter, or other creative, with so many demands on your time, maintaining your online presence can often feel like a chore, or even worse, fall through the cracks and get ignored altogether.

The following comes from DMN partner Breeze Tunes and their insanely informative podcast, Selling Sheet Music.

In today’s hyper-online world, being mindful of how we present ourselves and our music in the digital realm is more important than ever. That’s why Selling Sheet Music has created this handy checklist to make it easier for you to manage your online profiles and take full advantage of the available tools and opportunities.

Whether you are a composer, artist, publisher, or something in between, following these steps will make it easier for clients and fans to find and discover your music.

1. Google Yourself

Putting yourself in your fans’ shoes is essential! So, as egotistical or odd as it might seem, it’s important to Google yourself from time to time. You can learn a lot by looking at what shows up under various search terms, and you can learn even more by what doesn’t come up!

One key thing to remember is that search results often vary by device, so make sure you try it out on mobile, desktop, and incognito mode to get the fullest picture of what potential customers are seeing. And don’t forget that images and videos have their own separate search algorithm.

This is one of the best ways of figuring out what kind of content to create and what kind of first impression you’re generating.

2. Set Up Home Base

Now that you have a better idea of what people are seeing about you online, you can use that to help steer your visitors online to where you most want them to go. Usually, that means a website, but a social media profile could work, too.

Whatever you choose as your home base, the goals are the same: You want to seem current and competent, and you want it to be really obvious what visitors should do. Maybe it’s buying sheet music, or maybe it’s listening to an album on streamers, but whatever your goals are, make sure they’re super obvious!

If someone has already gotten to the point where they’ve decided to click on your website, there’s no reason to be timid about selling to them. And, of course, make sure your photos, biography, and contact information are up to date!

3. Claim Your Public Profiles

There are two categories of what I call “profile sites” online. The first are your standard social media profiles: Facebook, Instagram, TikTok, YouTube, etc. You probably already have profiles on one or more of these sites.

However, you can do a couple of things to improve your performance. The first is to have a consistent handle across all your profiles to make it easy for fans to jump from one to the other. The second is to ensure that you are using the business or professional versions of these profiles because that gives you more scheduling, advertising, and analytic tools than a personal profile. You might also consider paying for a verified badge, depending on your situation and how much you use the platform.

The second category of sites are your “distribution profiles.” These are the third-party sites where you are selling or streaming music. This includes Spotify, Apple Music, Amazon Music, Sheet Music Plus, Sheet Music Direct, JW Pepper, Musicnotes, or anywhere people can find your music.

For some of these sites, you create an artist profile when you register; for others, like streaming services, they will need to be claimed after the fact. But these sites should not be ignored—because they have such a large footprint they often show up highly in search results even if you have a small amount of music on them.

Film composers should also claim their profile on IMDB, and for artists that are well established, you can also be eligible to claim your Google Knowledge Panel, which lets you edit or influence the suggested results that Google puts in the little box next to the search results.

4. Produce Content

Once you’ve updated all your pages, claimed all your profiles, and importantly, linked them to each other, you can start thinking about content. Keep in mind for many people the first place they discover a composer is not a search result or a web page, it’s a piece of content like a video or blog post. You don’t want to burn yourself out (or waste time better spent creating music), so prioritize quality over quantity. Focus on what makes you unique, and what you can do that others can’t.

One of the reasons to prioritize quality over quantity is that you should be repurposing this content for a variety of formats (text, image, video, audio), and when you do that, the quantity follows naturally. Some people batch content, for example, spending a day creating the posts for several weeks and then scheduling it out, while others take it one week at a time. Whatever your approach, consistency is the key.

Finally, don’t feel the need to post to all platforms all the time. Focus on the two or three that have the largest audience or give you the most interactions.

5. Schedule Maintenance

One way to maintain that consistency is to schedule time to update these profiles regularly. You can sort tasks according to how frequently they need to be done and put reminders in your calendar. I tend to do an annual “spring cleaning” at the end of the school year for major web updates, things like profile pictures and biographies. And then monthly updates to plan content based on whatever projects are going to be released next.

This stuff can be boring, and it’s not what we signed up to do as musicians. But the hope is that putting in the time up front to set things up in the right way makes it easier to maintain, especially if you’re checking in regularly rather than letting tasks pile up month after month.

Chartmetric’s data analytics highlights the importance of ‘trigger cities’ for launching new music. A new single catching the ear of listeners in these cities could create global ripples of impact—especially for new artists. Let’s take a peek at how the phenomenon differs across the world.

The global music economy has become so interconnected that artists can focus on hyper-local areas thanks to data provided by Chartmetric, part of an ongoing partnership with DMN. Chartmetric can identify these ‘trigger cities’—which it defines as influential music markets where users latch onto songs early and trigger streaming algorithms to give them global momentum. Each city is unique due to its population, level of streaming and social media adoption, and aptitude for sharing music their friend’s enjoy that can impact the strength of each trigger city.

View the full report here

Some of the hottest trigger cities for the music economy are located in Latin America and Asia—mostly due to how users in these regions interact on social media. Many cities located in these regions are megacities, which boast a population of well over ten million people and a population density of around 2,000 people per square kilometer. There are around 45 megacities in the world, with more than half of them based in China and India. Other countries with more than one megacity include Brazil, Japan, Pakistan, and the United States.

Trigger cities in Latin America and Asia are pivotal for global music exposure. These regions exhibit strong social sharing behaviors and tend to have younger populations—which contrasts heavily with Western markets that tend to be more reserved and saturated. Latin America hosts the most trigger cities due to their large, interconnected population and high levels of music streaming and social media activity. Mexico City, Mexico and Santiago, Chile have the highest user base of monthly Spotify users—making them fertile ground for new artists.

Southeast Asia also remains a strong region for trigger cities, as the population tends to have a voracious appetite for both Western music and hyper-local artists. Countries like Indonesia and the Philippines have a low average median age (31.5 years for Indonesia, 25.7 years for the Philippines) and a population that is digitally native.

View the full report here

Cities in the United States and Western Europe tend to be less influential as trigger cities due to different online sharing behaviors. Despite this, large cities like New York and London have large diaspora populations that contribute to the spread of global music. Perhaps surprising is the growth of Australian cities like Melbourne and Sydney as trigger cities for musicians. They are the largest growing trigger cities of those in Chartmetric’s study, heavily influenced by the growing Southeast Asian diaspora and high urbanization.

So how can musicians, marketers, and A&R reps take advantage of these insights into trigger cities? There are a few strategies to help new artists break out by targeting specific locations—let’s take a look.

For new artists, focusing on high-engagement social media markets can be an excellent strategy. From influencer partnerships, localized ads, and campaigns on social media platforms like Instagram, TikTok, and YouTube—creating content that resonates with the cultural and musical preferences of the region can accelerate an artists’ growth. These strategies include campaigns utilizing local languages, collaborating with regional artists, or tapping into popular local trends.

Industry execs can also work with streaming platforms to get songs featured in regional playlists that are popular in trigger cities—especially those in Latin America and Southeast Asia. An appearance on these playlists can trigger algorithmic promotion and organic sharing. Getting listed on user-generated playlists and those created by independent local curators is also an opportunity to engage with algorithmic promotion and organic sharing among a local population. Dedicating some efforts to local terrestrial radio stations in trigger cities is another approach.

View the full report here

Any artist looking to break through in a trigger city should consider collaborations with local artists, producers, or influencers to create music or remixes that cater to these regions. Not only does it enhance the music’s appeal to those markets, but fans take pride in hearing a homegrown artist or producer working with an artist from somewhere else—especially when the collaboration feels fresh. Collaborating with local brands in popular trigger cities is another way to foster a feeling of warmth towards a new artist while leveraging the brand’s existing customer base.

Chartmetric’s data analytics platform makes it easy to monitor these streaming trends in multiple trigger cities across the globe. Artists and their marketing teams can quickly identify trends, which cities are showing the most organic growth, and hone their marketing strategy to focus their efforts on these regions.

In a world where trends shift faster than a guitar riff, Piper & The Hard Times stands firm in their dedication to preserving blues music’s raw, authentic essence.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

For over two decades, this band has been perfecting their sound, all while keeping their feet rooted in the deep, soulful traditions of the genre. But don’t mistake them for a band content with staying stuck in the past—Piper & The Hard Times are as much about innovation as they are about tradition.

The band’s journey started with three founding members: guitarist and bandleader Steve Eagon, drummer Dave Colella, and the larger-than-life vocalist Al “Piper” Green. The band also includes Amy Frederick on the keyboard and Parker Hawkins on bass. Their musical chemistry is electric, a bond forged through thousands of performances across countless weekend gigs. For years, the band was a regional powerhouse, a fixture in blues circles, but it wasn’t until recently that they exploded onto the national scene, much to the delight of their loyal fanbase.

The turning point came in the summer of 2023 when Piper & The Hard Times won the Nashville Regional Blues Challenge. It was a victory 20 years in the making and one that set them on an upward trajectory. Just a few months later, the band took home the coveted top prize at the 2024 International Blues Challenge. The win put them on the map in a big way, opening doors to high-profile gigs and sparking demand from festivals and fans across the country. In February 2024, they capitalized on this momentum, recording their debut album Revelation, which skyrocketed to the top of the Billboard Blues Chart just days after its August release.

But what sets Piper & The Hard Times apart from other blues bands isn’t just their success—it’s their unwavering commitment to keeping the blues alive while evolving the sound for today’s audiences. Al “Piper” Green’s gospel-infused vocals bring a level of emotion and charisma that few performers can match while the band builds rich soundscapes that honor the legends of the genre. Their music is steeped in blues tradition but carries enough melodic hooks and modern sensibilities to captivate fans well beyond the blues community.

The journey to this point hasn’t been easy. The band has faced its share of challenges—years of playing weekend shows, balancing music with life’s demands, and persevering through the ups and downs of the industry. Yet, their belief in their sound and in each other never wavered. “Perseverance is key to anything,” Steve Eagon reflects, “especially in the music business. You have to stay true to yourself and believe in the music you create.”

That authenticity is at the heart of everything Piper & The Hard Times do. Each live performance reflects their dedication, respect for the genre, and desire to create a unique, immersive experience for every audience. With his commanding presence, Piper takes the crowd on a journey, and his bandmates amplify that energy to new heights. It’s this chemistry, this magic, that’s earned them a growing reputation as one of the best live acts in the blues world today.

As the band looks to the future, their ambitions are clear: to expand their reach beyond the blues scene and make a lasting impact on music as a whole. “The blues is the foundation for almost every type of music,” Eagon explains, “and we believe we can broaden our appeal by playing all kinds of festivals.” With their unique sound, unwavering dedication, and ever-growing fanbase, there’s no telling how far Piper & The Hard Times will go.

Photo Credit: Jessica Chaz

Vancouver-based artist Jessica Chaz has made a powerful statement with her latest release, “River EP,” with the title track achieving a significant milestone by reaching #45 on the iTunes Pop Charts. This impressive chart performance reflects not only the depth and dynamism of the single but also the growing recognition of Chaz’s undeniable talent and authenticity.

The success of “River” underscores the widespread resonance of Chaz’s music. Seamlessly blending elements of R&B, Folk, and Soul, the “River EP” is a testament to her ability to captivate audiences across genres. The title track, “River,” which has become a fan favorite and charted on iTunes, serves as a profound metaphor for life’s journey, its lyrics echoing the fluidity and constant change that define our existence. Through this song, Chaz skillfully encapsulates the themes of resilience and transformation, inviting audiences to embark on a reflective and cathartic journey of self-discovery.

Jessica Chaz’s musical style is a tapestry woven from the rich rhythms of her homeland and the diverse influences of her second home. Rooted in the soulful beats of Durban, South Africa, yet branching out to encompass the myriad sounds of her life in Vancouver, Chaz’s music serves as a reflection of her personal journey and cultural heritage. With each note, she showcases her growth, both as an individual and as an artist, creating a harmonious fusion that resonates deeply with listeners worldwide.

The “River EP” provides listeners with an intimate glimpse into Chaz’s soul. Stripped of pretense and brimming with authenticity, each track on the EP reveals a new facet of her artistic essence. The commercial success of “River” only adds to the growing anticipation around Jessica Chaz as an emerging artist whose music transcends boundaries.

Collaborating with a range of artists and musicians from diverse corners of the globe, Chaz infuses the “River EP” with an eclectic and enriching sonic landscape. This collaborative ethos not only enhances the EP’s sound but also serves as a testament to the interconnectedness of our collective human experience.

With the chart success of “River” already solidifying her as a notable figure on the pop scene, Jessica Chaz’s latest project transcends the typical EP format. It is an immersive journey, inviting listeners to dive deep into personal reflection and self-discovery. With her skillful blending of genres and narratives into a unified whole, Chaz reaffirms her position as both a musical innovator and a voice for the soulful explorer within us all.

Check out Jessica on YouTube.

Photo Credit: Bruklin

In the world of popular music, only a few rise from local recognition to become widely known. It is even more true in a digital age, where no artist can thrive without a solid online presence. Bruklin is an artist and innovator whose journey to the stage exemplifies hard work and dedication. Her sound defies genres and showcases a personality that resonates all its own.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Early Career and Music Aspirations

Early in her career, Bruklin captivated local audiences with her unique music and quickly gained a reputation as an artist with a unique sound. However, Bruklin’s ambitions were far greater than just performing in local shows. Armed with a fresh perspective and a willingness to push boundaries with her voice and music, her journey forward in the music industry was just beginning.

What began as local support from her community transformed into something far more prominent. Her new singles–which include work by talents including Sebastian Kole, who has worked with Jennifer Lopez, and Oak Felder, a Grammy-nominated producer known for working with Nicki Minaj and Alicia Keys–have spread across streaming platforms, earning listeners from all over the globe. Her music has been heard in over 50 countries and, according to Spotify statistics, is listened to by over half a million people monthly.

However, Bruklin’s journey wasn’t an overnight success. Her passion for entertainment was evident from an early age, and she performed on various television shows when she was just 11, where she captured the attention of audiences and industry professionals alike. She began her musical career with a performance of the band Imagine Dragons’ song “Believer” at age 12. Now 16, she continues to captivate audiences with her music and artistic vision.

Recent Music and Current Impact

If Bruklin’s recent music shows anything, it’s that she has her finger on the sound that fans of contemporary music love. Her recent single, “Magic Show,” released this past August, features smooth vocals set to an addictive pop beat that’ll quickly get stuck in your head.

However, pop isn’t the only genre Bruklin dabbles in. In her single “Stay Friends,” another of the rapid-fire videos for singles released over the past few months, she showcases her vocals in a style more typical of R&B. Like Magic Show, “Stay Friends” displays the singer’s same zeal for music. Both music videos have a total of over 3 million views.

Her audience, engaged with her across Instagram, YouTube, and even TikTok, is committed to helping her succeed. Fans of her work describe her music as “beautiful,” and are clamoring for her to “keep bringing [them] the magic,” which is just what Bruklin plans to do.

Bruklin’s rise to success has been long coming. With previous aspirations for film, and current plans to continue to pursue music long-term, Bruklin’s aim is to break new ground, as well as what it means to redefine what it means to be an artist in the digital age.

In the realm of music recording, small labels are not merely entities; they are hubs of ingenuity and resilience. Running an independent recording label can be both challenging and rewarding. Building a strong brand, nurturing relationships, and staying innovative are the keys to success for smaller music recording labels. California-based boutique record label RidingEasy, which specializes in classic rock, heavy psych, and proto-metal, embodies all the crucial aspects of prosperity within the indie sphere. 

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

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today.

In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with RidingEasy Records founder Daniel Hall to discuss the label’s formation and subsequent success. “I have been really lucky with how things have flown with [RidingEasy],” he says. “I think the difference with independent labels is we are putting out records we feel great about, even if it does not sell a million copies.”

