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Music Biz News (5/31/19): Warner Bros., Tinder, Lil Nas X

The latest episode of Music Biz News tackles rebranding, apps aligning themselves with music, and the continuing success of music’s new star.

The music business is a fast-moving train that never stops. Each week, hundreds of new developments occur throughout the industry that drastically reshapes the business of music as we know it. Sometimes these events result from months or even years of careful planning, but other times, it feels as if fate herself is forcing change.

We realize no one is able to keep up with every development in music week to week, which is why we decided to create a new web series called Music Biz News. Every Friday, host James Shotwell breaks down the biggest stories from the world of music in a matter of minutes. Our goal is to provide you with everything you need to know about emerging trends and popular topics, along with just enough commentary to help you discuss the week’s biggest headlines with your friends and coworkers.

On this week’s episode of Music Biz News, host James Shotwell explains the recent rebranding of Warner Bros. Records to Warner Records, examines Tinder’s new approach to aligning itself with the music business, and take an in-depth look at the continuing success of “Old Town Road” hitmaker Lil Nas X.

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Artist Advice Business Advice Editorials Industry News News

The leading cause of burnout for people in music

Burnout robs many aspiring musicians and music professionals of their dreams, but that doesn’t have to be the case.

The digital age has given us many gifts. We are more connected than ever, we have access to more information, and there are always cute videos of dogs and cats to distract us from the horrors of existence. It’s pretty good…For the most part.

But the access given to us by the digital age comes a drawback. People have become so obsessed with the immediacy of the Internet that they tend to expect the same from all areas of life. We want it all, and we want it all right now. Not tomorrow, not after several weeks or years of hard work, but right now. Give us the thing we want or give us death.

Nothing in life worth accomplishing offers immediate gratification. There is no magic trick to success that shortens the time it takes to reach the summit of your dreams or lessens the amount of work that needs to be done. In regards to music, there is no guarantee that you’ll ever become a star or have a chart-topping hit. On the professional side, there is no proven method to landing a lasting career. That has always been true, but something about the digital age has made this reality weigh heavily on people caught in the struggle.

The number one reason people in music experience burnout today is because they are impatient. No one wants to wait for success. It seems every week a new musicians or professional emerges from the crowd and achieves seemingly overnight success, often years before their peers, and that accomplishment causes others to question their own validity as music professionals. Once that happens, people in music tend to decide that they aren’t pushing themselves hard enough. They aren’t creating enough or working enough or sending enough emails. They push themselves to the limit in hopes that will make a difference, and when it doesn’t produce immediate results, they implode.

“If a teenager with a laptop can create a platinum-selling song in their bedroom, why hasn’t [insert whatever it is you do] taken off yet?” 

We ask ourselves questions like that because we see the success of others as saying something negative about us, but it’s not. The success of another is not a slam against you. Maybe they did work harder, but they also may have gotten lucky. We can never predict what listeners will want in a week from now, let alone three to six months. A song like “Old Town Road” might top the chart for a month, but whether or not Lil Nas X can produce another hit remains to be seen. His current single could be his only hit.

Meanwhile, you are building a catalog of strong material you believe in that your fans want to hear. You might not have that lightning in a bottle hit that changes everything, but you have songs that people will pay to hear and own. You also have an engaged following, or you’re working towards building one, and that will allow you to continue making music for many years to come. 

If you want to avoid burnout you need to avoid that voice in your head that assumes success is owed to you. Success requires time and sacrifice. There may be exceptions, but the longevity of careers for those who skip a step or two on the ladder of success are often significantly shorter than the careers of individuals who put in the work, take their time, and take care of themselves. As long as you’re doing the best you can do, then you’re already do everything that needs to be done.

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Industry News News

Warner Bros. Records rebrands as Warner Records

One of the biggest record labels in the world is changing its name, and the reason why might surprise you.

After sixty-one years of business, Warner Bros. Records has chosen to rebrand itself as Warner Records. The change has already taken place, marked by the recent change the to company’s official website, and appears to be permanent. You can view the new logo above.

