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3 Ways Spotify Should Improve ‘Wrapped’ For Artists

Spotify’s end of year review feature offers a lot of fun insights, but it falls short of giving artists actionable data. We have a solution (or three). 

Spotify released a ‘Wrapped’ feature for artists this week that shares interesting information regarding their performance on the platform. Anyone with access to a Spotify For Artists account can see how much their music was consumed, which days they were most popular, where their fans live, and more through a series of animated slides that — at first glance — appear to offer crucial insights into consumer behavior.

But there’s a problem. While fun data that offers no true value is good for pleasing listeners, artists deserve more. Spotify lives and dies based on whether or not artists choose to promote through their service, so it would benefit the streaming giant to give musicians additional insight into the listening habits of their fans. What they offer now is a good start, but truthfully, the data provided only scratches the surface of what is (in theory) possible. 

Here are three changes that would greatly benefit all musicians and, in turn, help Spotify continue to reign as the preferred platform of people around the globe.

Give musicians more information about their biggest fans.

Spotify For Artists will tell musicians how many users listened to their music more than anyone else in a given year. However, the data stops short of telling us anything about those listeners. Who are they? Where do they come from? Without invading anyone’s privacy, Spotify could share geographic insights to help plan tour routes and targeted digital marketing campaigns. Knowing how many people listened to you more than anyone else is cool, but ultimately useless without any supplementary information.

If Spotify knows when interest peaked, can it tell us why?

Spotify For Artists will tell you the date and hour when your music was most popular. It can also tell you how many times your music was streamed during that hour. What we don’t know, however, is why that surge happened. Was the musician added to an influential playlist? Did all the streams happen for a specific song, such as a newly released single, or was it a bunch of tracks all at once? Was there any rhyme or reason for the surge of interest, or did it merely happen out of the blue? We don’t know any of this information because Spotify stops short of giving artists what they need to craft better marketing campaigns in the future.

Let’s talk about money

The first screen in the Spotify For Artists Wrapped feature shows a musician’s most popular songs for the last year, the total number of streams, and the day that song was played the most. Another screen tells artists the total playtime for all their songs throughout the year. This data is once again interesting, but it doesn’t tell us much in terms of usefulness. Knowing how much money a song generated over the course of a year is more beneficial to an artist than knowing their audience spent 1,000 hours listening to that song. The same goes for the catalog as a whole.

Many artists, especially those with label deals, are splitting their royalties between numerous parties. Receiving a grand total for revenue from Spotify can help shed light on whether or not musicians are receiving the money they earned. It can also help them understand the value or promoting their music through Spotify. 

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Industry News News Podcasts

Inside Music Podcast #187: Annie Schindel on Songwriting

Three years after her Inside Music debut, songwriter Annie Schindel returns to the show with stories from her life in the industry.

Success is not measured in comparison to others but in your sense of satisfaction with the work you pursue. That lesson is one every music professional must learn, often more than once, and it rarely easy.

Annie Schindel is not your typical singer/songwriter. After finding viral success online while still in high school, Schindel took a step back from the spotlight to focus on school and personal development. That effort lead her to rediscover her passion for songwriting, which eventually lead to behind-the-scenes role helping artists from all walks of life craft better material. She cannot speak the names of those she works with, at least not yet, but it is safe to say she has rubbed shoulders with serious industry players.

Now, three years after her Inside Music debut, Annie Schindel returns to our podcast with a series of stories and lessons from her life in songwriting. Annie explains how her lack of public output does not equate to a lack of work, as well as the plans she has for 2020. Annie also shares the story behind “Reminiscing,” the brand new single she released at the end of November. Take a listen below:

Prefer video? We’ve got you covered:

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Industry News News

Jay Z returns to Spotify in celebration of his 50th birthday

Jay Z did more than most to avoid becoming part of the Spotify machine, but on his 50th birthday, HOV has finally given in.