RidingEasy Records is more than a label; it’s a passion-turned-phenomenon. Their tracks have found homes in commercials, films, TV shows, and online content, making them an indomitable force in the industry.

Daniel himself is more than a seasoned professional in music marketing; he’s a trailblazer in the industry. From artist to promoter, his journey through the music industry is marked by life-changing relationships and a profound understanding of the mechanisms of success. “I think one of the things I learned about in the music business is that what you think you are going to be doing is not always what you are going to be doing,” he says. 

In our conversation, Daniel unpacks the roots of RidingEasy Records and how stoner rock band Salem’s Pot ignited the label’s formation.

He shares the experiences that shaped his belief in the power of music and waxes poetic about strong graphics as the backbone of a marketing campaign: “Pre-internet days, you would go to the record store, and a lot of times you couldn’t hear what something sounded like. You had to look at the [album] cover.” Daniel discusses the album art and labels that ignited his passion before forming RidingEasy Records, his contemporary marketing approach, and how his DJ background helped shape his career.

Grab a backstage pass into the inner workings of an indie record label by tuning into our conversation with Daniel Hall. 

Photo Credit: Michael Gilas

Michael Gilas is back and ready to inspire with the release of his latest single, “Let’s Get Back To Us.” This upbeat track is the first glimpse of what’s to come from his upcoming debut album, 231 Kensington Road, and it’s already turning heads.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

The song marks a pivotal moment in Michael’s life and career, reflecting his journey of recovery from a life-threatening neck injury. It’s more than just music; it’s proof of the healing power of art and the ability to transform adversity into something positive.

“Let’s Get Back To Us” is a song about reconnecting with others and oneself. As Michael puts it, “It’s really about not falling into a rut or routines. The song is about simplicity and enjoyment in doing simple things, not overthinking everything.” This message resonates throughout the single, which emphasizes the beauty of life’s uncomplicated moments. It’s the kind of feel-good track needed in a world that sometimes feels overwhelmingly negative.

In December 2021, Michael’s world was turned upside down by a severe neck injury. What followed was a grueling recovery process, both physically and mentally. Yet, instead of allowing the hardship to hold him back, Michael leaned into his music. “Music saved my life because I had nothing else,” he says, reflecting on how his passion became his lifeline. His resilience and determination are woven into the fabric of his songs, offering hope and encouragement to anyone facing struggles.

Michael’s sound is a rich blend of his musical influences. Raised on Long Island, he was exposed to a wide range of iconic artists, from The Eagles to Fleetwood Mac. His eclectic taste is evident in “Let’s Get Back To Us” and throughout 231 Kensington Road. Drawing on the timeless styles of Marvin Gaye, Carole King, and Steely Dan, his music feels both nostalgic and fresh, merging the past with the present in a way only a seasoned artist can.

But Michael’s creativity doesn’t end with just his guitar. His meticulous creative process involves hours of collaboration with his producer, Allan Phillips, as they fine-tune each track to perfection. “It’s a long process but it’s a lot of fun,” Michael shares, capturing the joy and dedication that go into each song. The result is a sound that feels personal yet universal, speaking to a wide audience.

Looking ahead, Michael has big plans. He’s not just focused on his debut album, but on writing, recording, and exploring new musical landscapes. Collaborating with renowned musicians like John Pena and Alex Acuna, he’s gearing up for live performances that promise to showcase his artistry on stage.

231 Kensington Road is an ode to the life-changing power of music—how it can uplift, inspire, and connect. For Michael, this address holds deep meaning. It’s where he discovered the musicians who would shape his sound and where his artistic journey truly began.

As fans eagerly await the full release of 231 Kensington Road, “Let’s Get Back To Us” is a vibrant introduction to Michael Gilas’s world. It’s a world where rhythm, melody, and raw emotion converge to create something truly special. Join Michael on this musical journey, and get ready to be inspired.

Connect with Michael on Apple Music and Spotify to experience his latest work.

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.”

Photo Credit: Merch Cat

Live shows are where some of the greatest opportunities lie to capitalize on the artist/fan connection and drive home merch sales.

The following was created in partnership with Merch Cat.

Most of us inherently know that in today’s music landscape, artist merch is an important revenue stream, a great way to market and promote an artist’s brand, and a way to unite and engage fans. But something that no one seems to talk much about is merch strategy. 

We hear a lot of talk about music release strategy, booking strategy, tour planning, marketing strategy, rights protection and overall strategy for an artist, but what about merch strategy as a matter of course? As in approaching merch in an intentional way, with the goal of maximizing artist merch income and return on investment while taking a holistic approach and factoring in all of the pieces that go into the whole – i.e. building an actionable plan and then executing it, measuring results, and making go forward adjustments where needed. 

It may sound rudimentary, and I’m sure it gets discussed in some artist camps behind the scenes, but doesn’t this very fundamental and potentially very lucrative revenue stream deserve the attention to strategy that the other streams get?  After all, it is probably the lowest hanging fruit of revenue streams as far as getting real time cash in hand, especially for touring artists. Live shows are where some of the greatest opportunities lie to capitalize on the artist/fan connection and drive home merch sales.  

Artist merch strategy is needed because not strategizing results in lost revenue, lost data for future revenue generation, lost inventory control and lost opportunities. 

As fundamental a revenue stream as merch is, there often seems to be an undertone of afterthought or notion that it will somehow get done. And it may very well get done, but likely not with the optimal outcome. In fact, it’s probably not an overstatement to say merch is all over the place and super fragmented. 

From the way merch is sourced to the way it is sold, everyone has a different process. And a lot of merch out there lately seems like it’s a check the box item, and feels either disconnected from the artist’s brand or out of touch with what fans might actually want. Strategizing can help. Like other facets of an artist’s business, an overall merch strategy is necessary to provide an outline or game plan of how the desired objectives, namely profitability and marketing, can be achieved given all of the factors that go into it.

Speaking of factors, it’s not surprising that merch can be somewhat daunting. Merch can be super complex because there are multiple disciplines at play and not everyone is an expert at each one. Merch is a combination of: 

1) Branding/Logo/Design 

2) Physical Merch Purchasing (product selection, costs & shipping considerations) 

3) Product Decoration (printing/embroidery/imprinting) 

4) Touring & Logistics (if for live shows) 

5) E-Commerce (for online) 

6) Shipping to fans, venues, etc. 

7) Marketing; and 

8) Financial Planning/Budgeting. 

Sure, some of these factors might be out of our control, but rather than viewing them as stand-alone components aka “it’s not our focus”, “we don’t have time for that” or “the merch company is handling it”, we’d be better positioned if we took control by investing a little time into considering all of the pieces that go into the big merch puzzle, and how they work together as part of the whole picture. 

When we do that, things can become a little more cohesive. When things are cohesive, they are measurable. When they are measurable, they are able to be analyzed and improved. 

A merch strategy should consider the above factors and answer “What products and designs do we want to offer? Are they on brand? Are they items fans will want? How/where are we going to obtain them? What are we willing to pay for them and what prices can we sell them at to achieve targeted revenue? What is our target revenue and profit? Where will we sell these items? How will we use the merch to fuel relationships with fans? What platform/tools will we use to sell the merch and retain the data and information related to fans and sales? How will we use this data going forward?

By laying out a merch strategy this way, a few things will happen – 1) You will be able to determine if the merch you are planning to make is feasible. 2)You will be able to be thoughtful about products 3) You will be able to take time to consider whether or not fans are being served 4) There will be structure, organization, and a blueprint to follow which will remove some of the pain points involved in the merch process 5) There will be an accountability factor where you can and should check in and see what is working and what is not, re-evaluate and adjust accordingly. 

Merch is a journey not a destination, and needs to be evaluated in an ongoing manner to ensure the proper exploitation of this revenue stream. 

There may not be a one size fits all answer to the many challenges of merch, but putting strategy at the forefront can certainly help us get closer to clarity, organization, a game plan to follow, accountability, transparency, data insights, and ultimately increased revenue.

Merch is a fan connector and touches every part of an artist’s business either directly or indirectly. A merch strategy should be considered along with the other components of an artist’s business to create synergy so that all facets are working together to maximize the outcomes. Strategizing will help ensure that the main objectives of merch – revenue, marketing and fan engagement – don’t get buried in the process shuffle leading to lost time, money, and opportunity. 

Vanessa Ferrer is the founder of Merch Cat, a company that provides a user friendly live show merch management platform for artists and their teams, with a connected direct to fan app that enables fans to pick merch up at the show or ship to home. Merch Cat also provides merch strategy and sourcing services to help artists maximize the merch revenue stream.

Photo Credit: Hearby

We live in an era of music abundance, yet why is it so hard to find live music in the neighborhoods around us? Shouldn’t finding live music be intuitive, engaging or even effortless?

The following comes from Hearby, a fast-emerging player in concert discovery and DMN partner that just launched its UK-based offering.

Whether it’s your hometown or a place you’re visiting, finding distinctive local live music scenes is far too difficult. The internet was supposed to solve this, but it hasn’t. That’s because the internet is great for finding things when you know exactly what you’re looking for.

But how do you find something you didn’t know was out there?

As a cultural anthropologist at MIT who has spent three decades studying music scenes worldwide, mainly in Tokyo and Boston but also in Berlin and London, I’m interested in how up-and-coming artists and passionate fans act as social movements.

It’s very much a bottom-up view of how live music works.

Here’s one example: Tokyo-style listening bars are starting to crop up around the world, and for good reason. Just like movie lovers extol the virtues of the big screen, those of us who love music also understand the importance of social settings for listening. Music is best when shared with others.

When you ask people what they are looking for in music, they most often refer to genres — specifically, the ones they like and ones they don’t like. But if you dig deeper, you realize that what people desire is less a style of music than the distinctive vibe of a particular scene.

Is it seated or standing, food or not, early evening or an all-night affair?

Can people hear the music before they go? And people constantly want new things. Often, it’s these considerations that are more important than particular genres.

There’s nothing like discovering a new scene in your area you didn’t know about. And the only thing better is being the one to turn on your friends to that scene.

We started Hearby to develop a new suite of discovery tools to help people find local live music. After five years of development, we now work with some of the mainstays in ticketing and power live music discovery for digital publishers. We power the gig guide for Music Venues Trust, the legendary non-profit supporting grassroots music venues that provides the rootstock of UK artists.

To see our tools in action, check our United Kingdom test site Hearby.com for the most live music shows across the country, and start exploring how you can engage your customers in a deeper and more impactful way.

Ian Condry is a professor of cultural anthropology at MIT, author of Hip Hop Japan, a study of how hip hop took root in Japan and the Soul of Anime, a study of new media models, fan production and participation. Ian’s performs as Leftroman. He also runs the Spatial Sound Lab at MIT, and produces Dissolve, an experiment music conference dedicated to new ways of listening.

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.

Photo Credit: VBO Tickets

VBO Tickets has announced the launch of its Ticketing Point of Sale (POS) system with a browser-based approach—making it hardware independent. The new VBO Tickets POS system is designed to meet the unique needs of performing arts venues, museums, colleges, universities, music festivals, sports, and other live event organizations. Here’s a peek at how it works.

The following was created in partnership with VBO Tickets.

VBO Tickets has created its POS system to address critical pain points identified by clients with a need for live event ticketing. Findings from customer research reveal a demand for faster transaction processing, reduced hardware investment costs, seamless membership, and advanced inventory support. In response, VBO Tickets designed a new POS system to address each of these critical pain points identified in their research.

High Performance — The VBO Ticketing POS system integrates a modern, streamlined user interface backed by advanced cloud delivery and ensuring rapid transaction processing. Reducing wait times for customers leads to a better experience, while increasing operational efficiency.

Hardware Independent — The VBO POS system can run on nearly any mobile device or computer, which eliminates the need for specialized hardware. Most competing POS systems’ software requires a hardware buy-in, which is often not feasible for small venues. VBO’s ticketing POS supports most printers and chip-and-pin readers, which allows seamless integration with existing setups. Compatibility with current hardware means organizations can move forward with a new POS without buying costly hardware replacements.

Membership — The POS system is seamlessly embedded with the VBO Advanced Ticketing Platform, which means membership benefits are instantly transferred to POS purchases. Front line employees can quickly process members and give them discounts, while reducing customer lines and increasing customer satisfaction at entry.

Advanced Inventory Tracking — The POS system includes robust inventory management capabilities, providing real-time tracking and comprehensive reporting tools. Setting up VIP packages and tracking their performance has never been easier thanks to this feature. Now venues can offer multiple tiers of live ticketing without overselling or overbooking.

“We are excited to introduce our new Ticketing POS system, which we believe will set a new standard for the ticketing industry,” David Boehme, CEO of VBO Tickets told Digital Music News. “Our hardware-independent browser-based design offers clients unprecedented flexibility and cost savings, while also promoting sustainability by reducing technology waste.”

VBO Tickets has developed a powerful white label event ticketing software with integrated CRM and POS system. The VBO Tickets POS system is now available. Any venue or live event ticketing operator who is curious about a hardware agnostic approach to ticketing can find more information at the VBO Tickets website—or contact the VBO Tickets team at sales@vbotickets.com to schedule a demo.

“I am a music lover first,” says musical polymath Danny Holloway. “I don’t care where the tune is from.”

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

Born on the West Coast, Danny is a producer and music journalist whose life is guided by his passion for creativity and music. From a young age, he knew he wanted to be part of the music industry, even if his own bands never made it big. “I was most dedicated to having a career in music,” says Danny, who tried on multiple hats before finding the right path. “It didn’t necessarily have to be playing it; I just needed to be a part of it,” he continues. A former employee of Island Records, Danny is also a record collector and DJ with Los Angeles-based internet radio station dublab.

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today.

On today’s episode, host and L.A.-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Danny Holloway to discuss the producer’s long and winding road through the world of music. During their conversation, Danny shares stories about industry legends, his personal evolution, and the multiple turning points he’s encountered along the way. 

One such turning point occurred when Danny relocated to the UK for his career. There, he connected with Island Records head Chris Blackwell, who sent him to work with Bob Marley in Jamaica, an experience that allowed Danny to bring reggae to a larger, transatlantic audience.

“When you brought reggae to people for the first time that were unfamiliar with what it was, the beat was backwards to them,” he says. Danny also discusses writing for NME, a music journalism gig that kick-started his career, and why he eventually decided to return to the U.S. with his family.

Later in the episode, Dan and Danny chat about the changes that have upended the world over the last decades, including the fame, materialism, and the difference between today’s stars and the icons of the ‘60s and ‘70s.

Ultimately, Danny’s story exemplifies how passion and tenacity can lead to bigger and better things over time: “Don’t get too locked into one thing!” he says, taking his own advice to heart. Tune into today’s episode of The Conduit for a fascinating conversation on Danny Holloway’s incredible career in music. 

Photo Credit: OhTommy

From the heart of Central Wisconsin emerges ohtommy, a name rapidly becoming synonymous with the future of hip-hop.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Having embarked on his musical journey just over ten months ago, Ohtommy has already carved a unique niche for himself. With a sound that blends harmonies, melodic flows, and introspective lyrics, he is poised for an explosive career trajectory in 2025.

Humble Beginnings and a Swift Ascent

ohtommy’s passion for music has been a lifelong affair. Growing up in Central Wisconsin, he was always musically inclined. It wasn’t until the past year, however, that he decided to transform this passion into a professional pursuit. This decision culminated in the release of his debut album, “Broken Hearts and Open Bottles,” which spectacularly debuted at #2 on the iTunes Charts—a feat that marked the beginning of ohtommy’s rapid rise in the music industry.