According to the announcement, “This marks the latest step in the company’s evolution, following Aaron Bay-Schuck joining as U.S. Co-Chairman & CEO in October 2018, Tom Corson being appointed U.S. Co-Chairman & COO in January 2018, and Phil Christie being named President of the UK label in 2016. The name change also follows the U.S. company’s recent move to a new, state-of-the-art headquarters in downtown LA’s Arts District.”

There are several motivating factors behind the name change. When Time Warner bought the company in 2004 it agreed to keep the name Warner Bros. Records for fifteen years. The move also allows the company, which has undergone many leadership and artist roster changes in that time, to have something of a fresh start. You don’t have to be a business major to understand that changes as minimal as dropping ‘Bros’ from a company name and unveiling a logo can create a massive boost in press coverage and publicity. 

The announcement describes the new logo’s “artful simplicity and impactful typography that are ideally suited to the digital world. The circular icon – suggesting a record, a sun, and a globe – is a nod to the label’s past, present, and future. The openness of the design gives it the flexibility to embrace all Warner Records artists and all genres of music around the world.”

“For the first time in the label’s history, we’ve had the opportunity to create a distinct, modern identity entirely of our own,” said Corson and Bay-Schuck. “The timing couldn’t be better, since we all feel the label is at a moment of reinvention that builds on our legacy, while moving into a future driven by fearlessness and creativity. We have a growing roster of world-class artists, a rejuvenated team, and an incredible new location. It’s a new day for Warner Records, an iconic label that was born in the California sun, and is at home everywhere on earth.”

“We’re signing and developing the next generation of British artists to move global culture, so we wanted the Warner Records brand to have the power and freedom to mean different things to different people around the world,” said Christie. “A new logo isn’t meaningful on its own, and our label will always be defined by the originality of our artists, our music, and our people.”

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Haulix News Podcasts

Inside Music Podcast #162: Who is this guy?

Host James Shotwell shares his origin story in this unique, solo episode of Inside Music.

Everyone starts somewhere. A select few are born into the world with a clear path to the entertainment industry, but most begin at rock bottom with nothing to lose and no idea how to get ahead. That was the case for Inside Music host James Shotwell, who has been working in music for the better part of the last decade. James hails from a tiny town in the Midwest well over an hour from the nearest city, but through years of work and focused effort he found a place in entertainment to call his own.

Beginning when he was fourteen, James Shotwell pursued work in the music business with reckless abandon. He played in bands, booked shows, promoted record labels, and constantly drove his parents crazy through his obsession with alternative music. When he reached college, James pursued his work further, launching a website and participating in college radio. He may not have been the best student, but he was determined to work harder than anyone he knew to get ahead.

But making it isn’t the same as having a career. James has had nearly a dozen roles in music. He’s been a talent buyer, a street team member, a radio host, an artist manager, a publicist, a tour manager, and a journalist, among other things. Each role has given him a greater understanding of how music works, and through his current job at Haulix he has been sharing the lessons learned in the industry with anyone that is willing to listen.

On this episode of Inside Music, host James Shotwell foregoes the traditional show format in hopes of giving listeners more insight into who he is and where he comes from. Over the course of twenty minutes, James recounts his career and the motivating factors that lead him to a life in entertainment. You can enjoy the program below.

https://soundcloud.com/inside-music-podcast/162-who-is-this-guy

Prefer video? We’ve got you covered.

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Artist Advice Editorials Haulix Industry News News

Music Biz 101: How To Promote A Festival Performance [Video]

Festival performances can change your career, but they can also be a waste of money. Marketing, or lack thereof, makes all the difference.

Every musician dreams of headlining a major music festival. The idea of performing for tens of thousands gathered to hear songs you developed is a career peak many artists spend a lifetime chasing. There is never a guarantee any amount of good songs and hard work will be enough, but that is no reason to not try in the first place.

For those musicians on the come up, festival performances often look very different from the one describe in the preceding paragraph. Most young artists lucky enough to land a festival time slot perform while the sun is high in the sky and the crowd is scattered. Some artists perform to only a handful of people, despite appearing at a festival whose headliners see a sea of people when they take the same stage hours later. It seems festival crowds, like every other audience in entertainment, are fickle.

But don’t fret! There are many things young musicians can do to maximize their return for performing at music festivals. What time a group or artist performs matters far less than how they promote the event, how they engage with festival attendees, and what they day in the weeks following the event. Don’t believe us? Just watch the video below.