Ask anyone to list the best rappers of all-time, and most will place Jay Z somewhere in the top 5. From “Hard Knock Life” to “Tom Ford” and countless songs in between, few artists have been as prolific or successful as Jay Z in the history of popular music. His catalog is vast, but until very recently (December 4), fans could only access most of his material through Tidal, the premium streaming service Jay – who also owns the platform – helped bring to the masses in 2015 and Apple Music.

Fans will recall Jay Z’s catalog being on Spotify once before. In April 2017, Hov’s music disappeared from the streaming service “at the request of the artist,” according to an official statement. Reasons for the return are not clear at this time, but you don’t need to be a financial analyst to understand the potential for additional income. 

Jay Z’s reasons for starting Tidal were admirable. At the dawn of Spotify, Jay Z recognized that most of the investors behind the supposed ‘future of music consumption’ were people who had no direct involvement in music. The backers for the Spotify and Deezer and other streaming services were only interested in the money that could be made and not in the art they would use to make money. Tidal, which was initially backed by several significant artists, hoped to bring an artist-approved platform to the masses. 

Tidal is still in existence today, but its userbase trails Spotify and Apple Music by a wide margin. Jay Z’s decision to upload his catalog to Spotify in honor of his 50th birthday is more of a smart business move than an act of secession. Jay Z recognizes that “if you can’t beat ’em, join ’em’ is as relevant today as ever, and he understands the money to be made from adding his music to the world’s most popular platform for audio consumption. 

Furthermore, I would wager Jay Z believes his biggest hits is different than the material marked as ‘popular’ by Spotify before uploading his full catalog. Check it out:

Jay Z’s most popular Spotify songs as of 10AM EST on December 4, 2019

But what does this mean for Tidal? In the short term, probably nothing. Tidal’s chances of becoming the preferred method of music consumption by the world at large were always slim, and I don’t foresee Jay’s decision to join Spotify as something that will ultimately hurt the company. Tidal still has exclusive access to high-fidelity streams of Jay’s material, as well as event streaming capabilities that competing platforms have yet to offer.

It’s likely Jay’s decision is tied to an exclusive engagement contract he had with Tidal. His spouse and pop queen, Beyonce, ended a three-year exclusive streaming deal with Tidal for her album Lemonade in April of this year.

Until Jay Z comments on the change, feel free to revisit his essential tracks via the Spotify playlist below:

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Industry News News

BEWARE: The Annual Industry Slowdown is Coming [VIDEO]

Every December, music professionals everywhere do the unthinkable: They take time off.

With Thanksgiving behind us and a seemingly endless amount of ‘best of’ lists making the rounds online, 2019 is coming to an end. Soon there will be holiday shows, an appearance from Santa, holiday sales, and one or two crazy reunion gigs that happen just before the ball drop at midnight on January 1, 2020. A new decade will then begin, and what comes next is anyone’s guess.

December is a strange time for music professionals, but a good one as well. Every year, from the third week of December through the first or second week of January, the industry experiences what many people call ‘the industry slowdown.’ During this time, offices close, unimportant emails are ignored, and professionals everywhere do the one thing they rarely do: They take time off.

Yes, the industry slowdown is an unspoken agreement amongst the biggest names in music that provides space for reflection and relaxation before another busy year begins. It is a cherished tradition that continues in the digital age despite consumers’ constant demand for fresh content and ideas. We at Haulix take it very seriously, and many of our peers do as well. We’ll let Music Biz host James Shotwell explain the rest:

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Job Board News

Music Industry Job Board (December 2, 2019)

New opportunities:

Senior Manager, Music Marketing (Spotify – NYC)

This position requires experience and passion for the music and entertainment industry with a firm pulse on top mainstream and rapidly growing genres. This position will develop global playlist brand strategies aligned to holistic genre plans tied to audience growth, lead artist co-promotion marketing campaigns; driving strategy, campaign planning, execution, production, and delivery of integrated and interconnected brand and artist stories.