Crafting a Distinct Sound

What makes ohtommy stand out in the crowded hip-hop landscape is his distinct blend of influences and innovative sound. Drawing inspiration from artists like The Kid Laroi, Juice WRLD, and Trevor Daniel, ohtommy has developed a style that’s both unique and relatable. His music features catchy, melodic flows and harmonies, setting him apart from his peers and creating an immediate connection with listeners.

2024: A Year of Milestones

The past year has been nothing short of extraordinary for ohtommy. Beyond the success of his debut album, he has collaborated with a roster of notable artists, including Blueface, YBN Nahmir, 03 Greedo, SSGKobe, TheHxliday, KillBunk, Bernard Jabs, Lil Blurry, Henry Hermes, North Ave Jax, and Christian Laneve. These collaborations have not only expanded his reach but have also solidified his reputation within the industry.

ohtommy’s track “Monopoly,” featuring Blueface and 03 Greedo, has garnered over one million streams across various platforms, further proving his growing popularity. His music has been featured in leading publications like Rap and The Source, and prominent YouTubers such as @Rickey have integrated his tracks into their content. Moreover, the viral dances choreographed by Lil Durag to ohtommy’s music have amplified his online presence.

Building a Fan Base and Anticipating Live Performances

Despite not having performed live or gone on tour yet, ohtommy’s connection with his fans is evident. The significant influx of listeners and the widespread engagement with his music highlight the strong bond he has formed with his audience. Plans for live performances and tours are on the horizon, promising to bring Ohtommy closer to his fans and solidify his presence on the stage.

The Road Ahead in 2025

Looking forward to 2025, ohtommy is set to take the hip-hop world by storm. With a vault brimming with unreleased tracks and upcoming collaborations with major artists, the anticipation is building. Industry insiders and fans alike are eagerly awaiting what promises to be a landmark year in ohtommy’s career. His commitment to his craft and his innovative approach suggest that he is on the brink of a major breakthrough.

Closing Thoughts

ohtommy’s journey from Central Wisconsin to the cusp of hip-hop stardom is a testament to his talent and dedication. In an industry often dominated by fleeting trends, Ohtommy’s authenticity and unique sound set him apart. As he prepares to unleash a wave of new music and performances in 2025, the world better be ready—because ohtommy is about to redefine the hip-hop scene.

Keep an eye out, as the story of ohtommy is only just beginning.

Here’s his new song with Henny Hermes ft SSGKobe, available on Spotify, Apple Music, and Instagram.

Photo Credit: Songbox

If you’re using a service like Dropbox, SoundCloud, Songspace or DISCO to share audio and music files, you might want to reconsider whether that’s the best idea.

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

There’s a better solution that gives you much more control over how you share your music, and that comes loaded with useful features designed by tech-focussed musicians.

Songbox is a new platform with state-of-the-art, secure music-sharing capabilities. Based in Glasgow, Scotland, Songbox is streets ahead of competitors in terms of what it can do for people who work with music files.

So, what makes Songbox superior to rivals like Dropbox and Songspace?

• Using Dropbox, you share the file itself, which means it’s out there and potentially shared with anyone. With Songbox, you send a private link via email or text message that only the recipient can play. They can’t download your file unless you want them to.
• Dropbox doesn’t include detailed listening analytics. With Songbox, you know who has listened, what tracks they’ve listened to, and for how long.
• You can’t share playlists with Dropbox. Every track you share via Dropbox must be opened in its window. Songbox gives you full control over how you share your tracks. One at a time or in a playlist – it’s your call.
• A Dropbox shared file does not include security, while Songbox includes multiple layers of built-in security. Nobody will hear it unless you want them to.
• Songbox allows you to attach lyrics to each track. You can also attach a PDF to your playlist, containing anything from a press kit to liner notes.

• Songbox’s writer submission workflow makes accepting tracks from writers a breeze—no more downloading WAV files from emails and manually uploading them.
• Songbox is ready to welcome new users looking for an alternative solution because their previous provider couldn’t meet their expectations—or they shut down and left customers hanging.

Songbox was designed and created by a musician who has also worked in tech and the media side of the music business. Founder Michael Coll knows what features are important to music creators and what end users want when reviewing audio files.

Along with co-founder Ciaran O’Toole, Michael listens to Songbox users and responds to their questions or suggestions. That means Songbox is always evolving, with its users at the heart of the decision-making process.

Michael and Ciaran welcomed multi-platinum recording Artist and Grammy Award Winner Bryan Adams onto the team as a co-founder, and his insights have helped to enhance Songbox further.

The team is also confident that Songbox outperforms competitors other than Dropbox. SoundCloud, for example, restricts the type of audio files you can share and limits the file quality even with a premium subscription. With Songbox, you choose the quality your listener hears, your track and your preferred file type. Consider what that means if you’re sharing early mixes, for example.

Songbox’s simple, self-explanatory platform means you won’t need much help. However, our pop-up help flags have proven to be a hit with users who say the Songbox user experience is much simpler than Soundcloud’s interface.

If you’re using DISCO and finding the cost high and the feature set low, Songbox is here to change that.

And Songbox is confident its key features make for a superior experience to Songspace’s.

Try it today at Songbox’s website at no cost with no credit card required.

Photo Credit: Jimmy Bolt

Jimmy Bolt is more than just a musician; he’s a phenomenon. With titles ranging from musician and model to CEO of Yellowland Records LLC and studio owner of Yellowland Records Studios, Jimmy embodies the multi-faceted dynamism of the modern artist.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Jimmy Bolt’s journey, marked by profound loss and stellar achievements, has forged a unique path in the music industry.

Growing up with a music background, Jimmy’s late father was a composer and band director, embedding music deeply into his DNA. However, his artistic journey began in fashion design. In 2016, Jimmy attended Parsons School of Design and, just a year later, became the youngest African-American designer to showcase his line, “Jimmy Burner,” at New York Fashion Week. Fashion remains a significant part of him, even as he shifted his focus entirely to music after the tragic loss of his father, sister, and best friend in the same week in 2017.

The drive to honor his angels turned Jimmy into a relentless force in the music industry. He channels his emotions into his music, creating a therapeutic outlet for his bottled-up feelings. Raised in an entrepreneurial environment, Jimmy has always been his own boss, a trait that has shaped his resilient approach to the cutthroat nature of the music business. Despite the industry’s challenges—snakes, sharks, and broken promises—Jimmy’s love for music and his dedication to his “Y,” the reason for his relentless pursuit, keep him going strong. His resilience is a source of inspiration for many.

What sets Jimmy Bolt apart is his layered story.

Unlike the typical rapper narrative, Jimmy’s upbringing in private schools and global travels from a young age provided a rich and diverse perspective. While he’s lived the lifestyle many artists aspire to, he’s also faced struggles. This blend of privilege and hardship gives him a unique voice in the music scene—one that’s both relatable and aspirational. His perspective is sure to intrigue and captivate his audience.

Jimmy’s career highlights are nothing short of impressive. His song “Mink Bars” was Grammy-considered in 2022, and he has collaborated with notable artists like Trippie Redd, Lil Keed, Maxo Kream, and SSG Splurge. His music videos have garnered millions of views on YouTube, and his presence in significant publications further cements his rising stardom.

Looking ahead, Jimmy envisions himself as the most prominent artist in the world—a music mogul and business tycoon. He dreams of platinum plaques and Grammy awards, seeking recognition for his hard work and dedication. His ambitions are grand, but his drive and talent make them achievable. His commitment to his craft is awe-inspiring and is sure to inspire his audience.

Jimmy’s “Yockstar” sound appeals to free-spirited individuals, transcending generations and resonating with young fans and older enthusiasts. The essence of the Yockstar lifestyle is what Jimmy sells—the aura, the vibe, and the freedom to do whatever he wants. His latest single, “Simon Says,” is just the beginning. With a new tape on the way featuring his artist “K3-K3V” entitled “Y33KERS,” Jimmy is ready to change the music scene.

Jimmy Bolt is a force to be reckoned with, and his journey attests to resilience, passion, and the unyielding pursuit of dreams. His story is just beginning, and the world is eagerly watching to see where this Yockstar will go next.

Check out his tracks on Spotify: “Stunting Like My Yaddy” and “Simon Says” for a taste of Jimmy Bolt’s electrifying music.

Photo Credit: SyKo

There’s something very cyberpunk about SyKo’s origins, though with more of a weird, western, small-town Texas vibe.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

You wouldn’t know it from his music. #BrooklynBloodPop! is an acid Trance slam, a slow-mo impact stretched over two and a half minutes. Though its rise to Gold, with almost 300 million Spotify streams, seems sudden, it took hard effort and long work for SyKo to get there.

“For a kid like me, the expectations for success were pretty low,” says SyKo of his rural origins in River Road, Texas. “I don’t think I possess any exceptional abilities compared to others; it’s really about how I utilize the tools I have at my disposal.”

And what tools did he start with in those high school years? It’s just a basic DAW install, like so many EDM teens. “It all started with making songs on Skullcandy earbuds with a lousy laptop behind a Walmart.”

You can imagine the concrete, the urban debris blowing in rural Texas dust, the flicker of street lights and passing cars, and a teenager jamming on a laptop. See? Very cyberpunk.

Going Gold and Meeting Heroes

“I’m very analytical,” says SyKo. “I strategize a lot. Looking for the next thing all the time. I feel like an underdog a lot. Musically, emotionally, physically. In every way, I feel like people overlook how deeply I think and feel.” He failed by accident, even if the viral success of #BrooklynBloodPop! makes it look that way.

He didn’t come out of nowhere, either. He had a following, and they helped him find his way. “As I gained a following,” he says, “I realized my fans trusted me to push boundaries and explore unconventional approaches. I experiment and play around with sounds until something clicks like a kid on a playground.”

And just like kids, play is work. He put in the time, all those frustrating years of trying to get his music to sound like he wanted to, of experimenting and finding his boundaries. He put in the emotion, too, finding his artistry and learning how to make it into something real. It took the encouragement of his following and the inspiration of EDM idols that went before him.

“My inspiration comes from the people I admire like Lil Uzi Vert and Skrillex to name a couple,” SyKo explains, “However, many of them, like XXXtentacion, Prince, Michael Jackson, and Chester Bennington have passed away, leaving a big void in not only music but also myself.”

He knew he’d hit it big when he met one of his heroes after #BrooklynBloodPop! took off. “Lil Uzi Vert hit me on IG about it. He was in the studio working on his last album, and he called me freaking out. That’s one of my heroes, so it was surreal.”

Creating a New Sound All His Own

“I feel like everyone is just copying what’s hot to stay in dollars,” says SyKo. “No shame and no fault, but I feel like music is losing its substance slowly because of that.” That’s one of the reasons he’s been pushing his boundaries and creating his unique sound. He also thinks it’s one of the reasons his recent track struck such a strong chord in the EDM community. “I feel that’s why fans and musicians alike are drawn to me and my attitude. It’s due to the fact that I just do this for the love.”

With young EDM creators like SyKo, predicting their next track and career is hard. He’s spent years creating this new sound, setting up for this moment, but he isn’t done becoming whatever he will be. Watch his continued transformation by following his socials and checking out his Spotify, and see what musical twist this real-world cyberpunk composes next.

On this episode of ‘The Conduit,’ host Dan Ubick sits down with Paul Broucek to discuss the producer’s role as president of music at Warner Bros. Pictures.

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

Crafting an engaging, emotive film score is a complex process that demands a harmonious blend of artistic flair, collaborative prowess, and an acute understanding of the film’s narrative. A great score transports listeners to the heart of the story, instilling the audience with awe, fear, elation, and despondence in the space of two hours.

The musicians behind these scores are responsible for compositions that imbue the story with an unforgettable essence, constructing themes that stimulate the imagination and evoke a range of emotions. Today’s guest, Paul Broucek, is an entertainment heavyweight who oversees Warner Bros. Pictures’ score production as their president of music. 

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today.

In today’s episode, host and L.A.-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Paul Broucek to discuss the producer’s fascinating career in film scoring. “I wanted to be the kind of producer who understood the tools and understood how [making music] is done,” says Paul, who, as a talented pianist and composer, has written music for a variety of projects over the years. 

As the president of music at Warner Bros. Pictures, a position he’s held since 2012, Paul supervises all aspects of music production for the studio’s films, working alongside filmmakers and composers to craft scores that leave an indelible mark on audiences: “My favorite space in the world is to be in a recording studio,” he says. Paul is also a frequent speaker and panelist at industry events, generously sharing his insight and expertise with aspiring musicians. 

In our conversation, Paul discusses the path that led him to his career, the various projects he’s completed, and the magic of scoring a soundtrack for a film.

We dive into the art of managing expectations, the process of making music for a movie, and why composing scores is an ego-driven business.

Paul also shares the musical inspirations with the greatest impact on his work and why it pays to be prepared: “[Luck] is preparing yourself for things that you are interested in so you can recognize when an opportunity comes along—then you can act on it.” Tune into today’s episode of the Conduit and discover what it takes to excel in the film scoring industry with invaluable insights from Paul Brocek.

Photo Credit: Fella Run It All

In the modern landscape of music, few artists manage to carve out a niche that not only defines their unique sound but also resonates with different audiences quite like Fella Run It All.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Fella Run It All is a dynamic and innovative musician who has transformed his life’s challenges into a compelling narrative of resilience and creativity. Born and raised in Milwaukee, Fella had a humble upbringing but grinded through it all. He later moved to Atlanta to focus on his career and become the rising star that he is today.

Fella Run It All grew up in an environment fraught with turmoil, instability, and adversity. From a young age, he found music to be his solace and escape, a passion that would eventually become his lifeline. His early years were marked by frequent run-ins with the law. However, instead of succumbing to the challenges he faced, Fella channeled his experiences into art, using music as a means to express his innermost thoughts and emotions.

The turning point in Fella Run It All’s life came in his late twenties, during a period of house arrest. He decided to release his debut mixtape, “Pain On Paper,” a raw and introspective work that laid bare his struggles and triumphs and the mixtape quickly garnered attention for its authentic portrayal of life’s harsh realities.

Now based in Atlanta, Fella Run It All has continued to build on his early success, furthering his skills with each new release. His music is a unique blend of hip-hop, R&B, and soul, characterized by introspective lyrics and infectious beats. Fella has the ability to seamlessly fuse different genres, and his lyrics often delve into themes of resilience, self-discovery, and the pursuit of dreams, offering listeners a profound and relatable experience.

One of Fella’s most notable qualities is his unwavering commitment to authenticity. The music industry is often criticized for its superficiality, but Fella doesn’t want to fall into that category, staying true to himself and his vision. Whether he is interacting with fans on social media or performing live, Fella’s unique character shines through.

As anticipation builds for Fella Run It All’s upcoming projects, look out for something unique. He is dedicated to setting his own path, breaking new ground, and expanding his skills with each release. His journey from Milwaukee to Atlanta, marked by perseverance and an unyielding passion for music, serves as an inspiration. Fella Run It All is poised to leave his own stamp on the music industry, continuing to produce hits that allude to his powerful storytelling and innovative sound.

Listen to Fella Run It All’s music on Spotify.

Starting a record label? Here’s how you can future-proof your operation early on.

The following comes from Lynn Lowe, President of Label and Publishing Administration at Music Services, a division of SESAC Music Group and partner of DMN. Music Services provides comprehensive licensing and administration services for independent record labels and music publishers.

Creating music is what artists love the most.  We get it and we love the songs as much as you do.  But, from the start of that first cut, artists need to put as much focus on protecting the    intellectual property, and properly planning for future success, even if that feels like a far-off dream right now. The temptation to act for today needs to be balanced by educated thinking for tomorrow. 