On this episode of Music Biz 101, host James Shotwell explains the importance of festival appearances and what artists can do to maximize the exposure they receive for festival performances.

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Industry News Job Board News

Music Industry Job Board (May 28, 2019)

New openings:

Manager, Content Registration (SESAC – Nashville, TN)

SESAC is looking for a Manager, Content Registration to join our Nashville Royalty Distribution and Research Services (RDRS) team. The Manager, Content Registration will be responsible for contributing to team success by supporting the intake of accurate and timely works registrations, supervising related staff, and helping lead process improvement initiatives and testing of new systems/procedures.

Manager, Market Research Analysis (CMA Country Music Association – Nashville, TN)

Through a passion for mining and applying data to business and marketing issues and opportunities, this position contributes to Country Music Association market research and analytics initiatives. These initiatives will support various stakeholder groups including organizational membership, staff, general industry, media, and others in our mission to promote and grow the Country music genre.

Marketing Manager, Digital Music (Amazon – Seattle, WA)

This role will own the merchandising strategy for bringing Prime members into Amazon Music and retaining them, including customer segmentation, testing, analyzing and reporting on the results, and creating best practices to be used globally. This role will also work closely with our product teams to drive improvements to our merchandising systems, which are unique to the Amazon Music app. A successful candidate will have a passion for understanding customer behavior and be able to communicate this to stakeholders on the business and product teams. They will have an interest in testing, from creating the testing plan to communicating the results upwards and using the data to inform future business decisions. And, as we are a global organization, this role will also work regularly with our global counterparts in creating and sharing best practices. The ideal candidate will be highly organized, have strong communication skills, be comfortable with ambiguity, and have the creativity to challenge our status quo.

Inventory Ops Temp (WMG – Nashville, TN)

The Special Packaging Coordinator, under the direction of the New Release Sr. Manager, is responsible for special packaging parts and manufacturing coordination, working with internal and external teams to ensure our newest releases are readily available on street date. Communication with our Sales and Marketing teams as well as strong relationships across manufacturing, labels, and logistics is key to the most successful inventory manager. Getting the right music, to the right place, at the right time is how you roll.

Production Associate (Innovative Percussion Inc. – Nashville, TN)

This is a “hands-on” manufacturing position constructing keyboard mallets, drumsticks, and a variety of other percussion implements. Woodworking and/or Manufacturing experience a plus. Computer/Machine Operating/Warehouse experience a plus.

Creatives Team Web Developer (QuaverMusic.com, LLC – Nashville, TN)

This position will work with the Sr. Lead Developer of our Creatives Team to develop music-based, interactive applications that work across all modern browsers. To succeed in this position, creative problem solving of complex challenges, knowledge of current industry best practices and technologies, and the drive to write clean, efficient, and well-documented code is absolutely essential.

Director of Product Development (Jobot – Cumberland, RI)

Based near the Providence, Rhode Island area, we are a market moving Audio consumer electronics company which has acquired more than 13 music & audio companies to build an absolute powerhouse company. We have been in business for 20+ years and have been highly profitable since our inception. We are highly stable and make a point to create a fun work atmosphere with tons of room for career growth. Are you interested in music and consumer electronics? There is no better place to come explore your enthusiasm for music and technology!

Project Manager, Marketing (Capitol Christian Music Group – Brentwood, TN)

The Project Manager, Marketing will support and collaborate with the Marketing team in the timely creation and execution of marketing plans that align with the overall vision and strategy for assigned releases, maximizing sales and exposure; reflective of strategic goals, release-specific objectives and financial guidelines.

Product Engineer (Gibson – Nashville, TN)

The Product Engineer will report directly to the Master Luthier and will be a part of the design concept and development process leading up to the manufacturing process.

Music Engineer Studio (5 hundred studio – Fort Myers, FL)

I need an engineer that’s good in tracking, mixing and mastering. We are located in the central Fort Myers area.

Senior Product Manager (Ninja Tune – Los Angeles, CA)

Work with all label departments & client partners, including agents & managers, to effectively plan & execute marketing campaigns with special focus on our key Counter Records artists.