International Marketing Manager, Urban (Capitol Music Group – Hollywood, CA)

Universal Music Group is currently seeking an International Marketing Manager, Urban. This position is ideal for someone with experience across the multiple disciplines of the International arena. Candidates must be comfortable and capable of working with senior management, both inside and outside of Universal Music Group, as well as artists and their management. The candidate must also be able to work multiple projects simultaneously, responsible for all marketing and promotion activity outside the United States.

Director, Digital Marketing (Capitol Music Group – Hollywood, CA)

Universal Music Group is currently seeking a Director, Digital Marketing for our Hollywood, CA office. The Manager will spearhead Digital marketing initiatives for the label’s Hip Hop and R&B roster. They are responsible for building out the digital, mobile and social components of an artist’s overall marketing plan – including but not limited to: digital promotions, artists website development and optimization, fan acquisition and engagement, creation/implementation of digital tools and products to increase fan engagement, paid media campaigns, etc.

Marketing Manager, Account Services & Project Management (School of Rock – Culver City, CA)

School of Rock is searching for an experienced marketing project manager with prior exposure to a wide variety of marketing tactics to lead execution for various complex, project management-heavy marketing programs.

Senior Director, Media Planning/Buying (Viacom – NYC)

The role is responsible for determining how to best invest and allocate BET’s media budget to build best in class multi-platform plans across paid, owned & operated, and earned media. They will do this by understanding and interpreting BET’s programming strategy, consumer and cultural insights, data analytics, and industry marketplace knowledge.

Manager, Release Planning, Marketing Administration (WMG – NYC)

The Marketing Administration team at Atlantic Records is a new team, dedicated to ensuring that our music products (audio, video and beyond) are managed from A&R handoff to commercial availability, intersecting and connecting all of the moving parts across A&R Administration, Product Management, Business Affairs, Creative, and Production. This team is critical to both the operations of our product planning/delivery system, as well as communication within the company as the owners of the master release schedule.

Circle, Social Media Content Coordinator (Ryman Hospitality Properties – Nashville, TN)

Manages all commercial inventory on daily logs in real-time during live programming, as well as resolves any additional commercial inventory issues that may occur.

Marketing Manager (Brooklyn Bowl Nashville – Nashville, TN)

The Marketing Manager will be a collaborative, forward-thinking marketer, communicator, and digital leader who is constantly ahead of the curve regarding consumer engagement, content marketing, advertising, street promotions, and digital products.

Social Media Coordinator (Entertainment Cruises – Chicago, IL)

The successful Social Media Coordinator assists the Social Media Manager with executing the company’s organic social media strategy with the goal of increasing visibility, engagement, and website traffic. This role assists with the implementation of organization-wide social media management standards, policies, and rules of engagement for Hornblower Cruises & Events’ social media platforms.

Manager, Emerging Media & Innovations (Edelman – NYC)

We are looking for a Manager, Digital Innovation to join our fast-growing and exciting Global Digital team, working closely with our Global Digital Leadership Team and partnering with digital and client leaders across the Edelman Digital network.

Director, User Acquisition Marketing (Viacom – Hollywood, CA)

As Director, User Acquisition Marketing for BET+, you will be a key leader of our growing marketing team. You be will responsible for the strategy, planning and execution to our customer’s acquisition strategy. The Director will own the growth of new subscribers and new subscriber revenue. We are looking for a highly experienced, data driven marketer to lead all aspects of our customer acquisition efforts.

Manager, Content Communications (Spotify – NYC)

This role will work with Spotify’s Content Communications team to plan and execute publicity campaigns for Parcast and Gimlet programming. Beginning with project development, through launch and onto long term audience growth efforts — this individual will work with Parcast & Gimlet podcast creators, talent and their representatives on a daily basis. This job demands a creative spirit and well-organized mind for juggling and delivering on multiple campaigns across all genres.