It’s thrilling to start a label as an artist, songwriter, or music lover, and it’s easier than ever. There are so many tools, technologies, and services to help manage every aspect of your business, from distribution to royalty collection. But as someone who’s spent two decades helping label owners clean up the mess after a well-intentioned start, I’m here to tell you: be slow to sign a deal until you get your house in order and build your systems as if success is already yours. Your future self will thank you for it.  Here’s five lessons learned from my career as a record label and music publishing administrator that will get you on the right track:

Think big before you sign.

It’s easy to be intrigued by free and easy-to-sign-up-for services when you’re just starting out, but instead, you should future-proof your agreements by adopting the mindset that you’re going to make it big, and that what you sign today will impact the years to come. 

A songwriter for one of the publishers we administer learned a song he co-wrote scored a valuable sync–but to his dismay, he realized that five years before, he had signed over his publishing to his manager. This meant that even after the songwriter had resecured these rights, the manager kept the songwriter share of that sync. The songwriter signed without thinking what a big opportunity might mean.

Good intentions don’t make you a good partner.  Systems do. 

A lot of cleanup is required in our world because people start with good intentions but have no idea who, what, or how they’re supposed to pay out royalties once they’ve collected them. And for a small operation, that cash flow can get confused with other expenses, leaving the label owner with lots of obligations—but no cash on hand. For example, you need to account for what you’ll owe producers and publishers for the tracks you’re collecting on, ideally setting aside 15-20% of your collections to pay these rights holders. Sadly, we’ve seen independent artists and labels, who had every intention of paying their collaborators, find themselves years behind on these payments, leading to debt and years of anxiety.

Before you’ve earned a penny from your releases, set up your systems to set aside a percentage of sales to pay artists, producers, publishers, and the songwriters the publishers represent. Also, make sure you have written agreements in place.  Even the best of friends with good intentions should have all the details ironed out before the first dollar is earned.  

Codes matter.

Make sure your Performance Rights Organizations songwriter and publisher IPI numbers are correct when collaborating and registering songs. Create a central point of truth to make sure you always get them right everywhere. Be meticulous with your data, and if you can’t, find someone who will for you.  

A song is a piece of art, but when you upload a song for distribution, the data has to be correct from the outset. You have to know the ISRC code is correct to link the master recording to the artist, and the IPI numbers are correct to link them to the correct songwriter and publisher.

This is not a minor detail. I have seen songwriters give out the wrong identifier and lose out on years of their royalties.  Managers and labels should support songwriters in ensuring this is handled correctly, as it will make a difference in the long run. These mistakes can take months to correct and cause a lot of heartache in the process.

Collect everything.  It all counts.

There are lots of ways for labels and artists to earn royalties, such as SoundExchange and other micro-sync avenues. It’s easy to look at a tiny revenue stream now and say it doesn’t matter. What if that turns into a steady stream? If you’re keeping track of things early on when it’s easy to manage, you won’t be caught off guard or miss out on a crucial revenue stream when it grows into something significant.

For example, I have repeatedly helped artists find tens of thousands of unclaimed royalties via SoundExchange. You need to sign up, of course, but you also need to maintain your account, making sure it includes all your works, and is connected to the correct bank account. Clients have had significant funds sent to dormant accounts, only to realize months later that they had sizable payouts waiting in some long-forgotten bank.

Cultivate a future-proof mindset.

Success is never guaranteed in the music business, but just imagine if you are successful. Will the deal that feels great right now make sense if you’ve scored a hit? What if that hit isn’t fully licensed? 

Adopt the mindset that the agreements you’re signing today will influence your money-making power years or decades from now. Because they really will. Don’t give your work away without really thinking through the alternatives, even if you aren’t sure what its commercial potential is.

And before you unleash a track on the world, make sure you have correct permissions for any sample or derivative work. Asking for forgiveness can lead to difficult decisions and to loss of significant revenue. Do the right thing, which in the case of clearances can take several months. That way, if things go well, you’ll be able to benefit fully from your and your artists’ hard work.

Starting a label can be an exciting endeavor and for many artists or creatives, and financially for many independent artists, it’s a beneficial thing to do. However, if you get the setup wrong or partner up with the wrong people (either nefarious or misinformed), you and the artists you bring on board can get in a world of hurt quickly and miss out on lots of money.

Administration is not the shiny side of the music industry, but it’s the engine. If you don’t want to dig into the data and the details of the business side of music, make sure you have a trustworthy partner that can navigate all the various deals and contracts on your behalf, and ensure you are creating sustainable systems to collect everything you’ve earned.  

Photo Credit: MusicRevolution.com

Producing and creating music for any project can leave artists with lots of unused material. Sometimes musicians repurpose that material elsewhere. But MusicRevolution.com can turn those tracks into a recurring revenue stream for artists—occasionally with surprising results.

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

UK-based music composer Matthew Harvey submitted music for a crime/thriller TV show in pre-production. The show’s producers accepted most of the pieces Harvey created—but not all of them. “That’s typical,” explains Harvey. “So I sent the extra tracks to MusicRevolution.com. One of them has performed really well and has generated nice income. I guess letting the market decide is part of the journey.”

Royalty-free music libraries can be a hard space to work in as not all libraries are accepting new artists or submissions. MusicRevolution.com is always open to new artists and music, which keeps the catalog fresh for buyers in need of royalty-free music for their projects. “Staying open to artistry by musicians like Matthew Harvey is what separates us from other online music libraries,” notes Co-Founder Mike Bielenberg. “For our customers and partners, this means that we always have fresh, new content. We have one of the largest royalty-free music libraries available anywhere—thanks to the rapid growth of our business.”

MusicRevolution.com features almost 100,000 high-quality tracks composed by nearly 1,000 aspiring and professional musicians. “We are a leading music provider for Adobe Stock audio,” Co-Founder Chris Cardell told Digital Music News. “Music Revolution makes it easy for platforms like Adobe to provide music to their customers. We aggregate and curate tracks in every genre, vet those tracks to ensure all rights are secured and in order, then efficiently deliver that music online.”

The royalty-free music library covers every genre and style of music including: On Hold, Fun, New Age, Rock, Pop, RnB, Comedy, Corporate, Drama, Energetic, Orchestral/Classical, Christmas/Holiday, Acoustic, Hip Hop, EDM, Retail, Sentimental, Easy Listening, Advertising, Electronica, Country, Jazz, Piano, and Vocals.

Co-Founders Mike Bielenberg and Chris Cardell met as executives at Juptermedia—then a publicly-traded digital media company. Cardell served as President, while Bielenberg managed the company’s music division. “I was overseeing a range of digital content offerings, “Cardell elaborates. “But the inroads Mike was making with digital music aggregation really stood out to me. So in 2009 we took a leap and created MusicRevolution.com.”

Bielenberg has composed music for Delta Airlines, Coca-Cola, IBM, and more. He says, “I cut my teeth in recording studios and on software development teams. Chris cut his teeth with consulting firms and in boardrooms. Our backgrounds are different, but our skills are very complementary.”

That complementary skill set helped the founders recognize the need and growing demand for ‘non-PRO’ music. Non-PRO music means the track was created by an artist who does not belong to a performing rights organization (PRO); or perhaps does belong to a PRO but has decided not to register the track with the PRO.

“This is one of the most important shifts we’ve seen in the production music business,” Bielenberg told Digital Music News. “Non-PRO musicians don’t want to sign exclusively with an organization only to sit around and wait for that once-in-a-lifetime sync. They want to work with an entity that will reply to their emails, publish their content in a vibrant marketplace, and generate royalties for them. We are that entity.”

“For digital service providers (DSPs) and other online platforms, non-PRO music eliminates the time consuming red tape often associated with PRO music,” Bielenberg explains.

The MusicRevolution.com catalog, which includes an extensive selection of ‘non-PRO’ royalty-free music, is available for third-party distribution and bulk licensing for DSPs, platforms, and other resellers. It is also available as background music or in-store music for retail, restaurants, hotels, fitness clubs, and other commercial applications. The company recently launched an Amazon Alexa skill which can be used to play music in retail businesses at a fraction of the cost of other well-known commercial background music services.

Bielenberg says the company is also exploring ways in which artificial intelligence can help improve the metadata and search experience for its customers.

“Content creation and social media platforms have an increasing need for digital music to accompany all types of content for their users,” adds Cardell. “We are uniquely equipped to be that partner to provide a high-quality, cost effective music solution. And we’re always ready for that conversation.”

Play MPE’s MTR dashboard (Photo Credit: Play MPE)

Given the endless industry coverage of all things streaming and UGC — thanks, DMN — you’d be forgiven for forgetting that broadcast radio remains a powerful platform.

But despite the meteoric surge of streaming platforms and social media, good ol’ radio remains a critical component of music marketing plans — with the power to blow up artists lucky enough to get airtime.

As will.i.am noted during Digital Music News’ recent Pro event, radio is “one of the most important conduits for the world of music” and serves as “America’s stage,” especially for artists in their breakout phase. Beyond that, the format offers a unique connection to communities that streaming services can’t replicate, particularly for stations that complement music with morning shows, celebrity DJs, and local concerts and events.

With that in mind, Vancouver-based music tech company Play MPE is launching MTR, a comprehensive radio tracking tool, in the US. Initially beta-trialed in Canada, MTR now monitors over 5,000 radio stations across North America. For Play MPE, the launch marks a significant expansion designed to complement a suite of tools serving artists and music industry professionals. Just recently, Play MPE partnered with DMN to broaden awareness of the launch.

Play MPE execs exclusively shared a number of components powering MTR with Digital Music News. 

Beyond the 5,000+ station spread, Play MPE emphasized a user-friendly interface, detailed analytics and reporting, and overall affordability. Let’s break down some of these components.

At its core, MTR provides real-time data on when and where songs are getting airplay. That’s the simple, core functionality. Complementing that is an interface stuffed with data, including a top-level song performance overview detailing spins by radio stations, cities, and dayparts. Artists and labels can also easily compare tracking periods by day, week, or month.

On the reporting side, data reports can be sliced by several metrics, including timeframes and geographic regions. Importantly, artists and labels can pinpoint exactly where a song is gaining traction and monitor broader reactions in real-time. This ability to track plays and engagement as they happen can be invaluable for optimizing promotional strategies and release rollouts.

This isn’t the first radio-monitoring platform to hit America, though Play MPE stressed that MTR offers accessible pricing plans that cater to a wide range of artists and labels. Pricing is affordable for most budgets (see current pricing tiers here), and Play MPE is planning to seriously undercut competitive platforms and dramatically expand accessibility as a result.  The company also noted that new stations are constantly being added, which will also impact the pricing tiers and options ahead.

Play MPE is a global promotional and tastemaker with capabilities that go far beyond radio monitoring.

The company operates in over 100 countries and oversees a massive promotional network worldwide. In that context, the company aims to integrate MTR as part of a critical promotional package for major record labels, promoters, and artists, with radio programmers and professional curators across six continents on the receiving end of this platform.

Distilling down the company’s expanded business model, Play MPE now revolves around three primary offerings:

• Caster: For music promotion distribution.
• Player: For music discovery.
• MTR: For radio tracking.

According to the company, thousands of independent artists, promoters, and record labels use Caster to distribute releases to radio, media outlets, music supervisors, and curators. Releases sent through Caster appear in Player, a secure music library employed by radio programmers for its comprehensive collection of broadcast-ready music files and essential metadata.

Play MPE told DMN that their platform is what professionals use when they grow out of using platforms like Dropbox or SoundCloud. The company’s major label-level asset vetting, delivery pipeline, and metadata management ensure that even indie artists can compete on the same level as top-tier acts. Basically, this is what professional programmers and radio stations use instead of links or random emails.

In that light, the combination of MTR and Caster provides a full spectrum of data and insights, from initial promotional engagement to real-time radio play monitoring. According to Play MPE, this enables artists and labels to target interested tastemakers effectively and adjust their strategies based on concrete data.

“At Play MPE, we are committed to empowering artists and industry professionals with the tools they need to succeed,” said Rocio Fernandez, Director of Product Development at Play MPE. “With MTR, we’re breaking down barriers and increasing access to crucial airplay data, enabling our clients to make informed decisions and maximize their impact in the market.”

In terms of clientele, Play MPE is going wide and pushing a serious democratization of the music industry.

The company said its platform is designed to be accessible to everyone, from major labels to independent artists and everything in between. You can feel that energy when speaking with this team. The democratization of professional-grade promotional and tracking tools is a big part of Play MPE’s mission to open as many music industry doors as possible.

En Vogue (Photo: HITKOR)

HITKOR is all about the fan experience — with an important twist. The company delivers high-end live-streaming capabilities from a well-appointed studio to artists, labels, and a global customer base. At its core, the platform revolves around a professional sound stage and a range of recording services and monetization options, all of which are now available to the music industry. “This is for you to reach your fans in a meaningful manner and present yourself in a groundbreaking way,” HITKOR says.

Russ Miller, CEO of HITKOR, clarifies that they’re not in the business of being a publishing or content marketing company — and aren’t trying to be. “HITKOR’s business model is about a premium live-streaming entertainment experience,” Miller shared, relaying that HITKOR even allows fans to switch through different cameras and audio streams.

Alongside a global reach, the company introduces unique revenue pathways for artists, an elevated experience for their fans, and assets such as ‘a world-class Live crew specializing in music performances and high-definition isolated audio recording.’ Just recently, HITKOR joined forces with DMN to broaden awareness of their model.

Most significantly, artists retain their audio IP and the ability to collaborate with HITKOR to produce a unique and exclusive event. According to Miller, the expanded live experience is about a ‘boutique, high-level global offering that other players aren’t bringing.’ With its premium infrastructure, Miller believes HITKOR can provide these elevated offerings to every artist while maintaining a very green footprint — by dramatically reducing the resources consumed by conventional global touring.

Miller says HITKOR’s hybrid entertainment — for fans and artists — is the way of the future, adding, “HITKOR does not aim to replace live entertainment. Its purpose is to augment.”

Miller offers a perspective you won’t find from a typical tech CEO. He’s a working musician and session drummer who has toured for many years with the likes of Andrea Bocelli and the Psychedelic Furs. Part working musician and part business owner, Miller knows the many nuts and bolts required to create a powerful live performance.

Accordingly, HITKOR’s inspiration stemmed from his passion for equipping artists with the tools they need to present fans with a quality stream of their performances.

HITKOR set for Stephen Glickman (Photo: HITKOR)

With that goal in mind, HITKOR allows fans to switch cameras in real time, enabling them to stream just like ISO cams and hear the performance in immersive audio.

The platform also provides artists and creators accessibility to fans in far-off, expensive-to-tour territories.

“There are a ton of young rock bands with followings in certain places like Australia and Asia — but they need hundreds of thousands of dollars in travel and production to reach those fans. The math of touring and putting hefty resources into reaching that audience doesn’t work,” Miller explains, adding that these territories with bubbling fan bases are a significant opportunity for artists, but unlike ‘top tier artists whose touring companies can afford it or get corporate sponsorships’ to reach them, indie players do not enjoy the same luxuries.

So how does an artist reach hard-to-access fans and offer them the experience they deserve — without the incredible amount of resources that touring demands?

Artists can pursue the traditional model of producing a show — renting a venue and getting a whole crew to capture and edit the piece. Or, artists can let HITKOR curate a premium experience for their fans — from start to finish.

According to Miller, HITKOR is an all-in-one solution for artists who need access to lucrative and expansive label resources. “We can work with artists who play theater-sized events, performing arts centers, etc. There’s a lot of opportunity on both sides — if the industry understands what we do.”

It’s an accessibility thing, explains Miller — another way to cultivate an audience and attain a wider reach. “We have a very indie approach to what we’re doing, but we’re doing it at a premium level.”

