Thanks to the magic of playlists and things like Spotify's discover weekly, musicians are now being given a chance to breath new life into their back-catalogues. Here we look at twelve ways artists can make this new trend work to their advantage.
SoundExchange paid out $884 million in royalties to artists and labels in 2016, a 10.1 percent increase over the $803 paid out in 2015. "We distributed record-setting royalties to artists and labels in 2016 and broadened our charter beyond our original role of administering statutory licenses," SoundExchange president and CEO Michael Huppe said in a statement. "In 2016, besides processing digital radio payments, we also launched new data validation services, managed the distribution of royalties for over a dozen direct licenses, and administered some critical industry settlements. These are significant milestones."
The number of lawmakers siding with radio in opposition to any effort to create a performance royalty on AM/FM airplay continues to grow. A resolution introduced last week in the House now has 123 cosponsors—more than half the 218 needed to block a bill.
Lately, Pandora’s had a rough time. Despite launching a cheaper alternative to Spotify, company insiders sold their stock. The company also reportedly rejected a buy-out offer from SiriusXM. In addition, the stock price is currently at $13.29, lower than the $14.01 price back in December. However, the company received very good news in regards to their 2016 performance from MusicWatch.
Slowly, the Nielsen Billboard charts are evolving to reflect how people actually consume music in 2017. The latest data to be added comes from Pandora.
As Spotify becomes an ever growing presence in the streaming market, it is becoming increasingly important for artists to position their music in a way that maximizes fast streaming results. Here Manuel Overbeck shares five tips for doing just that.
BMG has again beaten all three major music groups to grab one of the most sought after record labels on the market, Nashville's Broken Bow and associated labels.
There may not be any bills in Congress proposing radio stations pay a performance royalty, but in a pre-emptive strike, opponents of such a fee have put 115 House members on record opposing the idea. That’s more than half the 218 needed to block any bill creating a radio royalty.
Vinyl is not the only old school music format making a major comeback. Cassette album sales were up an impressive 74% in 2016. 25 albums sold at least 1,000 copies on cassette in 2016, compared to just 8 in 2015, according to Billboard and Nielsen. Overall, cassette album sales were up 74% in 2016.
One of the many current battles between tech and the music industry is the size and fairness of YouTube payments to creators and rightsholders. Charles Caldas, the CEO of indie licensing trade group Merlin, threw some gas on the fire during a presentation in London.
Here one entrepreneurial musician outlines his experiment to see whether or not he can generate enough revenue in 200 days of streaming his music on Spotify to buy his family a house.
Payola has always been part of the music business and many insiders feel that it’s the reason that some artists become stars, and some stars become superstars. Without money or favors changing hands between the record label and the radio station/streaming service, a song might never gain the visibility it needs to become a hit. While this was a dirty under-the-table business in the past, today it’s a lot cleaner and above board in that we call it “corporate sponsorship” instead of payola.
As interest begins to grow among private investors, it looks as though music funding will be the next aspect of the music industry to experience disruption, as cash-strapped artists are forced to seek an alternative to labels.
Contrary to popular belief, the biggest disruption to the traditional music business over the last 10 years was not solely the introduction of digital distribution. Instead, it’s been the slow, gradual disaggregation of all the artist services that labels once provided, through the introduction of alternative sources.
With the advent of streaming, playlists have risen to become many consumer's default interface for listening to music, something which has some serious implications both for the music business and music itself. Playlists have become the default for listening to both new and unfamiliar music. Instead of digging through complete releases and saving them to our libraries, the design choices of companies like iTunes and Spotify mean we use playlists as the interface for music collections.
Given the controversy around streaming rates, it's important to have some idea of what these numbers actually are. Here David Lowery shares his per stream rates across various platforms and see how the numbers shifted in 2016.
Pop quiz: Which generation is the heaviest user of social media? Hint: It isn’t Millennials. In fact, Generation X (ages 35-49) spends the most time on social media, according to new research from Nielsen. Gen X-ers log almost 7 hours per week on social platforms, outdistancing Millennials who come in second at just over 6 hours per week.
Although they have become commonplace at music festivals RFID (Radio Frequency Identification) have not yet caught on at smaller scale concerts, something which may be about to change.
RFID (radio frequency identification) technology has already taken over music festivals, and venues are next.
But despite their prevalence at festivals, RFID wristbands haven’t yet caught on at concerts. Since the wristbands aren’t cheap, many venues aren’t sure how to make the investment worthwhile.
CD Baby is partnering with Music Gateway and its newly launched Sync Portal which allows 300+ global advertising agencies and 700 music supervisors to easily license tracks from CD Baby’s sync catalog of 2 million songs film, TV, commercials and video games.