Month: January 2020

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Business Advice Editorials Industry News News

Who cares if the GRAMMY AWARDS do not appreciate rock and metal?

Rock Is Dead (Not)

Honestly, does the opinion of GRAMMY voters and event producers really bother you?

The GRAMMY awards aired last Sunday, which means people everywhere have spent the week discussing and debating the night’s most significant moments. Did you see Tyler The Creator setting the stage on fire? Did you predict Billie Eilish would sweep the night’s biggest awards? Were you blown away by Tanya Tucker’s performance? All of these are great questions about must-see moments that music fans will celebrate for the foreseeable future.

As with every awards show for every area of entertainment, the GRAMMYS also created a lot of discussion for the corners of the industry that didn’t receive very much attention on music’s biggest night. Specifically, rock and metal fans were largely left feeling underserved. Though there were a handful of performances highlighting the most easily accessible rock talent, including Gary Clark Jr. and legendary rock band Aerosmith, the genre awards and their recipients were relegated to the pre-show stream.

Because of this, as well as the fact that rock and metal artists made up less than 10% of the night’s performances, people are once again claiming ‘rock is dead.’

Here’s a counter-point: No, it’s not.

Rock and metal have been declared dead more times in the last decade than anyone can count. I would go as far as to say critics have proclaimed the death of rock more times than any other genre, and every time they are proven wrong by a cavalcade of talented young artists. Rock is alive in virtually every city on the planet, and every night of the week, countless rock and metal artists are performing in bars, clubs, etc.

The GRAMMY awards cater to the largest audience possible using the biggest names in music to lure in viewers who otherwise could care less what some unseen panel of judges thinks of music. Except for a few performances, the vast majority of talent on the GRAMMY stage plays in regular rotation at every top 40 radio station. Rock and metal don’t live on those stations anymore, at least not in a significant way, so it makes sense that we don’t see the biggest bands in the genre performing on the awards show stage.

On the rare occasions when rock acts do play, the same people who claim rock is dead are the first to complain that those groups don’t correctly represent the genre. Unless Tool or Slipknot or Killswitch Engage takes the stage, the scene’s biggest critics (and self-proclaimed biggest fans) will be upset.

And let’s be even more honest: Not all rock and metal bands sound great when they do appear on television. For every show-stopping performance, there are big-name groups whose late-night and awards appearances don’t work due to mixing and production issues. Remember when The Blood Brothers were on TV? Slipknot managed to pull it off on Kimmel last year, but Cory’s vocals were largely lost in the mix.

Here’s the thing: You don’t really care about who does or does not appear at the GRAMMYs. That cannot possibly be true. You fell into rock and metal for all the reasons everyone else does, which includes the sense of rebellion that lives at its core. Rock and metal, especially current iterations of the genres, were never meant for mass consumption. These genres represent boundary-pushing artistic expression that doesn’t shy away from tough topics or tough emotions. It’s outlaw music made for people sick of the system and the oppression they feel while trying to live their lives. The bands rock and metal fans treat like Gods are the same groups who openly loathe corporate events like the GRAMMY awards, so again, why would anyone care that the GRAMMYs don’t recognize them?

Furthermore, if you want to point the finger at people hurting rock music, you need to look first and foremost at the gatekeepers responsible for new music discovery. Do you know why pop and hip-hop continue to thrive while rock music is written off as dated or dead? It’s because the radio stations and entertainment pillars promoting those areas of music follow the lead of their listeners, especially young music fans. When a song takes off online in the realm of hip-hop, radio programmers do everything in their power to get that artist into rotation at their local station. That does not happen for rock bands. Their best hope is Sirius Octane or a single night of play in some ‘new music contest’ hosted by a radio station seeking to fill time in between “Smells Like Teen Spirit” and “Enter Sandman.”

Rock is very much alive. There has probably never been more rock and metal artists actively recording and touring than there are right now. I receive at least five new rock records in my inbox every single day of the week, and it has been that way for years. There is no shortage of talent, and there is no shortage of fans eager to hear the next song or group that will change their life. Do mainstream audiences care as much as it once did? No, and it may take some time before it does again, but that doesn’t devalue the talent or fans that currently exist.

And if you want rock and metal to become a more important topic of conversation in pop culture, then the fans and aging institutions that support those genres need to evolve. We need to celebrate young artists and appreciate the legends who came before instead of doing the opposite. We need to separate classic rock from modern rock in a meaningful way so that newer artists have a better chance of achieving legendary status. We need to look inward and destroy our pre-conceived notions of what makes a rock or metal band great so that we might be open to the next genre-pushing talent that arises. We need to change, plain and simple, and we need to stop expecting the biggest names in entertainment to make those changes for us.