Director, Marketing, Alternative/Rock (Republic Records – NYC)

The ideal candidate is innovative, creative, with a passion for the music industry with a focus on Alternative/Rock music. As the Marketing Director (Rock), you must have the ability to create campaigns that help develop the careers of artists.

Director, Marketing (Island US – Los Angeles, CA)

The ideal candidate is innovative, creative, with a passion for the music industry with a focus on Urban music. Has the ability to create campaigns that help develop the careers of artists.

Manager, Commercial Marketing (Capitol Music Group – Hollywood, CA)

This role is a fantastic opportunity to join an organization on the cutting edge of the modern music business and, as part of Universal Music Group, a chance to be part of the world’s leading Music Company.

Entertainment Marketing Manager (New Balance – Brighton, MA)

The Entertainment Marketing Manager sits at the intersection of lifestyle, sports and culture from the lens of our global urban consumer. This hybrid position works across consumer groups to cultivate and mature high-level relationships into influential brand properties. As a senior leader, you will work cross-functionally to create industry-leading integrated marketing programs that increase brand presence and encourage brand consideration. Globally, you will align with priority regions to help amplify our partnerships and increase the value of earned, paid and social media – establishing a larger halo for the brand. The Entertainment Marketing Manager will have access to and participate in the strategic planning and budgeting process across consumer groups in order to ensure success.

Manager, Marketing (UMG Nashville – Nashville, TN)

This position serves as the central hub for a quarter of the overall UMG Nashville artist roster. This job requires comprehensive communication and coordination internally and externally in order to keep projects moving forward while maintaining the overall artist message and brand.

Manager Marketing, Urban (Republic Records – NYC)

This role will be responsible for working with Universal artists and their representatives as well as executive staff and departments within Republic. They will recommend, assess and oversee marketing strategies and their impact on business and creative objectives. They will also work with external partners and be responsible for securing their support and participation in campaigns.

Manager, Tour & Events (Republic Records – Santa Monica, CA)

We are seeking a Tour Events Manager for our Republic Records office located in LA. In this role, you will liaise with other departments within the label, as well as artist’s teams, talent agencies, concert venues, and production companies. You will develop and maintain key relationships with others in the industry, including box office personnel, junior staff with agencies and promoters, artist managers, tour managers, and label staff.

Coordinator, Marketing Clearances (Sony – Culver City, CA)

Provide general administrative support (including filing, calendars, copying, preparation of Expense Reports, P.O. Requests, ordering supplies, answering phones, etc.) for the Marketing Clearances department.

Artist Marketing Manager, Latin (Caroline International – Hollywood, CA)

Caroline is looking for an Artist Marketing Manager, Latin (Contract) to be a part of the Commercial Marketing team in Hollywood, CA. The Manager, specializing in Latin music, will help coordinate day-to-day partner/programmer/tastemaker pitches for streaming services/DSPs and will partner with our labels/managers/artists to develop marketing campaigns that strategize the best course to market for their releases. This role will work in tandem with various departments under the direction of the Head of Commercial Marketing. The role requires both a wide-ranging skill set for working across every department at a modern label group and a unique perspective to think ahead and anticipate the needs of tomorrow today.

Music Content Curator / Social Media Strategist (The Resonance Labs LLC – Redmond, WA)

We are looking to work with a rockstar music content curator / social media strategist to help with content curation in Resonance and help manage Resonance’s social media pages in the upcoming release of Resonance. An ideal candidate will own the user engagement and retention area, run curated content, email, push notification and social media campaigns.

Director, Music Licensing (Audio Network – Los Angeles, CA)

This full-time L.A. based role will be joining an efficient international music licensing company already operating in London, New York, Los Angeles, Munich and Paris. The Director, Music Licensing will work with the current Los Angeles team in selling Audio Network’s library to film and television companies. This is a great position for someone who has experience in music licensing and sales.