Head of Music and Voice (PHMG – Columbus, OH)

This is a unique role that requires an exacting combination of commercial ingenuity and artistic flair – so you’ll be a confident presenter with previous experience in the creative music industry or in an advertising agency. Balancing the needs of the business, the client and our creative talent, you’ll bring the multifaceted areas of our operation together. And as a true people person, you’ll have the innate ability to liaise, connect and inspire people at all levels.

Senior Digital Influencer Manager (Emagine Content – Los Angeles, CA)

Boutique International entertainment talent management company, Emagine Content, a top 200 company in Hollywood is seeking a self-starting, passionate, and driven Digital Influencer Manager to join our team in Los Angeles. We have been mentioned numerous times by The Hollywood Reporter & Deadline!

Artistic Director (Evergreen City Ballet (ECB) – Renton, WA)

The Evergreen City Ballet (ECB) is seeking an immediate full-time Artistic Director for the 2019-2020 season. ECB is a 501(c)3 non-profit dance organization with a 25-year history of excellence in dance education that presents four professional-level productions annually including an original full-length production of The Nutcracker.

A&R Manager (Translation | UnitedMasters | Translation Enterprise – New York, NY)

Primary responsibility will be signing talent to UnitedMasters for both top tier exclusive deals and artist distribution deals.

Manager, Booking – Comedy (AEG – Los Angeles, CA)

The Manager Booking-Comedy role is responsible for overseeing the process of booking shows in any given territory by creating and maintaining venue deals for all confirmed or offered shows. This role works with touring production personnel to solidify the execution of financial responsibilities pertaining to the tour. The Manager Booking-Comedy has a fiduciary duty for confirmed venue deals and contracts and works collaboratively with venue staff and agents to manage and finalizing show settlements, contracts and the creation of show offers.

Senior Director, Contract Administration (WMG – Los Angeles, CA)

Be responsible for tracking all options, term end dates, and ancillary rights. Additionally, responsible for reviewing agreements for rights and restrictions. You’ll be the primary business affairs inquiries contact for various departments and be in charge of maintaining the rights database.

Music Operations and Licensing Manager, Hardware Marketing (Google – Mountain View, CA)

The Hardware Marketing organization is responsible for driving growth of Google’s hardware business, growing awareness, consideration and adoption of platforms and devices. The Consumer Brand Engagement team humanizes the Google Hardware brand with each consumer interaction – be it social, influencer, partnerships or through content. We listen to and engage with our consumers, surprise and delight them and create desire for our family of products. We aim to build their brand love and loyalty. In this role you’ll be responsible for managing and facilitating requests for Hardware marketing music licensing needs serving as the liaison between internal product marketing teams and the music licensing agency to help secure rights for music for use across multiple marketing touchpoints. You’ll work closely and communicate regularly with PMMs, business development, YouTube music and the legal affairs department to finalize, record, and track rights information and all aspects related to licensing, including but not limited to ensuring licenses are drafted properly and payment is processed.

Specialist, Distribution & Administration Services (BMI – Nashville, TN)

Demonstrate expertise in the software, systems, processes and procedures necessary to carry out specialized departmental functions. Facilitate business processes that drive accurate and timely royalty payments.

Editorial Manager, Owned Platforms (Spotify – NYC)

The Editorial Manager, Owned Platforms will help drive Spotify’s multimedia storytelling on For the Record and across corresponding channels. A member of the Global Communications team, s/he will be responsible for storymining, content development and amplification. Successful candidates will have a strong grasp of channel-specific strategy, demonstrated success in a fast-paced environment, as well as a global mindset.

Ops Strategy Sr Mgr – Music & Theater (eBay – San Francisco, CA)

We are seeking an experienced, highly-motivated, strategically-focused, collaborative, and data-driven Operational Strategy Lead to join our Music & Theater (M&T) genre team. This person will report to the genre General Manager and be accountable for supporting existing work and driving new business initiatives and innovation to accelerate the growth of a multi-billion dollar P&L.

Music contest Manager (B l e n z i k – San Francisco, CA)

Based in France, We can help you to create your own business around a Music Contest. The Artist Winner could record or play in Paris. We can help you in Artists development and communication across the world because Music contests and Artists partnership are a good level of development for brands.