HITKOR’s facility in Simi Valley holds a ‘world-class’ sound stage and recording studio ‘with the latest and greatest Pro Tools HDX systems — where artists can do overdubs, remix, and do anything they want.’

For HITKOR’s one-of-a-kind offering, artists ‘don’t pay anything.’ Miller explains, “We pay. We’re not asking you for money or full licensing. It’s your music.”

Artists also gain a full guarantee as though they’re doing a live show. But unlike a traditional venue, artists receive a 50/50 revenue split.

In return, HITKOR — without getting into the weeds of the agreements — receives a sync license to the audio and video recording that covers a one-year monetization deal on the HITKOR platform. After the contract expires, the artist can renegotiate terms to extend the monetization. Throughout it all, HITKOR owns the rights to the video, which the company can only use in collaboration with the artist. And the artist or label always retains ownership of the audio.

“It’s an artist-centric deal,” says Miller, explaining that with a HITKOR tie-up, artists will own ‘a world-class multi-track recording of their gig, which they can re-release.’

As for record labels, Miller emphasizes that it’s an ‘excellent opportunity for an artist with a record coming out to do an online global record release party.’

In that scenario, the label would cover the artist’s cost, HITKOR would cover the production cost, and ‘everybody wins.’

Mitch Rossell (Photo: HITKOR)

Unfortunately, live performance fans are all-too-familiar with the shortage of good, highly accessible, well-organized live concert footage. For HITKOR, it all comes down to an optimized fan experience, and they’re betting on their high-end hybrid offer to deliver that at scale.

“It’s a challenging time for artists to figure out how they’re going to present themselves, in which way, and how they can make a living doing it — especially if they’re not huge artists,” Miller says.

As the economy introduces many novel challenges to the live concert industry, some artists have witnessed record success, while many middle-tier artists and performers have fallen by the wayside. Without a mammoth label or touring company resources behind them or enormous audience guarantees, these artists cannot afford to tour and reach their fan base — let alone cultivate a new one.

And these economic challenges also crush viewers. With astronomical ticket pricing and other ancillary costs such as gas and parking, even the most devoted fans can now only commit to a fraction of the shows they may be interested in attending.

HITKOR believes there’s now a significant gap to bridge and an opportunity to provide fans access to unique content — that doesn’t cost them an arm and a leg.

In the face of rampant inflation and rapidly depleting spending power, HITKOR’s ‘hybrid solution’ is built to cater to evolving audiences. The company believes fans will soon become highly frugal — prioritizing live performances and festivals that they cannot bear to miss, and switching to watching other shows at home.

By design, HITKOR wants to cast a pretty wide net and is working to build a little bit of everything for viewers, with VOD a big part of the company’s model.

“Audiences can watch a live show on HITKOR for a year after purchasing a ticket, with all the options to view it again in HITKOR’s unique ways. We’re adding VR 360 cams to the mix — where the fans join the artist on a virtual stage,” says Miller, adding, “All of the features exist in Encore VOD, even merchandising sales. Selling merch at shows the artist has already performed also presents a new source of revenue.”

Currently, HITKOR is selling everything a la carte and pay-per-view.

With a HITKOR tie-up, artists can cash in on several other potential upsides, including HITKOR’s lesser-known merch manufacturing company, Bold Hits, LLC in Chatsworth, CA. The in-house facility allows artists to create, produce, and sell exclusive merchandise in perpetuity — another cash flow option that comes with HITKOR’s boutique live stream model.

“To fully optimize the monetary benefits, artists need to help promote the HITKOR stream as though it’s a live show, which requires them to maximize their fanbase to sell tickets.”

Miller emphasizes that HITKOR’s offering is not a one-off opportunity for artists to grab and go. With global live streaming and a pay-per-view scenario for tickets and merch, HITKOR sells access  to the ‘event.’ At their end, artists can leverage their reach to ensure they don’t just have a show — ‘they have a floor-to-ceiling event experience for optimal commerce, the best artistic presentation, and a world-class show for all of their fans.’

Marco Giovanni

Singer-songwriter, Marco Giovanni, is an artist whose music extends well beyond the barriers of mere notes and lyrics. With a sound that personifies inspiration and upliftment, he has built a steady fanbase of loyal listeners who appreciate his authentic style and emotional messages.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Born with an innate passion for music and a drive to make a difference, Giovanni’s journey is a tale of authenticity that radiates from his imagination and bleeds into every song he creates.

Through his music, he invites listeners into his world — one where emotions flow formlessly and freely, and every melody is a methodically crafted narrative of each chapter in his life story. The emotional roller coaster of messages that Giovanni channels into his music, bit by bit, provides insight into this musical phenomenon.

Giovanni’s music is a fusion of genres that rolls through your speakers or headphones like a unique wave.

It serves as a vehicle to share his passion and creativity in ways that set him apart. His sound is raw evidence of his diverse influences, creating a style that is familiar yet refreshing. With each song, he finds a way to connect with his audience, sharing his experiences and emotions in a way that resonates.

While Giovanni is still emerging on the scene, he has already achieved some incredible milestones in his career despite his young age. One of his proudest moments was singing the national anthem at a Mets game, which is digital evidence of his vocal prowess and powerful stage presence. Giovanni also had the honor of working alongside renowned singer-songwriter Poo Bear, a collaboration that further solidified his position in the music world.

But like many artists, the singer has had to face his own set of challenges, the biggest of which is his own self-criticism. As a staunch perfectionist, Giovanni consistently strives to give his best in music and life. While this can be tiring, it is the drive and determination that fuels his success and pushes him to greater heights, inspiring others to pursue their passions with the same enthusiasm.

For Giovanni, music is far more than just a source of entertainment; it is essential therapy for the soul. One of the most unique aspects of his music is through its creation, the artist effectively provides a safe space for his fans — a place where they can find genuine solace, understanding, and hope.

Through his emotional lyrics, Giovanni aims to continue crafting a profound connection with his audience, permitting them to see themselves reflected in his music and find comfort in knowing they are not alone in their struggles.

As the young artist looks to the future, he sees himself and his brand moving beyond the expected boundaries of music and deep into a lifestyle. Giovanni also plans to expand his brand into the wide world of fashion and style, offering his fans a complete Marco Giovanni experience like none other. With his sights set on the future, the artist is sure to leave a lasting impact on each industry he touches.

For Michael “Fish” Herring, a veteran guitarist with 25 years of touring experience, playing with industry luminaries like Dru Hill, Christina Aguilera, Stevie Wonder, Justin Timberlake, and Prince is just a fraction of his diverse and illustrious career.

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

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today. In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Michael “Fish” Herring to discuss the musician’s philosophy on creativity, collaboration, and learning. “I try to listen and learn [from] people first,” he says. “That makes it easier to thrive in a situation, whatever the situation is.”

Michael grew up listening to a wide variety of music, including progressive rock, jazz, classical, and musical titans like Grover Washington Jr., who hails from Michael’s hometown of Philadelphia.

While he still tours with Christina Aguilera and other illustrious artists, Michael spends most of his time producing, recording, and developing new talent.

He also composes and arranges music for TV and film from his studio and home in Burbank, California. “Every time I meet a new person, a new musician, somebody creative, I’m [inspired],” he says of his career. “I think everybody has got to keep that mindset and help each other out and inspire each other.”

In today’s episode, Michael reflects on the influence his family and schooling had on him while growing up and shares some hilarious and inspiring anecdotes from his journey through the music industry.

From starting the band Psychedelic Mushroom at just nine years old to catching a joint thrown by Rick James as an adult, Michael has seen it all: “I have a fond memory of [Rick James] lighting a joint in the control room and the joint catching on fire and him tossing it to me while it was on fire,” he muses. “Rick can do whatever he wants!”

Tuning in, you’ll find out about Fish’s “listen and learn” approach (“listen to every note that every player is playing because that affects you”) and how he continues to push himself creatively by allowing recording artists to guide him. “The future of music is always uncertain,” he quips. “It’s constantly changing with technology. It’s constantly changing as an art form. It’s constantly changing as a job. Who knows where the next gig is going to come from, [but there are] always gigs.”

For world-class professional advice from musician, songwriter, guitarist, composer, producer, author, inventor, screenwriter, and all-around music industry veteran Michael “Fish” Herring, tune into today’s episode of The Conduit.

Royalty advance platform RoyFi has announced a spate of new partnerships with distributors and artist service providers to help artists, songwriters, and independent labels find the funding they need.

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

RoyFi now offers its royalty advance services through distributors including Distro Nation, KMG, and CodeSwitch Agency. These partners join a growing list of companies, including Memphis’s Beatroot Distribution, unchained Music and Earthprogram. CEO Peter Harvey notes that “once people realize we offer a better deal, things start to move fast.”

The royalty advance company was founded in 2021 to help artists invest in their careers without putting their catalog at risk. RoyFi also provides services to distributors, publishing administrators, and societies to extend their ability to pay advances. Their advance model is unique in the space because it is not affiliated with any catalog acquisition companies—aligning its incentives with the advancee’s. 

“We chose to work with RoyFi because we were looking for a partner who values artists as much as Distro Nation does with deals that are fair and transparent.” —Jon Baltz, CEO of Distro Nation

“On the artist or songwriter side, we are the only player in the space that quotes a flat repayment amount that will never increase, and reduces that fee for early recoupment,” Peter Harvey told Digital Music News. “We also have a buyback option for artists who want to pay us back early, that unlike others in the industry, doesn’t have a pre-payment penalty. This also applies to indie labels and publishers. Our mission is to provide a service that won’t get anyone in over their heads, and help them keep control over their catalogs.”

RoyFi says on the distribution side, it is in a unique position to provide advances that distributors normally wouldn’t give out. The financial structure of these advances allows RoyFi to pay the distributor to provide the advances, unlocking the concept of “advances as a service”. RoyFi has already done one-offs with some of the most respected distributors in the industry, so its next goal is to operate at scale. Harvey notes that RoyFi’s structure helps distributors provide the marketing drivers that generate more revenue – without much risk attached. This setup also works with DSPs and collection societies.

A Quick Peek at RoyFi’s Newly Minted Partnerships

Atlanta-based CodeSwitch Agency is one of the fastest-growing independent distributors with integrated marketing services for artists, backed by strategic advisors that include industry veterans Cortez Bryant and Al Branch and Max Gousse. Codeswitch’s partnership with RoyFi will allow artists to access the resources they need to take their careers to the next level. 

Jesse Brown, Co-Founder of CodeSwitch Agency, asserted, “As we embark on this transformative journey, it’s important to note that we’re not just launching a company; we’re igniting a revolutionary spark in the heart of the industry. With our partners at RoyFi, we’re not merely offering a financial tool; we’re crafting a future where creative freedom and financial empowerment converge, empowering artists and brands to narrate their unique stories on a global stage.”

J Pride, Co-Founder of CodeSwitch Agency, exclaimed, “The success of this partnership is directly tied to our ability to level the playing field for independent artists through leveraging back catalog while simultaneously executing label-level marketing, DSP support, and PR efforts for every artist we come across.”

Distro Nation was recently spun-off from Live Nation and boasts a roster of over 150 artists. It has become RoyFi’s latest distribution partner and will offer advances to its artists and labels through RoyFi.

KMG Distribution, the invite-only distributor that provides competitive rates and industry-leading services, has teamed up with RoyFi to offer advances to its artists and labels. “RoyFi is providing us with the financial means to get bigger deals done with artists while still offering them equitable terms required in the independent distribution space,” KMG Distribution Manager Ross Robey told Digital Music News. “We’re very enthusiastic about the creative approach to deal-making that Peter and his team bring to the table.”

RoyFi CEO Peter Harvey says he is aware of the technical challenges that face the music industry, so the company offers a lightweight tech option. “With data integration like we have with Beatroot Distribution, we can get an advance offer down to four clicks, but we can also work on a straight referral basis—which can be implemented within hours,” Harvey told DMN. 

“One of the biggest misconceptions people have about RoyFi is that we’re a catalog acquisition company. We are the opposite—our goal is for artists to be able to hang onto their rights, at least until a favorable deal comes along.” Harvey says RoyFi is aimed squarely at the musical middle class.

“The other hurdle we often face is that people haven’t seen this kind of deal in the music industry, and that makes them wary or even suspicious. We call it the ‘too good to be true’ factor, and it’s understandable in an industry with a history of predatory deals and creative accounting. In reality, all we are doing is extending banking terms similar to what any normal business could get—but to artists and songwriters. We’re very transparent about that.”

Harvey says RoyFi can do advances as small as $250 all the way up to almost $1 million. The amount of the advance is based on past and projected earnings. He laughs, “But honestly, if you are eligible for more than $1 million [in royalty advances] you should probably work directly with a bank—and we’re happy to make that introduction for you.”

The RoyFi Footprint Is Going Global, Too

“We’ve been quiet because we want to devote our resources to making advances rather than spending a lot on marketing, which we’d then have to pass along to the customer. World of mouth is currently our best marketing. We much prefer to operate behind the scenes with music service companies. Even so, we’re underwriting about $1 million a month in advances,” Harvey says. 

He also notes that while RoyFi has so far been focused on opportunity inside the United States, the company has a truly global footprint. “30% of our clients and their organizations are located internationally and we are built to work in other markets,” he continues. “Europe, Canada, and the UK are our primary international targets right now—with some interesting discussions happening.”

Songbox is changing how musicians handle and protect their music, and now the Scottish start-up is ready to disrupt the industry further.

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

A new platform changing how musicians handle and protect their music is making a huge splash with its state-of-the-art, secure audio-sharing capabilities. Based in Glasgow, Scotland, and co-founded by Multi-Platinum Recording Artist & Grammy Award Winner Bryan Adams, Songbox launched without external funding and already has thousands of global users.

The company is looking to partner with other businesses and collaborate on developing exciting new features. Songbox allows musicians and other audio content creators to store and securely share their music with anyone they choose, whether co-creators, collaborators, industry figures, or media outlets—the possibilities are endless.

The platform lets the content creator know that the audio has been received and whether it has been listened to, even confirming which tracks have been played and for how long. And it’s all done with built-in privacy and security.

The team behind Songbox is proud of its relationship with its users. They regularly incorporate their feedback in developing new features and have built the platform on this spirit of collaboration.

Songbox founder Michael Coll says: “From the moment we launched Songbox, we’ve quickly adapted the platform as needed and improved its capabilities. We’re in a place now where we know we can offer users many features that other platforms cannot. The insights of our users have been invaluable to us, and we love to hear from them.”

The idea for Songbox came from songwriter and musician Michael’s experiences when trying to get attention for his work. He also saw this from the other side of the fence when he later worked as a web developer at a major music industry player.

He adds: “Like many other bands, we’d send out demos and never even know whether they had been received, let alone listened to. In my job, I’d see people’s hard work in the form of hundreds of demos arrive every week, only to pile up in a corner without ever being opened. We called it ‘the corner where dreams went to die.’ I knew there had to be a better way.” His idea led to the creation of Songbox.

It’s designed for anyone who works with audio files, with various pricing options, including a free package for those who want to try without commitment.

Michael and co-founder Ciaran O’Toole want to grow Songbox and collaborate with other businesses. “We’re full of ideas, and we’d love to hear from other businesses about how we can further develop Songbox features,” adds Michael.

More information can be found at the Songbox official website.

Photo Credit: Mayk.it

Too Lost and mayk.it are teaming up to enable the distribution and monetization of their unique short video music catalog—encompassing social media one-hit wonder sounds to empower the next generation of songwriters.

The following was created in collaboration with Too Lost, a company DMN is proud to be partnered with.

Music-Fan centric mayk.it was founded by TikTok and Snap alumni in 2020 and has rapidly grown to turn millions of music fans into creators—oft-described as the ‘Giphy for Music.’ The platform empowers music fans to socialize and create original user-generated content (UGC) songs, utilizing human-made beats and AI voice tools. The mayk.it was also one of the first to offer distribution from an app with just a button click. The app features remixes, contests, and trend prompts, helping to foster a vibrant fan-centric community and a new music ecosystem.

