Music industry

The music industry in ten years


Don Henley tells the audience of the Eagles shows that this may be the last time they will see the group. Whether that’s true or not, so many legendary classic acts are in their seventies, and despite their plastic surgery, no one lives forever, and neither do they. It will put the nail in the rock and roll coffin, just as the coffin containing jazz was sealed over half a century ago. People will still play the music, but there will be very few rock hits.


Yes, the separations with the record companies could be better, but the truth is, there are only pennies in the dollar. Again, it is the old ones who moan the loudest, and as they walk away towards the sunset, their cries will die with them. As for younger artists, they no longer see the recording of income as the end and being everything. When people talk about Drake or The Weeknd, they’re not talking about the recording contracts they sign or the amount of money they make from recordings, but their overall income, which comes from multiple sources. income. Young people see that there are many ways to monetize today, that being a music star is an entry into a cornucopia of income opportunities. Their goal is to get enough traction, to become a star big enough to qualify for these opportunities. As for the aspirants, they have always bitched and always will.


There is nowhere to play. So more acts will come out of their rooms. The groups are overwhelmed. Nothing is universal these days, NOTHING. This means that there will always be hard rock bands, the kind you hear on Active Rock radio, but the people who come up will find that this is first and foremost about the track, with Lil Nas X being the lead. perfect example. Our entire nation has tipped over inside, and it wasn’t just the pandemic that caused it. The local bar where a band can start playing covers is almost gone. Do you want to do it? Write and record a hit song.


Are leads people know about, not machine-driven leads. It doesn’t matter if they’re on the radio, in the commercials, it’s just a matter of whether they’re catchy and special enough to enter the public consciousness. Sure, those at the top of Spotify’s Top 50 may be hits, but not all are.


The gap between the two will continue to widen. The younger you are, the less sensitive you are to the hype, well, at least if you’ve hit puberty. Today, many have grown up in a world where television is on demand and has no commercials. They don’t read physical newspapers. Ads are something they tolerate online. But if you want to win online advertising, you have to be gentle and really meet the specific needs of the internet user. To experience it, go to Instagram. Surf long enough and you’ll see ads that will make you think “this might help”. When it comes to big marketing campaigns that push things down our throats, not only are they less effective, but they have the opposite effect, they turn people off.


Football causes too many injuries that our country ignores, at least many parents no longer let their children play football … baseball is too slow and boring … hockey has never gained ground outside of Canada and Russia … Played forever but his popularity arc will be based on charismatic stars, again, even these have less impact than ever… it all comes down to E-sport: the action is fast, the barrier to the entrance is low, everyone is playing it, anyone can do it. The bottom line is that if you want to promote an act, attach it to E-sport. This is why concerts on Twitch are so important.


The bigger the show, the bigger the production. The bigger the show, the less music it is. It’s the Broadwayification of the music business. If you are going to charge that much for the tickets, there must be a show, the audience must be in awe of what they see almost as much as what they hear.


We’ve learned that there can only be a limited number, but that doesn’t mean they won’t increase in power and income. Ticket prices for festivals will increase more and more. It’s like going to an amusement park, the roller coaster is what makes the reputation, but many participants do not even go up there. Many festival-goers don’t even see the headliner, but the headliners sell the tickets. Festivals are a promoter’s dream, if they are successful they are very profitable. Therefore, the prices of the securities will go up and up. Will the headliners share the gross? This will be supported, promoters will put their feet in the ground, but just as leveraged acts receive a portion of the fees from Ticketmaster, they will want a portion of the festival’s revenue, or the OWNERSHIP of the festival! Especially if you want to start a new festival, those who help you gain traction will want a track, especially if it isn’t promoted by Live Nation or AEG, entities that can take the hit as the festival goes on for years. trying to be in the dark.


Once it was cool to work in a record store, they don’t exist anymore. It used to be cool to work in a record company, but they don’t guess the culture anymore, the acts start somewhere else and the majors suck them up. All the action is in the direct sphere. Or on the internet. Online you can make your own destiny, and the younger generations know that there is no job for life and nobody cares about them, so they are always trying to make money online. , and the traditional industry is behind them. It takes money to be a promoter, but not to be a label. Where you start with no money is online, breakthroughs in platforms, campaigns and deeds will continue to thrive there. No one in the music industry saw TikTok coming.


It’s about the panel, the competition, not the music. This is one of the reasons why musical competition shows have flourished only on the network, which must cover the widest audience. No music competition show worked on a streaming release, NONE! Because online, it’s about commodities rather than penumbra. When you trim and trim the audience, which is streaming, you have to tap into a narrow niche, and the truth is, very few fans of any genre want to watch these shows, they just prefer to listen to the music. Thus, the big salaries of famous judges will decrease. Then again, if you are a star you still have power because you have REACH! Growing a substantial audience and gaining market share is almost impossible these days, so those who succeed will be rewarded.


The head of the tail, which will be populated with fewer and fewer acts, will be where all the rewards lie, both for talent and reach. But music will continue to be overloaded with budding acts, the barrier to entry is virtually non-existent, and music is part of the fabric of life. But streaming sites could ultimately put obstacles in the way of access to their platforms, 60,000 new songs per day on Spotify is just too much. Then again, Spotify, et al, may realize that the negative consequences of banning people from their platforms are just too great and only pay for storage space like YouTube, believing it to be. is good for the business.


People now see a streaming music subscription as a necessity. Sure, YouTube Music is gaining subscribers, but it’ll never be a player, and a large chunk of its base just wants ads-free videos. Also, YouTube ads may be de rigeur now, but they have increased in number, are not appealing to the public… it may be free, but it’s a bad experience. Every time I go to YouTube, do I have to say if I want to subscribe? Imagine your phone service asking you if you want to upgrade every time you make a phone call… or a text message!


Songwriters’ share of streaming revenue will increase. It’s artificially low because the big labels also control the publishers and they don’t care where the money comes from, as long as it comes. But now, so many publishing assets are outside the realm of the big labels. With sophisticated investors / owners who want a return. This popularized the fate of the songwriter. And when the light shines on iniquity, change occurs. The UK government report said the issue was not with streaming service payments, but with label payments / offers. And now that the light is shining on the edition, there will be change. But if you’re a songwriter… these are the hits. The days when an album track paid your rent are long gone. So, like everything else in the system, very few will make more money and everyone will be sidelined. This is the story of the last twenty-five years. All tech companies are enormously valuable, but have proportionately fewer workers than old blue-collar behemoths like General Motors. As the business continues to refine, it will require fewer workers, not more. But those who survive will be generously compensated.


This is what gives you power and income, which is why those who have it, like the majors, will always have a place at the table.


It always comes down to beating. And successful acts. It’s the future. The distribution has been understood, now it’s all about the software. If you are complaining about the platform, you are either old, ignorant, or about to be moved. There is a dearth of hit songs and a dearth of magnetic acts. Breakthroughs are always unforeseen, and in a world of billions, there is someone who always does it differently. For some the attributes are more important than the music, the sale, the wow factor is the key. But there will be acts that focus only on music, that won’t complain, whose credibility will be the key to their adoption and success. Today everyone says yes, the paradigm-changers of tomorrow will sometimes have to say no. These acts will not be brewed or instigated by the usual suspects, they will apparently come out of nowhere. But to be ubiquitous, you need help. Certainly concert promoters. Online, you can do it yourself to a large extent, but an injection of money, from a major with connections, helps on the rise. If you want to be a star in the future, be different, and not just in marketing. It’s very difficult to write a hit song, to make a good record, but that’s the starting point, and the competition will get even fiercer. Talent and vision supplant limits and rules. Always have, always.