Content Manager (EMPIRE – San Francisco, CA)

Work with artists and product managers to identify video asset needs.

Music Coordinator (GOPRO – Carlsbad, CA)

Music can make or break a video. As Music Coordinator, you’ll assist in the archival, acquisition and internal distribution of music. We’re looking for someone who’s highly creative, super organized, confident and self-motivated, with proven experience in music clearance or related fields. The role is based right by the beach at our Carlsbad office, and reports to the Music Director.

Licensing Manager (Songtradr, Inc. – Santa Monica, CA)

The Licensing Manager will secure the clearance; research master and publishing rights holder information with artists, record labels, songwriters and music publishers; seek, obtain and negotiate the necessary approvals. This individual must have a working understanding of Performing Rights Organizations, Music Publishing coupled with a network of people and contacts in the industry to swiftly obtain and secure rights. Reporting to the VP, Partnerships, the ideal candidate will have a comprehensive knowledge of music, trends and the licensing process. Experience working with LATAM PROs and production companies, as well as being fluent in Spanish, a major plus.

Feature Film Music Executive, Amazon Studios (Amazon – Santa Monica, CA)

The Features Film Music Executive will work closely with the Head of Music and be an integral part to the music team. The successful candidate will be highly organized and have experience in Film Music Production and Supervision with a robust knowledge of music and an extensive network of relationships within the entertainment and music industry. The role requires a deep understanding of music licensing; the management and tracking of music budgets, talent deals, and music licensing; and supervision of actual productions on behalf of the studio. In addition, the candidate will be expected to leverage strong communication and interpersonal skills in order to partner effectively across internal divisions and with external partners.

Talent Buyer (Live Nation – Boca Raton, FL)

In this position, you will be responsible for executing all aspects of Talent booking for our Florida venues. Involves all aspects of music booking: Budgets, Scheduling, Contracts, Promotion, Marketing, Ticket Sales, Daily Administrative Reports, and Staff & Production Coordination

Production Manager (LA Philharmonic – Los Angeles, CA)

The Production Manager, reporting to the Director, Production, will work as a member of the production team to manage all aspects of day-to-day concert production in order to ensure successful performances and to maintain a positive relationship with Orchestra members.

Associate Director, Partner Reporting (Sony – NYC)

The Associate Director, Partner Reporting is responsible for providing insights at the global level regarding the performance of Sony Music’s top digital accounts. This role is responsible for providing global transparency surrounding key Digital Partners, monitoring and reporting Partner performance through data analysis, and insight based on a deep understanding of the KPIs and drivers. This role will be responsible for reporting digital partner results and forecasts to be utilized by account managers and senior management, and creating compelling global analyses to help drive sales, market share, and partner relationships for Sony Music.

Manager Client Services (Pandora Media, LLC – Chicago, IL)

This individual will manage a team of client services professionals responsible for seamless campaign execution and high-level client service for advertisers and agencies. The right individual will be a key contributor in the Client Services team and responsible for managing individual contributors, helping ensure accuracy in the execution and maintenance of campaigns, providing guidance on strategic projects, and making decisions. Strong performance management skills and partnership with sales to drive revenue goals is required. This individual will be asked to direct and participate in strategic projects that impact and influence the Pandora services roadmap.

Marketing Manager (Heid Music Company – Appleton, WI)

Heid Music is looking for a full-time Marketing Manager to join our Marketing team in Appleton, WI. We select team members who take pride in their work and embrace our concept of providing “Bravo” customer service and pursuing our passion for making music. 

Music Director / Orchestra Conductor (Heartland Symphony Orchestra – Little Falls, MN)

The Music Director/Conductor is responsible to develop and achieve continual artistic excellence of the orchestra. The person who holds this position exercises authority in orchestra matters according to the guidelines established by the Board of Directors as mutually agreed upon at the time of engagement. The Music Director/Conductor will work in close consultation with the Board of Directors, the Operations Director, and the Orchestra Manager.