Too Lost’s partnership sees its cutting-edge distribution technology integrated into the mayk.it app. Now creators who utilize the mayk.it platform can seamlessly upload their musical creations to various social platforms and services—from Instagram, Facebook, Soundcloud, YouTube, TikTok, and more—directly from the mayk.it app. Co-creators will receive fractional royalties every time their songs are played or used through these UGC platforms.

Since the inception of the partnership, Too Lost has already distributed thousands of socially-vetted and curated UGC songs to social platforms which play millions of times in perfect sync with UGC videos, marking a significant milestone in this new strategic partnership.

Too Lost generates individual accounts in order to facilitate payments to mayk.it creators. Those creators can then withdraw their earnings directly, across sales reporting and daily streaming analytics. Royalties are split evenly between beat producers & vocalists.

“We are excited to work with Stefan, Akiva, and the mayk.it team,” says Gregory Hirschhorn, Co-Founder & CEO of Too Lost. “They have identified a buzzing scene of emerging creatives within the social media space. Too Lost’s technology will empower mayk.it and its thriving community of music fans with monetization and distribution services.”

“Being in business with a company that supports the most talked about sector of communication today has once again proven that Too Lost is committed to offering some of the most advanced music technology to the most exciting partners,” shares Aldo Davalos, GM & Head of Business Development at Too Lost.

“Music creation has continued to only become more accessible over the years. The mayk.it app makes music creation fun for creatives at the earliest stages. We are excited to empower the mayk.it community with best-in-class distribution services to help them monetize their creations.”

“In the age of AI and synthetic AI song generators, we are excited to empower human music fans not only to turn to creating UGC-songs for self-expression and participating in cultural trends, but also to play and benefit from their creativity given the value DIY ditties & sounds add to the cultural zeitgeist of short video platforms,” adds Stefán Heinrich Henriquez, CEO of mayk.it.

Photo Credit: Stephanie Babirak

Adding an electrifying indie-rock flair to her repertoire of harp melodies, artist Stephanie Babirak displays her musical prowess by releasing the captivating single “Hey Cain.”

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

The single opens up a new chapter for the renowned New York City-based harpist. Infusing the track with resonant emotions, Babirak departs from her classical roots to boldly venture into the indie-rock genre. Staying true to her seasoned artistry, “Hey Cain” includes compelling storytelling, melodies, and a memorable listening experience.

Placing a magnifying glass on themes of grief and betrayal, “Hey Cain” gathers biblical inspiration from the story of Old Testament brothers Cain and Abel and its classic tale of betrayal. Haunting instrumentals combine with thoughtful lyrics to craft a distinct take on unkindness, impatience, and acceptance. A symphony of diverse sounds, each verse and chorus guides listeners through the valleys of despair before rising above tumultuous times to finally move toward healing.

Stephanie Babirak weaves a dream-like sound into “Hey Cain,” a folk-rock composition that echoes the style of acclaimed artists like Phoebe Bridgers. What sets this track apart is Babirak’s signature harp, which adds an ethereal quality to the song.

From the first note, listeners are transported into the song’s rich and poignant world. It’s a testament to Babirak’s unique musicality. Collaborators Peter Scoma and Cody Geil shine with their energetic and unique mix, further enhancing the track’s appeal.

“Hey Cain” especially captures attention with its rousing chorus and airy harmonies. Keeping listeners on their toes throughout the song, Babirak then slows down the pace in the mesmerizing verses as she draws listers in with a hypnotic sense of soul before the anthemic chorus bursts back into play.

Intimately expressing the universal experience of loss, longing, and the intricacies of love, “Hey Cain” offers up vulnerable lyrics like  “your love don’t look like mine” and “finding it hard to believe, are you happy without me.”

The raw honesty resonates with listeners eager for a cathartic song that shows it understands the complexities of relationships.

“Hey Cain” is a radiant addition to the many achievements and creative contributions Babirak has made throughout her music career. Her journey as a harpist has taken her worldwide, including performing at the Lincoln Center and on international stages. Collaborating with some of the biggest names in the music industry, Babirak is recognized as a true talent with much more success and reach in store. Babirak is stepping further into her calling with “Hey Cain” as she proves a willingness to push the boundaries of her artistry and explore new lanes of music.

Understanding the importance of evolving as an artist, Stephanie Babirak continues strengthening her gifts as a musician and vocalist, with “Hey Cain” being a bright step in the right direction.

The track’s heartfelt lyrics, harmonious vocals, powerful themes of grief and healing, and immersive whirl of instruments make “Hey Cain” a single to remember. Babirak’s versatility, authenticity, and distinct musicality come out in “Hey Cain,” allowing everyone to be inspired to heal from betrayals through the song’s impactful message. The song is available on all major streaming platforms.

Photo Credit: Mae Graf

Across the world, we fall in love with various styles of music because music, unlike other mediums, drives a vibratory spear of emotion through our hearts that we can almost physically embrace. Within the language of pop music, artists like Mae Graf understand this intrinsic power, lacing their melodies with tales of personal growth and resilience.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

With her latest single, “I Like Me Better This Way,” Graf opens up a dialogue about human relationships’ intricate complexities and never-ending ups and downs, especially in the face of betrayal and rejection.

An exceptionally soulful reflection on the torture of betrayal, “I Like Me Better This Way,” almost doesn’t belong being written by a pop artist, as its heartfelt narrative speaks to anyone who has nursed the wounds of being let down by those they trusted. Graf’s poignant lyrics and expressive vocals craft an overall atmosphere of raw emotion, pulling listeners in like a vortex and allowing them to fully empathize with her journey. This relatability makes Graf’s music so powerful, as it speaks to our own experiences of heartbreak and resilience.

The new single, born out of Graf’s own experiences, directly addresses the aftermath of losing a close friend and the overwhelming confusion that immediately shadows one’s every move afterward. Her lyrics agonizingly express the feelings of not understanding what went wrong yet still finding the strength to embrace oneself despite saturation in heartache and pain.

Throughout her career thus far, Graf’s music has undergone a musical evolution as “I Like Me Better This Way” shows a much different side of Graf’s musical artistry than her debut single “Barbie.” While her first single was a wonderfully upbeat and catchy pop anthem, “I Like Me Better This Way” strips away all the added production, allowing Graf’s vocal arrangement to take center stage. This dramatic shift in style showcases Graf’s incredible versatility as an artist and inspires us to embrace change and explore new musical territories.

Since erupting onto the scene, Graf has been elevating through the ranks of a rising star. Her journey has served as the destination where writing became her vessel for releasing her deepest emotions. From journaling to songwriting, her music reflects her vulnerability, soul, and most intimate experiences.

Inspired by some of the most legendary icons like Gracie Abrams and Taylor Swift, Graf’s impossible-to-ignore raspy vocals and dynamic storytelling prowess evoke notable shades of Avril Lavigne and Phoebe Bridgers, enveloping her emotional sound in a nice blanket of nostalgia. Her enigmatic indie-pop sound, stamped by passionate melodies and introspective lyrics, genuinely places her in a realm of her own as she draws from personal experiences and a wide array of influences.

As Graf’s music continues to evolve in myriad ways, she stands as a true artist relentlessly dedicated to every facet of her craft. Through her inspiring and innovative sound, Graf aspires to leave a long-lasting impact on pop music and the music industry as a whole. Her latest single, “I Like Me Better This Way,” shows her musical ability and undeniable talent for connecting with her listeners profoundly and emotionally. This aspiration to make a lasting impact is a beacon of hope for the future of music.

“I Like Me Better This Way” is fresh air and irrefutable evidence of music’s power to heal and inspire. Graf invites listeners to embrace their deepest vulnerabilities and find strength in their most challenging struggles.

Listen to Graf’s newest single on Spotify.

Joel T. Jordan, the founder of Synchtank and co-founder of earthprogram has been chosen as a finalist for the ‘Leading Light Award’ at the Music Biz’s Bizzy Awards program.

The following was developed in collaboration with earthprogram, a company DMN is proud to be partnering with.

Speaking to Digital Music News about the nomination that highlights ‘executives working to make the music industry a better place to work,’ Jordan said, “This is an incredible honor to be nominated — let alone be a finalist with these other leaders in the industry who are focusing on real-life solutions to support artists, students, and executives alike.”

For this award specifically, Joel has donated his time and technology directly to University students to help them develop their knowledge of IP management and licensing processes. He is also committed to guiding them through the nuances of the various technologies they must master to succeed in the music business.

The Bizzy Awards is an industry-focused rework of Music Biz’s past awards. It celebrates companies and executives making great strides in advancing commerce within the entertainment sector.

The Leading Light award is presented to executives who demonstrate support for their employees through internal programs focused on enhancing mental health and wellness and maintaining a work-life balance. Jordan is among the top four contenders advancing to the final round of voting.

David Herlihy, Dean of Music at Northeastern University, nominated Joel for the Music Biz Leading Light Award because of his commitment to ‘making sure that creatives get paid, combined with his enthusiastic mentorship of the next generation of music industry professionals.’

Herlihy further applauded Synchtank, calling it a ‘best-of-its-breed digital asset and rights management system,’ adding, “Joel has graciously provided free access to Synchtank for Good Dog Licensing — Northeastern University’s student-run music sync service. Throughout this process, Joel has also selflessly given his time to guide students through integrating Synchtank into the Good Dog Service.”

Originally born out of the earthprogram office, Synchtank is a B2B provider of software tools for music rights holders and rights users (such as platforms, broadcasters, and production companies). The company aims to simplify complex rights, data, and licensing challenges for media companies.

earthprogram’s guiding mantra is to ‘give honest advice to everyone.’ The company provides private distribution, marketing, strategy, business development, and music publishing services to artists, labels, startups, and investors.

The dynamic force driving the alternative pop-rock movement, Totten Bridge, has fascinated fans with the much-awaited release of “Seasons Change”—which became available on May 10th, 2024. Totten Bridge transports listeners to new heights of human emotion and demonstrates the transformative power of change.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

“Seasons Change” is a profound meditation on the cyclical nature of life and the resiliency of the human spirit. It was crafted from the depths of personal experience and inspired by the topic of evolution. According to Totten Bridge, the song is an intimate examination of grief, loss, and the steadfast hope that comes from a fresh start.

“In the wake of my mother’s passing in March, I found myself grappling with profound grief and an overwhelming sense of loss. During this tumultuous time, ‘ Seasons Change’ came to fruition, offering solace and a glimmer of hope in the face of adversity,” shares Totten Bridge.

“Seasons Change” is a powerful reminder that even in the darkest periods, there is always the possibility of renewal and rebirth. It does this by drawing comparisons between the blackness of night and the promise of light. Through its eerie melody and reflective lyrics, the song asks listeners to accept change as inevitable and take comfort in the beauty of the present moment.

“I wanted ‘Seasons Change’ to be more than just a song; I wanted it to be a catalyst for change. It’s a call to action, urging listeners to confront their fears, embrace the unknown, and embark on a journey of self-discovery and transformation,” adds Totten Bridge.

With each beat, the contagious energy and intense rhythm of “Seasons Change” reinforce the song’s theme of resiliency and rejuvenation. The track aims to make a lasting impression on listeners worldwide with its soul-stirring melodies and anthemic choruses, encouraging them to accept change and live life to the fullest.

As a major turning point in Totten Bridge’s career, “Seasons Change” displays the singer’s development sonically and lyrically. The song, which invites listeners to go on a profoundly intimate and transformative trip, embodies human emotion in its most raw form with its thought-provoking lyrics. “Seasons Change” is a tribute to Totten Bridge’s unwavering commitment to stretching the boundaries of artistic expression and engaging with audiences through its seamless blend of alternative pop-rock components and thought-provoking storytelling.

About Totten Bridge

Totten Bridge is the creation of producer and composer James Palace, who is based in New York City and was inspired by the turmoil of the 2020 Covid lockdowns. Combining aspects of American and British musical traditions with elements of alternative pop-rock, Totten Bridge is a daring and creative approach to music-making that resists easy classification.

For its unique sound and thought-provoking lyrics, Totten Bridge has received considerable praise, amassing over 2.7 million streams and 100,000 monthly listeners on Spotify alone. Totten Bridge seeks to provide a window into the human condition via the universal language of music, connecting with listeners on a deeper level with its unique blend of genres and moving stories.

“Seasons Change” is a monument to music’s everlasting ability to comfort, uplift, and inspire, as Totten Bridge keeps pushing the envelope of musical expression.

A revolution of sorts is happening in the sheet music industry.  Just like recorded music, anyone with access to a computer can become a publisher, creating and distributing sheet music with relative ease.  Many artists wish they could publish sheet music of their songs, and this article will walk you through the steps to make it happen!

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

Why Sell Sheet Music?

Sheet music is a valuable revenue stream for your song. It may not be big money (single-song sheet music typically sells for around $5.00), but at least we’re talking about dollars rather than the fractions of cents generated by streaming.

In addition to being a valuable merch item, sheet music opens the door to many creative promotional opportunities. Icelandic Jazz/Pop artist Lofey “leaked” her new album in sheet music form, which led to 24,000 fan pre-saves. Legendary rock band Metallica hosted a marching band competition, encouraging groups around the country to arrange and perform their music. Singer-songwriter Cody Fry has used creative score videos of sheet music to rack up millions of views.

Most importantly, sheet music is a powerful way to connect with your fans, giving them the tools to recreate and experience your music on their own terms.

Step One: Notate Your Song

The obvious first step is to write your music down. Depending on the genre, you may also need to arrange it to make it suitable for your target audience. This is most effectively done in notation software like Finale, Sibelius, or Dorico, which are all professional-level applications (comparable to DAWs like ProTools, Logic, or Cubase). Once you are finished, export the music as a PDF file, which you can distribute online or print hard copies.

If you’re not comfortable with music notation (or don’t want to invest the time in learning), you can outsource this step of the process to a professional copyist, engraver, or transcriber who will make your music look top-notch! Think of them as another member of your support staff, like a producer, mixer, or audio engineer.

Step Two: Make a Cover Image

Just as albums typically come with artwork, sheet music needs a cover page to help it stand out. This image will also serve as your product thumbnail in online stores. The easiest way to make one is by using Canva, which has an extensive collection of templates and stock images you can use.

It also makes it easy to resize an image (for use in social media) or export your cover page in formats like PDF, JPEG, or PNG files.

Step Three: Write a Product Description

You’ll also want to write a short description (usually two or three sentences) explaining the basics of the song, who it’s written for, etc. This will help potential customers, but it’s also what search engines will use to display your music in results.

Step Four: Provide an Audio Demo

Nowadays, no one will buy sheet music without hearing it first. Most publishers demo their music using an MP3 recording or a YouTube video. If a live recording or performance video is not available, a quality MIDI mockup is acceptable.

Step Five: Distribution

In addition to your artist website or merch table, you can use several third-party retailers to get your music in front of more people.

The first is ArrangeMe.com, which Hal Leonard owns. Think of it like DistroKid for sheet music. You upload the music, set the price, provide the images and description, and within 24-48 hours, your music is available for sale on sheetmusicplus.com and sheetmusicdirect.com. Composers earn a 50% royalty on all sales and retain their copyrights. In addition, it is a non-exclusive agreement, meaning you can also sell your music on other sites without restriction.

ArrangeMe also has a database of more than four million songs for which it can provide copyright clearance, allowing you to legally sell arrangements or covers of popular songs. However, there are more restrictions for these arrangements, and arrangers only earn a 10% royalty on each copy sold.