The GRAMMYs don’t matter. At least, not as much as consumer dollars. Vote with your wallet and support the talent that matters to you. Tell your friends about the artists you love, and invite them to go to concerts. Be the influencer you wish your local radio station or favorite blog would be for the talent you enjoy. Please do your part and do it to the best of your ability. If we all do that, then maybe — just maybe — we will see the focus of pop culture shift in rock’s favor. It also may not, but that’s okay because it doesn’t really matter in the first place.

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Industry News News Podcasts

Inside Music Podcast #190: Hollywood Undead

Ahead of Hollywood Undead’s new album, George “Johnny 3 Tears” Ragan stops by Inside Music to share his strategy for remaining relevant in the entertainment business.

No one could have predicted the success of Hollywood Undead, including its members. After finding viral success through MySpace during the golden age of social media, the genre-bending group found themselves rising to the top of the alternative music scene. Over a decade and a half later, the band has multiple RIAA certifications, chart-topping records, and sold-out shows on four continents. They’ve also changed countless lives.

On February 14, Hollywood Undead will continue its legacy of releasing boundary-pushing music with New Empire Vol. 1, the first of a two-part release. The nine-track album showcases a little bit of everything the group has become known for, but it also does not shy away from experimentation. Hollywood Undead understands that we are living in confusing times, and they vent their frustrations over the state of things throughout the release. It’s a cathartic collection of anthems meant to start conversations not only about the world around us, but the thoughts and feelings inside us as well.

George “Johnny 3 Tears” Ragan has been with Hollywood Undead since its inception. His appearance on the latest episode of Inside Music is both informative and celebratory. George has witnessed the countless ways the entertainment business can destroy musicians, as well as the many ways people unwittingly sabotage their careers, and he’s here to share his knowledge with listeners. George also opens up about Hollywood Undead’s work in the marijuana industry, and why the group felt it was so important to share two records with fans in 2020. Check it out:

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Editorials Industry News News

How One Video Can Change Everything

Have you heard of cob-core? Before January 2020, nobody had, but a lot can happen in a month.

Call it a tragedy or not the way things should be, but there countless promising artists and bands around the world struggling to reach people that claim to be passionate about new music. Everyone loves to hear the next group that could change their life, but how many of us are actively searching for those artists? As a journalist, I like to think I do my fair share of discovery work, but there are too many musicians promoting far too many songs for anyone to hear everything worthwhile.

The marketplace of music has never been as oversaturated with talent as it is right now. You could listen to five new artists in your favorite genre every day and barely scratch the surface of what there is to hear. Streaming services have attempted to do their part with algorithms that show us several artists we may be interested in, but even those fall short of covering everything.

Musicians hoping to get ahead today need more than good songs and quality production. The recipe for success has always required a few extra ingredients. Still, the increasingly overcrowded content has made the need to uncover or share something unique more significant than ever before. What works for some will not work for others, but thinking outside the box is a must because, frankly, you never know what will connect.

As The Structure Fails is a Canadian metal band with two releases under their belt and nearly a decade of touring experience. The group has always written exciting music that spoke to the struggles most face when trying to chase dreams and overcome tragedy in the modern age, but finding traction in the media and metal scene at large has been an uphill battle. Despite delivering well-written songs and high-gloss visuals, As The Structure Falis has mainly been overlooked by virtually everyone, including the person writing this post.

That is, until the video for the band’s new single, “The Surface,” hit YouTube in early 2020. Check it out:

Tagged as both #CobCore and #HillbillyMetal, the official video for “The Surface” finds As The Structure Fails channeling the small-town lifestyle for a unique take on performance-driven music videos. As Vocalist Kyle Laird explains:

“We decided to take a jump outside the standard heavy music videos we tend to see, to create something outside of the box. We feel like this video truly is one-of-a-kind, reflecting our own lives of living in small towns and working on farms. We hope people see the humor in it.”

The concept for “The Surface” is incredibly silly, but it has also proven to be an effective marketing tactic. In its first month of release, the video earned over 27,000 views, making it the band’s most successful video to date. The song also has over 15,000 streams on Spotify, which is double the total streams for their second most popular song. 

As for the press, As The Structure Fails’ level video has made an appearance on some of the most famous sites in rock and metal, including Lambgoat and Hardcore Worldwide. The band has been gaining fans faster in the weeks since “The Surface” was released than at any other point in their caree, and it is all thanks to one original idea.

So, what happens next? No one can know. However, it is safe to say that As The Structure Fails has captured the attention of their genre peers and gatekeepers in a time when accomplishing such a thing is often considered an impossible task. They broke through the noise and competition by leaning into their originality as much as possible. They trusted themselves with a wild idea and it paid off.

