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Streaming Changes Everything For Music Catalogs
Source:
HypeBot
Most labels and many musicians thrive because of their hits, but survive over time because of their catalog. But as MIDiA analyst Mak Mulligan points out, streaming , which offers access to 35 million track library and a 'small royalty income forever' business model, changes the value of music catalogs in ways that we're just beginning to understand. By Mark Mulligan of MIDiA and the Music Industry Blog Friday’s news that catalogue acquisition business Hipgnosis Songs Fund is set to float ...
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Bandsintown Adds Int'l Partners, 35% Users Now Outside Of North America
Source:
HypeBot
Concert discovery and marketing app Bandsintown has announced key partnerships in Japan and France to further expand its international reach. 35% of Bandsintown's 130 million monthly active users are currently from outside of North America. Globally, Bandsintown serves 42 million registered users and 450,000 touring artists. A new partnership with Japanese ticketing company Lawson Ticket will help international artists better reach and connect with local concert-goers. There are over 30,000 annual live events in Japan, an increase from 15,000 in 2007 with ...
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Songkick Adds Free Concert Analytics, Users Pass 150M
Source:
HypeBot
Concert discovery app Songkick has announced the addition of free artist specific fan and gig analytics, alongside some impressive new user, concert listing and SEO stats of their own. Songkick distributes concert information to Google, Spotify, Facebook, Pandora, Shazam and other music and web services. A particualrly interesting stat: On average, 85% of an artist's fanbase on Songkick is unique to the platform. That means Songkick users typically haven't subscribed to an artist's mailing list, liked their Facebook page or visited ...
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Could Article 13 Mean The End Of Music On YouTube?
Source:
HypeBot
Even as YouTube launched it's much anticipated music service, its core user-generated video business was being threatened. The EU Parliament is seriously considering overturning basic provisions of the safe harbor framework under which YouTube operates; and the idea is gaining traction in the US. By Mark Mulligan of MIDiA and the Music Industry Blog It was week of two halves for YouTube. On one side a big press release went out championing a host of impressive new stats – including hitting ...
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Has The Time For Classic Rock's Eulogy Arrived?
Source:
HypeBot
In this piece Fred Jacobs takes a long hard look at the legacy of classic rock, and whether the genre will be able to endure and gain more popularity as we move forward into the future and more legacy artists age out, or whether its time as a genre has finally come. Guest post by Fred Jacobs of Jacobs Media I’ve been fielding questions about the “Classic Rock Death Star” for more than 30 years now. From the format’s beginnings, ...
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Fans Don’t Access Live Music Experiences, They Own Them
Source:
HypeBot
Touring has now shifted to become the primary source of income for many artists, with preferring to amass live experiences over recordings. These new consumption habits raise the question of whether these types of experiences could be documented and commodified to the benefit of both fan and artist. Guest post by Jeffrey Warshauer, the founder of Live Music Loyalty based in Asbury Park, NJ. Historically, artists released a record and toured to promote their album, gaining income from both. Now, ...
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Are Tech Companies The New Record Labels?
Source:
HypeBot
[PIAS] co-founder Michel Lambot looks at how the economic structure of media consumption has shifted over time to one of renting vs. owning; and how tech companies bypassing record labels to make direct deals with artists is the next logical step in this progression. Guest post by Michel Lambot. This article originally appeared on the [PIAS] blog The following blog is written by [PIAS] co-founder Michel Lambot (pictured, main). His comments come after Spotify was reported to be offering artists and ...
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Steve Lacy and Whitey Mitchell
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JazzWax by Marc Myers
Mention the soprano saxophone, and most people think first of Sidney Bechet, Lucky Thompson, Pony Poindexter, John Coltrane and Dave Liebman. But in the 1950s and beyond, the artist who did more to demonstrate the instrument's versatility across multiple jazz styles was Steve Lacy. He began in the early 1950s as a New Orleans-style player, using the instrument as a clarinet. Then he shifted to progressive jazz in the mid-1950s before becoming an early pioneer of avant-garde jazz with Cecil ...
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