Another option is MyScore, a program run by JW Pepper that allows you to sell original music on the JW Pepper website. It does not allow for sales of copyrighted arrangements; however, it offers customers the ability to order printed copies of music delivered through the mail—a big plus for school ensembles that frequently order from Pepper.

Musicnotes.com is another digital publisher that works with many independent musicians (especially on YouTube) to clear copyrights and distribute sheet music of their cover songs. Artists can work with one of their editors or upload music through the Musicnotes Marketplace website.

Step Six: Marketing

Like recorded music, getting your songs online is the easy part. Next comes the hard work of getting your sheet music in front of the right people. In many ways, this is more difficult than promoting your music on streamers because your target audience is smaller—either trained musicians or students of a particular instrument.

For ideas on successfully marketing your sheet music, follow the Selling Sheet Music podcast!

On this episode of ‘The Conduit,’ host Dan Ubick sits down with Ric’key Pageot to discuss the musician’s upbringing in Montreal among a family of musicians.

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

Location and geography hugely impact a child’s development, from the friends they make to the schools they attend. While it’s not always recognized as such, Montreal is a uniquely vibrant city with exceptionally high rates of integration that differentiate it from cosmopolitan areas like New York or Los Angeles, both diverse cities that contend with significant levels of segregation.

Today, accomplished L.A.-based musician Ric’key Pageot joins us to discuss his unusual upbringing in Montreal among a family of talented musicians. “Montreal is so integrated; you’re surrounded by every culture,” Ric’key says. “Montreal is really underrated for that.”

Welcome to The Conduit, a podcast featuring candid conversations with professional musicians who give listeners the unvarnished truth about being an artist in the music business today.

In today’s episode, host and LA-based DJ, producer, and musician Dan Ubick (aka Constantine “Connie” Price) sits down with Ric’key Pageot to discuss the musician’s journey from “classical nerd” to pop-star-supporting touring artist. “Anything outside of classical, I really wouldn’t [listen to],” says Ric’key of his years at McGill University in Montreal. “I don’t think I really listened to anything other than hip-hop, R&B, and stuff like that. It’s only when I grew older [that] I started appreciating other types of music.”

Today, Ric’key is a Steinway Artist, a title granted to only the very best pianists. In the past, he’s played piano and accordion on tour for the likes of Diana Ross, Madonna, and Cher.

During today’s episode, Ric’key shares details about his upbringing in Montreal, how it exposed him to a multitude of ideas and cultures, and why he chose to attend McGill University: “It was a great school. I loved it. And it’s kind of sad today. I don’t even think they have the same program anymore. They lost government funding. And it’s really unfortunate that music is not a priority anymore. The arts are not a priority anymore in schools.” Ric’key also describes what it was like growing up in a family full of talented musicians—and the concerts they held—before reflecting on his life as a performer.

“I’m all about tradition and moving tradition forward,” says Ric’key, describing Parlor Social, the band he formed with his wife, Dessy Di Lauro. “That’s how Parlor Social came about. It was about paying homage to the Harlem Renaissance culture and moving it forward.” Ric’key’s life as a musician has led him down incredible paths; in today’s show, he reflects on his journey, the many lessons learned, and the amazing people he’s met along the way.  

Soundtrack Loops’ diverse portfolio of assets provides the foundation to enhance AI’s capabilities — with a focus on creativity with ethical AI.

On the forefront of recent discussions surrounding fair training practices for AI companies, Soundtrack Loops — with its diverse portfolio of assets — aims to ‘kickstart a shift into more widespread ethical AI training practices.’ Moreover, the company’s founders believe their catalog ‘presents an enormous opportunity for AI generation of incidental music.’

As music IP owners continue to clash with AI behemoths over what constitutes fair use, Soundtrack Loops’ latest expansion — specifically with its OneStop Audio Library for AI training — aims to remove copyright conflict from the picture entirely. The company believes that in the face of rampant litigation and raging copyright wars, its latest release is simply the right path for both developers and rights holders.

According to cofounders Matthew Yost and Jason Donnelly (aka DJ Puzzle), Soundtrack Loops’ expansion will generate new creative possibilities for AI. Yost explains, “AI imitates and mimics, and is incapable of evolving new genres and synths. That’s where the Soundtrack Loops OneStop Audio Library steps in.”

“For AI developers, seeking ways to source content ethically brings a lot more benefits to the table than plundering through endless amounts of copyrighted materials,” says Yost. Just recently, Soundtrack Loops partnered with DMN to expand its ethical AI footprint.

Speaking about the benefits of tapping into Soundtrack Loops’ AI library, Donnelly believes that a focus on ethics as a standard for AI model development and training will ensure AI output doesn’t cause copyright disputes.

“The thousands and thousands of samples and loops in Soundtrack Loops packs are unique because they are created by us, or purchased by us from others as a work for hire. This is very common practice. We hire producers to create original works, then we buy them outright,” Donnelly explains.

This transparency of training material is what the A2IM, RIAA, and related music organizations are pushing for: a system that mandates remuneration to the sources of AI training material.

Donnelly further clarified that Soundtrack Loops offers different tiers for broader licensing options beyond AI, but a ‘core focus is now on ethical AI licensing.’

Yost believes ethical licensing considerations while training sophisticated AI models ‘will lend credibility to the AI industry.’ Rather than risk litigation and shutdowns, AI developers might be better off using these platforms.

Only time will tell how copyright conflicts in the courtroom will ultimately shake out, but Yost thinks there’s a monumental benefit in store for AI companies that lead the way by adopting ethical AI training practices. “These developers could potentially score a larger chunk of the market.”

“Using protected and controlled compositions for training could have an exponentially positive impact on AI companies’ brand and image — and serve as a unique competitive advantage,” he says, adding, “It also allows developers to be on track to comply when the new regulations and bodies of law emerge — ones that enforce transparency of data and remuneration of artists.”

And Donnelly says the company ‘has the assets to pull this off.’ The holistically controlled catalog contains over 80,000 assets accumulated over 20 years, with a multitude of loops and samples, presets, and MIDI files — spanning almost every genre and category of music.

“We practically have almost all genres available and a network of producers to help fill in the gaps if needed. ” says Donnelly.

He further elaborates that licensers can analyze loops on the catalog, access raw samples, or utilize all the individual isolated notes and nuances of instruments for AI training.

AI developers can tap into Soundtrack Loops’ licensing zones for a myriad of use cases — but Yost and Donnelly believe it could be an especially powerful asset for music directors that require bulk generation of ‘incidental’ production music.

“Incidental music is one of the places where AI has a very serious chance of having a huge impact within the next two to five years, because these producers have to churn out tons of music,” explains Donnelly. “The job requires a giant pool of music, which is exactly what Soundtrack Loops offers — a comprehensive library of loops in all genres.”

Donnelly points out that an AI tool backed by Soundtrack Loops for incidental music could fill a gap in the market, be a big time saver for huge productions, and represents an ‘enormous opportunity.’

Then there’s the theoretical downstream catalog of AI-generated works that can result from this initiative, all of which is legal. Donnelly believes that the ‘right AI program’ capable of mixing, matching, and constructing unique music from these different elements, ‘could create a huge library of incidental music.’

“AI companies have to take a step back and evaluate the current ethics of their practices, and make better decisions for training. They should willingly be offering clean, ethical AI.”

Photo Credit: Hudson Royal Management (Ian Rowe)

Media entrepreneur Ian Rowe has launched a boutique management company, Hudson Royal Management. Rowe is building on his experiences as a recording artist and then an artist manager, channeling his unique insights to capture talent from the global artist landscape.

The following comes from Hudson Royal Management, a company DMN is in collaboration with.

Hudson Royal Management focuses on creative development and brand partnerships, tapping into Rowe’s deep understanding of the industry’s global market. With a focus on the publishing side of the industry, Hudson Royal endeavors to ink clients who have written for other artists or are looking to build their own credits.

The outfit has already signed London-based dark-pop artist K RHEN, whose upbeat production and crafty lyricism are sure to make waves. The agency aims to find collaboration opportunities in sync, publishing, and social media—with a specific focus on producers and songwriters. Hudson Royal will help them build their fan bases across the worldwide market.

Ian’s career is defined by his astute understanding of the new media landscape and the impact digital platforms have had on society’s listening habits. From his A&R and management experience to his Sync Supervision role for the film Egghead and Twinkie, Rowe has consistently demonstrated his ability to create catchy yet thought-provoking soundscapes. His work with The Recording Academy and MGM/Amazon Studios honed his ability to intertwine the narratives of film, television, and music to build unique storylines for artists.

“At Hudson Royal Management, we’re not just building careers; we’re crafting narratives that resonate deeply with audiences worldwide,” Rowe told Digital Music News. “Our approach goes beyond conventional talent management—we’re dedicated to nurturing the producers and songwriters of the industry, fostering their unique talents, and bridging the gap between diverse musical landscapes and the global audience.”

Ian Rowe emphasizes that Hudson Royal’s mission is creating collaborative opportunities that showcase our artists’ talents and empower them to leave a lasting impact on the music industry and its listeners.

Photo: Al Nesbitt

A fresh talent is transforming the landscape of instrumental acoustic guitar music: Al Nesbitt. Recently featured in Guitar World, a highly respected magazine among guitar enthusiasts, Nesbitt’s innovative techniques and unique sound have garnered significant attention in the music world.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

This recognition marks a major milestone in his career, positioning him as a significant figure in contemporary instrumental music.

Fusing Cinematic Vibes with Guitar Melodies

His music offers a captivating blend of cinematic intensity and guitar mastery. His compositions create an immersive experience akin to a vivid film narrative. Drawing inspiration from legends like John McLaughlin and Vicente Amigo and film composers Nicholas Hooper and Hans Zimmer, Nesbitt merges genres to create a sound that defies musical boundaries. His distinctive style invites listeners into an emotional journey, striking a deep connection with each note.

“A Million Shiny Things” by Al Nesbitt: A Collaborative Journey

“A Million Shiny Things,” Al Nesbitt’s latest album, marks a significant point in his career. It reflects his growth as a musician and showcases his collaborative talent, blending heartfelt guitar playing with orchestral grandeur. Produced alongside ‘Big’ Chris Flores at The Rehab Studio, the album features contributions from diverse musicians, including Wayne Tapia on guitar, Jeff Eason on bass, drummer Bill Ray, the iconic Tony Franklin, and violinist Michael A. Levine. Together, they weave a lush sound that pushes the boundaries of acoustic guitar music.

Masterful Techniques and Creative Innovation

Al Nesbitt is celebrated for his quick and intricate playing, showcasing rapid note sequences, complex chords, and innovative scales. His techniques aren’t mere showmanship; they add depth to the narratives and emotions conveyed through his music. Each composition resembles a miniature symphony, guiding listeners through a journey of emotions reflecting orchestral movements’ dynamism.

Musical Roots and Creative Evolution

Al Nesbitt’s musical journey began in his youth, shaped by diverse styles and traditions. This early exposure provided a wide range of sounds that now infuse his compositions. His transformation from a young enthusiast to a skilled guitarist demonstrates his dedication and drive to excel in music. Today, Nesbitt is an innovative artist, always exploring new ways to push musical boundaries.

Impact Beyond Performance

His influence extends beyond his own compositions and performances. He views the guitar not just as a tool for entertainment but as a medium for storytelling and emotional expression. Nesbitt aims to connect with his audience on a deeper level, creating pieces that resonate deeply. His music serves as a bridge for sharing intricate emotions, offering a shared experience of thought and feeling.

Exploring New Musical Horizons

Al Nesbitt constantly explores new musical dimensions, experimenting with different elements to keep his sound fresh and exciting. His willingness to take risks and innovate ensures his music remains captivating for a wide audience. This exploratory approach enriches his music, maintaining his position at the forefront of acoustic guitar.

Community Engagement and Educational Outreach

Outside of his musical career, Al Nesbitt is dedicated to supporting the community through educational programs and workshops. He often leads guitar workshops and masterclasses, sharing his knowledge and experience with aspiring musicians. These efforts nurture new talent and foster a deeper appreciation of music and guitar playing in the community.

The Philosophy Behind Nesbitt’s Music

Central to Al Nesbitt’s philosophy is the idea that music is a universal language that can connect people from all walks of life. He believes in the power of music to evoke emotions and foster a sense of unity. His compositions aim to transcend cultural and linguistic barriers, offering listeners a journey that resonates with them personally. His music is both an expression of his experiences and an invitation for others to find meaning in the melodies and rhythms he creates.

Future Ventures and Enduring Legacy

Looking ahead, Al Nesbitt remains focused on discovering new musical territories and expanding his creative vision. With each project, he refines his style and explores the limits of acoustic guitar. As the music industry evolves, Al Nesbitt’s commitment to innovation and artistry will continue to inspire future musicians. His career shines as a beacon of creativity, motivating musicians and music lovers alike. His artistry sets new standards, inspiring others to follow in his footsteps. Fans eagerly anticipate his next projects.

Al Nesbitt’s Performance Style and Impact on Fans

Nesbitt’s live performances are known for their emotional intensity and technical brilliance. Audiences are drawn into his world through his masterful guitar playing, which carries a sense of storytelling that captivates listeners. The way he moves from delicate, soulful melodies to intense, rapid-fire passages demonstrates his versatility and skill. Fans often describe his concerts as transformative experiences, with each song taking them on a unique journey through soundscapes that stir the imagination.

The Evolution of Nesbitt’s Style

Over the years, Al Nesbitt’s style has evolved, reflecting his growing influences and personal growth as an artist. Early in his career, his playing was morestraightforward, focusing on the fundamentals of acoustic guitar. His compositions became increasingly complex as he matured, incorporating various influences and techniques. Today, his music reflects a blend of classical, jazz, and world music, all interwoven with his unique sense of melody and rhythm.

Experience Al Nesbitt’s Musical Journey

Fans are encouraged to explore his work and truly appreciate Al Nesbitt’s talent. He regularly shares updates on his creative process and upcoming projects on social media and his official website.

Follow him on Instagram for behind-the-scenes content, or join his Facebook community for live streams and interactive sessions. For a deep dive into his discography and exclusive content, visit Al Nesbitt’s official website.

About Al Nesbitt

Al Nesbitt is a remarkable talent in instrumental acoustic guitar, pushing the instrument beyond traditional boundaries to deliver a palette of rich sounds and emotions. With unwavering passion and a commitment to artistic excellence, he is redefining the possibilities of acoustic guitar. His unique approach and dedication have positioned him as a leader in advancing acoustic guitar performance, inspiring peers and emerging musicians alike.

His influence on the industry is undeniable, and his music has touched global audiences, leaving a profound impact. Al continues to create innovative projects, showcasing his exceptional instrument mastery and contributing significantly to the world of guitar music. His commitment to innovation makes him indispensable in the music world, with his influence growing as his legacy unfolds. The future is bright for Al Nesbitt as he embraces limitless possibilities in music.

Introducing revamped Social & Streaming Stats.

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

We at Chartmetric are excited to present the latest enhancements to our Social & Streaming Stats, accessible on every Artist Page. In the last few months, we have worked to tailor the platform further for music industry professionals and have updated our interface to deliver a sharper, more discerning look at an artist’s data.

Our new powerful and customizable tool makes it easier to view top level stats for your artist at a glance, while also giving you the ability to drill down and learn exactly why and when your artist is seeing movement in their stats!

Streamlined & Focused Insights

We have redesigned the view to provide you with all of the metrics you care about at a glance. Our refined approach grants you a clear, immediate understanding of your artist’s performance and influence.

However, at any point you are a few clicks away from unparalleled accuracy and depth, where we have made it effortless to navigate through various time frames and stats to help you analyze both macro and micro trends. More importantly, it is now easier than ever to identify the impact of individual campaigns and events on your artist’s career.