Director of Analytics (Reverb – Chicago, IL)

Reverb, the global marketplace for musicians, is seeking a Director of Analytics to lead our analytics practice across the organization. This person will collaborate with stakeholders across all teams to ensure that our internal BI and product analytics needs are being met, help define and inform our glossary of analytics terms, and ensure a consistent view of key metrics across the organization.

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Artist Advice Business Advice Editorials Industry News News

The number one mistake artists make when pitching playlists

One of the most sought-after rock playlist curators on Spotify reveals the error many musicians make when pitching them music.

We’ve said this before, but it bears repeating: Playlists are the new mixtapes. Playlists are also the new radio. More people are discovering and developing a deep appreciation for emerging talent through playlists than any other music platform, and that trend shows no signs of stopping or slowing anytime soon. If you want to make it, you need playlists.

Recently, we shared a list of must-have contacts for rock playlist and pop playlist curators. The response has been great, but we’ve been hearing from playlist makers that not all pitches are the same. Several artists have been shut out of playlist opportunities altogether because they make a single mistake, and when the competition is fierce, that mistake can make all the difference.

Jesea Lee, playlist curator and High Road Publicity team member, has been inundated with requests for placement on his many playlists in recent weeks. The one thing that turns him away from an artist’s music above all else is specificity.

“If you’re sending your music to a playlist curator, always send a link to the song you’re pushing, NOT a link to the entire album or Spotify profile. If you do send a link to the entire album, make sure to mention which track is the priority.”

Curators like Jesea receive hundreds of submissions a week (some get that in a day), and you cannot expect them to listen to an entire album to find a track they like enough to add to their playlist. If you want them to give your music a chance, make it as easy as possible for them. If they do like the track, then they can easily find the rest of your music from that first song link.

To be clear, simplicity and focus should be the goal of every pitch. Know what you’re promoting and why it would be a good fit for the playlist you’re pitching. Give the person you’re pitching everything they need to understand why your song is deserving of placement. That won’t guarantee inclusion, but it will make success more likely.

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Haulix News Podcasts

Inside Music Podcast #161: Jon Beatty (Brewtally Speaking)

The co-host of Brewtally Speaking, one of music’s most exciting podcasts, stops by Inside Music to talk about talking (and other stuff).

No two careers in music are the same. That saying applies to both artists and professionals. Anyone who has any kind of presence in music got there through a series of unpredictable events that propelled them more or less in the direction they were always trying to go. Sometimes life didn’t work out the way they planned, and it’s likely they flat-out failed a time or two, but people who make a career out of music know how to persevere whatever life throws their way. Just ask Jon Beatty, the latest guest on Inside Music.

Jon Beatty is the co-founder and co-host of Brewtally Speaking, a podcast that features interviews with rock and alternative musicians. There are many podcasts with a similar setup, but few — if any — dedicate as much time to curating the perfect interview as Beatty has through his show. Jon spends a lot of his time researching his future guests, and he is constantly seeking ways to make each interaction with talent unique. The result of that hard work is over 170 episodes of genuinely interesting conversation with a who’s who of modern rock. You can find his show on iTunes, Spotify, or anywhere you get podcasts.

On this episode of Inside Music, Jon chats with host James Shotwell about his journey through the world of music journalism. He shares how an early interaction with a publication James helped build pushed him to be the person he has become. The conversation also includes discussion of journalism and interview ethics, as well as the growing importance of podcasts in music as a whole. 

https://soundcloud.com/inside-music-podcast/161-jon-beatty-brewtally-speaking-podcast

Prefer video? We’ve got you covered:

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Industry News News

The Biggest Streaming Earners In 2019 (So Far)

Streaming has changed the way artists make money, but that doesn’t mean the biggest stars of today have fallen on hard times.

When its the last time someone told you about buying an album? When is the last time someone who wasn’t a collector (vinyl, cassette) told you they bought an album? Unless your inner circle is filled with devoted, old school music fans the answer is probably not anytime in the recent past. We live in the age of digital, which means we live in the streaming era, and that evolution has changed the ways musicians make money.

Depending on who you ask, this is a good and bad thing. Newer artists, especially in the world of rock and metal, claim streaming has made it harder to earn money because fewer people are willing to pay $5 or $10 to purchase their music outright. On the other hand, artists who create strong singles have found that the ease of access that Spotify and similar platforms provide has lowered the barrier to discovery. Those artists still make far less per stream than they would if each play was tied to a sale, but high stream counts can prove more beneficial than sales over time.