Critic: Classical Music Fellow (Dallas Morning News – Dallas, TX)

The Classical Music Fellow develops and writes signed columns and/or pieces of criticism of wide reader interest to complement The News ’ reporting and increase audience and engagement. This position is supported in part by the Rubin Institute for Music Criticism, the San Francisco Conservatory of Music and the Ann and Gordon Getty Foundation. The News makes all editorial decisions. This is a one-year fellowship with the possibility for annual renewal.

Senior Manager, Music Licensing (Paramount Pictures – Hollywood, CA)

The Senior Manager, Music Licensing is responsible for efficiently drafting and negotiating various licenses for outside music from major publishers and record labels for the Paramount Music (Film and Television) division.

Project Manager, Editorial, International Music Team (Spotify – NYC)

We are looking for an Editorial Project Manager to join our International Music team. In this role you will play a key part in supporting the 100+ music editors around the world.

Executive Assistant, Digital Music (Amazon – Seattle, WA)

This role demands a strong sense of urgency and the ability to work independently on assignments and demonstrate sound judgment. The right candidate will have a strong bias for action and the ability to think proactively and strategically. A high level of integrity and discretion in handling confidential information and professionalism in dealing with senior professionals inside and outside the company is imperative.

Music Coordinator (Acara Solutions – Burbank, CA)

Acara Solutions is looking for Coordinator for our client located in Burbank, CA. -Coordinate relationships with several digital DSPs profile and account maintenance on various platforms. -Timely set up and maintenance of artist and label pages on key partner sites including: Apple Music, Amazon, Spotify, Pandora, and others. -Design and coordinate pitch documents for the S+D team to communicate to key partners. -This will require the timely collection and compilation of assets, marketing plans and music. -Prepare weekly submission documents for new releases. -Liaise with the marketing team with regard to marketing plans, shared planning documents. -Additional Information General support for business needs across the entire Sales & Digital department including, but not limited to, partner pitches, playlist updates, social post requests, creation of smart URLs and submissions to the hit list.

Canadian-French Music App Copy Editor (Weloocalize – Los Angeles, CA)

Welocalize is seeking a Canadian Music App Copy Editor in Los Angeles with backgrounds in various locales/languages to support our client’s needs for their music application.

Vice President, Music & Licensing Strategy (Viacom – NYC)

Viacom is searching for a Vice President, Music & Licensing Strategy to drive strategy and lead department initiatives for the revenue generating areas within the Music and Licensing Strategy Group, including Clip and Still Licensing, Music Publishing and Audio. Additionally, this role is responsible for impacting and influencing department-wide initiatives such as technology opportunities and inter-department global communications.

Manager, Music and Media Licensing (Viacom – NYC)

As the Manager of Music and Licensing Strategy, you will partner with leadership to formulate licensing strategy and negotiate favorable rates for the use of music and other third party elements on MTV, VH1, LOGO, CMT and BET. You will play a meaningful role at the forefront of the production process by supporting Internal and Third Party Productions, Scripted, Reality and Short Form productions and will work in tandem with the Creative Music Integration, Digital and Brand Creative teams across all brands. This position will regularly engage with the Production Management, Creative, Business and Legal Affairs, and IP Litigation teams pushing forward brands’ strategy and securing clearances to execute and deliver on behalf of client’s and business’ creative vision. In this role, you may also oversee project based employees and/or interns.

Oral History Interviewer on the History of Mariachi Music in Los Angeles (UCLA – Los Angeles, CA)

The COHR Oral History Interviewer on the History of Mariachi Music in Los Angeles will develop an oral history project focused on the history and performance of mariachi music in Los Angeles. The interviewer does background research in relevant primary and secondary materials; conducts multisession oral history interviews; and draws up timed logs, names lists, and other supplementary materials. As requested, gives presentations on the interviews conducted and develops on-line exhibit and other products (blog posts, publicity on social media, podcasts) that will contextualize and publicize those interviews.

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