Feature Overview

From the way we display daily changes with our new bar chart feature to the refined full-screen options for in-depth analysis, we have redesigned these charts to make them as practical as possible.

Granularity Control

Depending on the length of time frame you’re examining, our charts will automatically adjust the granularity or you can manually select your desired level of detail.

Use the granularity drop down to chose the frequency of the data shown. Source: Chartmetric

Line and Bar Chart Clarity

We’re now displaying cumulative data via line charts and period-specific data such as daily/weekly/monthly changes via bar charts! This differentiation will allow for instant clarity and easier visual trend recognition.

Line charts are used for cumulative values, like Spotify streams over time. Source: Chartmetric

Bar charts are used for non-cumulative measures, like daily YouTube video views. Source: Chartmetric

Consolidated Table View and Export to CSV

A new table format offers a comprehensive snapshot of all metrics over time in one convenient location. Better yet, you can now hit “Download as CSV” to quickly download all of the data at once!

A table view of multiple metrics for an artist, measured each day and downloadable as a CSV. Source: Chartmetric

Full-Screen Deep Dives

Enhanced full-screen options allow for a focused music data analysis tools of metrics without distractions. This view allows you to view incredible detail over extended time ranges for any stat.

A full screen view of an artist’s Spotify monthly listeners. Source: Chartmetric

Average Value Indicators

With averages for metrics clearly displayed for both cumulative and daily measures, you can quickly gauge performance against norms.

A bar chart for daily Wikipedia views with a dashed line showing the average value is 6.39k. Source: Chartmetric

Reorganized Metrics

We have reorganized the section to put the most relevant stats for you and your artist at the top of the pages. You can also customize and re-order these to whatever suits your needs best!

Customizable options for which metrics are shows on the Social & Streaming Stats tab. Source: Chartmetric

Main Benefits

Switching Between Big Picture Views and Deeper Dives

The platform’s automatic adjustment of data granularity ensures that you’re always viewing the most relevant information for any given time frame without the need for manual data sifting. This smart feature streamlines your workflow, allowing for quick insights at daily, weekly, and monthly levels.

Customization

All of the above features give you the ability to delve into the precise level of detail you require, enabling customization from your end. We provide a starting point but allow you to control all of the elements of your analysis, ensuring that the data you see is exactly what you need for informed decision-making.

These enhancements to Chartmetric’s Social & Streaming Stats are more than just aesthetic improvements: they represent our commitment to providing industry professionals with the most efficient and accurate tools for music data analysis. By fine-tuning the functionality to match the pace of the music industry, we empower you to quickly harness the insights you need to make strategic decisions.

We invite you to explore these updates and see for yourself how they can streamline your work!

Have any ideas or feedback? Reach out to our product management team at productmanagement@chartmetric.com, we would love to hear any thoughts you have about this feature or what you think could make it even better. Let’s continue to shape the future of music analytics together!

Breaking Boundaries, Inspiring Minds: The Phenomenon of 22HERTZ

From the bustling metropolis of Toronto, where the heartbeat of music echoes through the streets, emerges a band that’s not just making waves but rewriting the very rules of industrial rock. Led by the visionary Ralf Muller, 22HERTZ has become a beacon of innovation and creativity, pushing boundaries and redefining what it means to be a rock musician in the modern age.

Digital Music News is proud to partner with outside agencies to create opportunities for artists to be visible to the music industry.

Ralf Muller’s story is one of evolution and exploration. Having cut his teeth in the heavy metal realm with ‘Point Blank,’ Muller’s transition to industrial rock marked a pivotal moment in his artistic journey. In 2013, he took the plunge and founded 22HERTZ, unleashing their debut album, Detonate, upon the world. The reception was electrifying, with fans and critics alike lauding their unique blend of robust rhythms and infectious melodies.

But for Muller and his bandmates, Detonate was just the beginning. Their latest offering, Adrenochrome, represents a quantum leap forward in their sonic evolution. Here, Muller’s mastery shines through as he deftly weaves together diverse musical influences, creating a tapestry of sound that is both mesmerizing and boundary-pushing.

It’s more than just an album — it’s a statement of intent, a declaration that 22HERTZ is not content to rest on their laurels but is committed to pushing the envelope and exploring new sonic territories.

What sets Adrenochrome apart is not just its musicality but its conceptual depth. Each track is a journey unto itself, inviting listeners to explore uncharted emotional landscapes and challenge preconceived notions of what rock music can be. It’s a testament to Muller’s vision for 22HERTZ — a vision that is unbound by convention and fueled by a relentless drive to innovate and inspire.

Central to 22HERTZ’s meteoric rise has been its embrace of the digital age. Through the power of the internet, they’ve been able to connect with fans across the globe, transcending geographical boundaries and spreading their message of musical revolution far and wide. This is a testament to the universal appeal of their sound and the transformative power of their music—a power that shows no signs of waning.

But 22HERTZ is more than just a band; they’re a movement, a force for change in an industry often resistant to innovation. Their electrifying live performances are legendary, leaving audiences spellbound and hungry for more. It’s a testament to their dedication to their craft and their unwavering commitment to pushing the boundaries of what is possible in rock music.

As they continue their journey, 22HERTZ remains committed to their core values of innovation, creativity, and authenticity. They invite listeners to join them on this journey, to become part of a movement reshaping the landscape of industrial rock and inspiring a new generation of musicians to dream big and defy expectations.

So, whether you’re a seasoned rock aficionado or a curious newcomer, I urge you to experience the magic of 22HERTZ for yourself. Dive into the sonic world they’ve created and let yourself be swept away by the power of their music. In the hands of Ralf Muller and his bandmates, rock music isn’t just a genre—it’s a revolution waiting to happen.

For more information and to connect with 22HERTZ, visit their website, follow them on Facebook, or subscribe to their YouTube channel.

Hype Deck is Amazon Music’s take on promotional asset generation, and a powerful tool for those that maximize its impact.

Hype Deck delivers artist teams a deck of unique Hype Cards that can be shared with fans via social media, messaging apps, email, and other marketing channels. With that in mind, Digital Music News recently joined forces with Amazon Music to create the ultimate guide for using this powerful new marketing tool.

Table of Contents

• • What is Hype Deck, and how are artists using it to reach their fans?
  • Are all artists eligible to use Hype Deck?
  • How are Hype Cards generated?
  • What are the different types of Hype Cards available?
  • How can I activate, deploy, and maximize Hype Deck for my songs and other music assets?

What is Hype Deck, and how are artists using it to reach their fans?

In January of this year, Amazon Music for Artists released Hype Deck, a feature available on both mobile and web versions of their app. The tool equips artists and their teams to effectively market music assets to fans globally.

Artists can generate assets to promote their newly released songs (and previous releases), upcoming albums, or milestones like landing on a playlist.

The feature allows teams to select from almost 170 global Amazon music playlists, which currently include Rap Rotation, Country Heat, Breakthrough, All Hits, Viral Hits, Pop Culture, and many more.

Are all artists eligible to use Hype Deck?

Whether you’re a rising talent, indie artist, or a well-established musician, Hype Deck can help promote your profile, songs, albums, or showcase your milestones.

Anyone on an artist’s team, label, or distributor with access to an artist’s profile in Amazon Music for Artists can create Hype Cards. Artist managers and record label execs with access to multiple artist accounts simply choose a specific artist profile before they navigate to the Hype Deck section.

At the end of the day, it’s all about sharing successes, milestones, and new releases with fans.

How are Hype Cards generated?

Hype Cards can be generated in line with an artist’s brand or vision. It’s whatever an artist wants to promote and where they want to share it.

Fully customizable, artists can choose background colors and layout orientations. Hype Cards can also be shared with fans in multiple languages. Besides English, the feature supports Spanish, French, Italian, German, Portuguese, and Japanese.

What are the different types of Hype Cards available?

All your music moments — whether big or small — can find a Hype Card to share the celebration with fans and hype them up.

Artists planning a new release can use the Song Hype Card to highlight a song from an older album to build anticipation for an upcoming song. Artists can also promote previously released tracks on special occasions such as release anniversaries.

In a similar manner, Album Hype Cards can promote a new album release, while other Hype Cards can highlight and share artists’ successes with fans.

How can I activate, deploy, and maximize Hype Deck for my songs and other music assets?

The process is as simple as opening the Amazon Music for Artists app, selecting a song, album, or playlist to promote, and customizing the layout, colors, and language of your Hype Card. Artists can choose to share directly from the mobile app, or for desktop, download to share later.

Grab the associated link when downloading the visual asset, and users clicking on that link will be taken back to Amazon Music to listen to the artist’s music.

We hope this guide was helpful — and more importantly, helps you reach more fans more often!

Leading North American music industry conference Canadian Music Week (CMW), now in its 42nd year, has lured engaging interviewer and former Dire Straits manager Ed Bicknell back to Toronto this June for two keynote interviews. He has not been to Canada since the 1990s.

The following was created in collaboration with Canadian Music Week, a company DMN is proud to be partnered with.

Bicknell will sit down with legendary concert promoter Bill Silva on the June 4 and entertainment lawyer and author Donald Passman on 5th.

“First of all, I have never considered them interviews. I always think of them as conversations. That’s because I don’t have an editorial button in my brain. I love it to be spontaneous,” Bicknell says.

Over the past three-plus decades, Bicknell has “interviewed” about 70 guests, many over the past 23 years for London’s International Live Music Conference (ILMC). He was enticed back to CMW by sheer flattery.

“As you may recall, your contributions to Canadian Music Week in the nineties were nothing short of remarkable,” CMW president Neill Dixon wrote to him in an email.

“Your annual industry celebrity interviews with luminaries such as entertainment lawyer Allen Grubman, Miles Copeland, Peter Grant, Jerry Wexler, Wolfman Jack left an indelible mark on our conference’s history. Your insightful discussions and your ability to delve into the minds of these music industry icons made those moments and laughs unforgettable for our attendees.”

Bicknell says he’s interviewed “everybody imaginable,” label presidents, artists, agents. His favourite was Sir George Martin, but this year he thought he was done.

“I had 23 years doing these interview conversation things with the ILMC and I’d got to the point where, to be quite honest, we were running out of characters. It’s very difficult to interview what I call corporate types because they don’t say anything because, ‘It’s going to be on YouTube in 10 minutes. I can’t do this.’ So, it’s quite difficult to find people.”

Dixon, who saw Bicknell’s interview last month at ILMC with AEG Presents chairman and CEO Jay Marciano, prompted the invitation.

“Your more recent involvement at the ILMC, where you have charmed audiences with your trademark humorous interview style alongside numerous top celebrity guests, further demonstrates your continued relevance and appeal within the live music industry,” Dixon wrote.

No more ego stroking was needed. Bicknell said yes.

“Don and Bill, I’ve known for many years,” he says. “They’re both great speakers and the ideal guests. My main objective is to make it entertaining, as well as informative.”

In the lead up to CMW, Bicknell will not do any preparation, just pack his bag and touch down in Toronto, as promised. “I know the first thing that I’m going to ask, and, after that, it either takes off or it doesn’t,” he says.

The Yorkshire native, who promoted shows in the late 60s by the likes of The Jimi Hendrix Experience, The Who, Pink Floyd and The Kinks, moved to London, where he played drums in several bands. He became an agent at NEMS, representing a range of acts from Jose Feliciano to Black Sabbath to the Ramones. In the late 70s, he started managing newly signed act Dire Straits, which went on to sell over 156 million albums worldwide.

When the band dissolved in 1993, he continued representing frontman Mark Knopfler, as well as Gerry Rafferty, Bryan Ferry, and others. In late 2000, he amicably stopped managing Knopfler and closed his office. A few years later, LA’s William Morris Agency hired him to set up and run a London office. He left in 2010.

CMW’s conference runs June 3-5 at The Westin Harbour Castle. The festival, Canada’s largest for new music, is June 1-8.

Photo Credit: Chartmetric

In an exciting development, Chartmetric has relaunched its Learning Hub, a cutting-edge platform designed to equip artists and aspiring industry professionals with the knowledge and analytical tools necessary for navigating today’s data-driven music landscape.

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

The relaunch, detailed on Chartmetric’s Learning Hub, marks a significant step forward in the company’s commitment to education and empowerment within the music sector.

“We are pleased to see the Chartmetric Learning Hub embraced by hundreds of students globally, including prestigious institutions like Berklee School of Music, New York University, and the International Music Business School, among many others. It’s a testament to our commitment to empowering the next generation of music industry professionals with the data insights to enhance their careers,” said Andreas Katsambas, President of Chartmetric.

Central to the Learning Hub’s offerings is the official LinkedIn certification available to individuals who successfully pass the Chartmetric exam. This certification is a key pillar of Chartmetric’s mission to equip emerging artists and industry professionals with the knowledge required to effectively use data to expand their audience and enhance their music careers.

The Learning Hub includes a range of resources to enhance users’ understanding and skills in music data analytics. These resources include video tutorials, a comprehensive music data glossary, informative help articles, and a complete study guide to prepare for the certification exam. The certification exam is complimentary, and new Chartmetric users are welcomed with a 30-day trial of the Premium tier to prepare for it.

Understanding the critical role of data in the music industry, Chartmetric has tailored its program to prepare students with the practical skills needed for success.

This includes the ability to find where an artist’s audience is concentrated on both a per-platform and geographic basis, leveraging playlist support metrics to adopt a data-driven approach to release strategies, researching the competition to stay up-to-date on the most cutting-edge practices for virality, and many more insights exclusively available on the Chartmetric platform.

Since its inception in 2022, the Chartmetric certification program has been embraced by over 20 universities worldwide, including the top music business programs, highlighting its relevance and value to future music leaders. With this relaunch, Chartmetric reaffirms its dedication to advancing the careers of those in the music industry through the power of data analytics, ensuring that the next generation of artists and professionals are well-equipped to thrive in an ever-evolving landscape.

For more information, visit the Chartmetric Learning Hub.

Photo Credit: Too Lost

Too Lost has announced it is expanding its offering with an ‘Office Hours’ weekly in-house community meeting group to help creators expand their playing field. The music and technology company already offers SaaS solutions for independent music creators—Office Hours builds upon that with knowledge sessions tailored to budding creators.

The following was created in collaboration with Too Lost, a company DMN is proud to be partnered with.

Hosted and created by Damien Ritter, Too Lost’s Director of Communication, the new ‘Office Hours’ will take place at the Too Lost offices on Mondays at 12 pm PST / 3 pm EST—while being streamed on Too Lost’s Instagram, YouTube, LinkedIn, and Twitter presence. The weekly meeting is open to any indie artists, producers, and managers who are interested in learning strategies for growth as an artist in 2024.

A wide array of topics will be covered during these ‘Office Hours’ sessions that includes distribution, marketing, merchandising, publishing, touring, management, and more. Have a question about the industry that you want answered? That’s exactly what these ‘Office Hours’ are intended to help with for budding creatives in the music industry.

Host Damien Ritter has founded and grown a number of companies including The Music Entrepreneur Club and Black & Orange Management. He is also the former Co-Founder of Funk Volume, a Los Angeles-based record label that has been cited as a leader among independent rap labels. Funk Volume has achieved consistent Top 10 placements on Billboard and iTunes charts as well as media coverage in Forbes, Billboard, Spin, LA Weekly and others.

“Building and running an independent music business is extremely difficult,” Ritter told Digital Music News. “‘Office Hours’ gives artists and their teams a trusted and knowledgeable new source for information and a community to turn to for support along their journey.”

‘Office Hours’ weekly meetings have already featured some industry notable figures including Megh Vakharia (CEO of Symphony OS), Yan Snead (Music Programmer, SiriusXM + Pandora), Drew de Leon (Co-Founder of Digilogue), and Kevin Daragheh (Director of A&R at Genius Distro).