Whatever the struggles for newer artists may be, those talents at the top of the industry hierarchy are continuing to rake in plenty of cash in the age of streaming. Understanding the math behind the streams is often a struggle, but Billboard recently uncovered the top 5 streaming earners of 2019 so far, as well as a rough estimate of just how much money they’ve brought in for their label and team.

1. ARIANA GRANDE
Total label streaming revenue YTD: $12.08M
Total audio and video on-demand streams YTD: 2.83B

2. DRAKE
Total label streaming revenue YTD: $11.29M
Total audio and video on-demand streams YTD: 2.58B

3. POST MALONE 
Total label streaming revenue YTD: $10.90M
Total audio and video on-demand streams YTD: 2.63B

4. JUICE WRLD
Total label streaming revenue YTD: $8.38M
Total audio and video on-demand streams YTD: 1.92B

5. BILLIE EILISH
Total label streaming revenue YTD: $7.93M
Total audio and video on-demand streams YTD: 1.89B

Billboard’s estimates are based on Nielsen Music data and other information as of the week ending April 18. It’s a month later now, but the top five most likely remains the same, only with larger play counts.

It’s important to note that the second figure under each artist’s name combines song and video streams. Audio streams generate more revenue than video streams, but YouTube is an incredibly popular platform for music.

The figures above cover the sound recording royalty that the record label collects and doesn’t include publishing.

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Artist Advice Editorials Industry News News

How Cameo can improve your music and tour promotion

Celebrity endorsements can make or break certain releases, and in 2019, Cameo makes getting a celebrity to promote your music is easier (not to mention more affordable) than ever.

Every musician is different, but the ways musicians promote their music and performances are largely the same. Musicians will announce their upcoming event or thing through their channel or a music publication, and then they will continue to promote that happening until the big day arrives. There are, of course, variations in how this promotional period is handled, but most efforts boil down to text, still images, and the occasional video, all made by the group/artist. 

Cameo offers an alternative option for promotion. The service, which launched in 2017, is a platform where fans can book personalized video shoutouts from their favorite celebrities, athletes, or influencers. The company claims its mission is to “create the most memorable fan experiences in the world,” and it does this by allowing consumers to purchase short clips recorded by their chosen celebrity that are curated to mention a specific event or happening. 

Two common uses for Cameo are birthday and anniversaries. People hire their loved one’s favorite entertainer to record a short video where they offer congratulations or support or just say something funny. The clips can be downloaded and shared anywhere, and many are uploaded to the Cameo site so future consumers know what to expect.

Who can you hire on Cameo? There are seemingly hundreds of people to choose from, including Snoop Dogg, Jennifer Love Hewitt, and Gilbert Gottfried. Each celebrity chooses the price of their Cameo clips, which can range from a few bucks to $1,000. The talent also has the right to refuse or decline a Cameo request, which is important to remember.

A number of up and coming musicians have already leveraged the power of Cameo to promote their own endeavors. Recently, Michigan’s If Only, If Only bought a Cameo from Jackass star and skateboarding legend Bam Margera to promote their upcoming performance at BLED Fest in Michigan. The video, which you can view below, cost them just $65 to create:

In less than three days, the video above has been viewed over 4200 times, which nearly double the size of If Only If Only’s Twitter following

The band also posted the video to their Facebook page, where it has already generated more than 500 views.

The benefits to using Cameo as part of a marketing effort are numerous. For starters, people who recognize the celebrity are likely to watch the video, even if they may not be as familiar with your music. Additionally, the video can be shared on a number of platforms, and it provides a different voice (style) of promotion.  

However, the usefulness of a Cameo video is directly tied to the person hired to create the promotional clip. If fans are unfamiliar with the talent they may not click or care about the content. Artists need to know their audience and what that group cares about before spending money on promotion, which is true in any promotional endeavor. 

You can browse Cameo’s talent by heading over to the company’s official website. If you choose to promote through a Cameo clip, please send us a link! You can email james@haulix.com or reach us on Twitter: @Haulix.

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