The lesson here is clear: Do what makes sense for you and don’t think twice about looking foolish. There is always a chance that what you do will not work the way you imagine, but the likelihood it becomes more significant than you ever anticipated is equally high. Art is about originality and risk-taking. Don’t be afraid to do something unlike anyone else because that is how you set yourself apart and get noticed. Just don’t try to be the hillbilly metal band. That role is already taken.

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Industry News News

Artists Can Now Share Spotify Canvas Clips To Instagram

Spotify now enables artists to share their moving-album-artwork Canvas clip direct to Instagram stories via the Spotify For Artists app on iOS, ideally deepening fan engagement with the tool.  

Engagement is the name of the game at Spotify. The streaming giant knows you want music at your fingertips, but they rely on constant engagement to build their business. Time spent listening is a key data point for investors, advertisers, and shareholders. The introduction of the Canvas tool in 2019 gave streaming a boost, with internal analytics showing that the brief videos raised track shares up to 200%, not to mention raising total streams and saves, and now the company is furthering their efforts to make the tool useful to artists.

Starting this week, Spotify now allows artists to share their canvas clips through Instagram Stories. Artists can show off their Canvases and invite their Insta followers to click through to Spotify, where they’ll be able to take in the Canvas and its associated song together.

Canvas sharing is currently available to creators in the Canvas beta who are using the Spotify for Artists app on iOS. In your Artist profile, each of your tracks which is accompanied by a Canvas has a “Share” icon next to it; tapping on that will let you share the song, and its Canvas, to your Instagram Stories. Your post will look like a regular Spotify share, with cover art and a link to play the track on Spotify—only now, your Canvas will be the backdrop. (Audio will not play on Instagram.)

Fans seeing the Canvas on Instagram will not be counted in Canvas metrics unless they click through to Spotify.

Spotify has not yet revealed a public release date for Canvas. For now, artists can visit the company’s dedicated Canvas site and sign up for the waiting list.

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Haulix Industry News News

Haulix By The Numbers: A Look Back on 2019

A decade into our time as a business, Haulix is busier than ever, and we couldn’t be happier.

January is traditionally a slow time for the music business. It’s the one month every year where people are generally quiet, but only because they are busy prepping for the seemingly nonstop action that will occur in the eleven months that follow. Every client we’ve spoken with this month has excitedly shared details about events and albums they are working on for 2020. Everyone is busy, and everyone is thrilled to see how the new year will unfold.

Before things kick-off, we wanted to take one last moment to reflect on how far we’ve come as a company. Haulix has been in business since 2008, and we have witnessed countless evolutionary changes within the music business. We’ve seen the slowing of physical media sales, the rise of streaming, the influx of new festivals, and the dawn of TikTok. We have followed every trend in journalism and media relations we could, and we have done our best to evolve alongside everyone else. Our system today is stronger, faster, and more intuitive than anything we’ve had before, and our work is far from done.

Still, 2019 was a banner year for Haulix. More music was shared with more people than ever, and we have the data to prove it.

In 2019, Haulix clients sent nearly 25 million emails through our system, with the most popular day for sending being Fridays. That’s an average of more than 68,400 emails per day!

We take great pride in our email system, and it’s easy to see why when digging into the impact of those invitations and press releases. We had an 88.7% delivery rate for all messages and a bounce rate of just 0.20%. Of all the emails sent, only 0.10% resulted in an unsubscribe.

We also learned in 2019 that short subjects are not always the most effective. The most impactful subject line for Haulix emails contained 82 characters!

With plans for a new press release tool, as well as premium and radio contact lists, we’re expecting more emails than ever to pass through our system in 2020. Be sure to follow our Facebook and Twitter pages for additional data insights in the months ahead.

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Artist Advice Business Advice Editorials Industry News News

Three Music Industry Lies Artists Need To Stop Believing

There is a lot of great advice on succeeding in the music industry, but there are a lot of lies as well. Let’s take a moment to separate fact from fiction before someone steers your career in the wrong direction.

The only thing the music industry has more of than artists is people who think they can help artists succeed. We choose to believe anyone offering advice is doing so because they genuinely want to help others. After all, why would someone purposefully offer lousy advice that could be detrimental to another person’s career?

The problem with offering advice, especially in an industry like music, is how rare any path to success works more than once. Artistic pursuits are built mainly on originality and creativity, which is why artists who become game-changing superstars are so rare. Not everyone has a clear vision for their career, and far less possess the unbreakable spirit needed to risk everything long enough to establish themselves as an undeniable talent. There is a reason we only have one Taylor Swift, one Kiss, and one Elton John. All three are examples of talented musicians that blazed a path entirely their own that has been repeated countless times by gifted people who never took the extra step needed to separate themselves from the rest of those following the lead of those who came before.

Our goal with this blog has always been to keep things as simple as possible. We would never advise you to copy another artist’s career because the likelihood that lightning strikes twice is incredibly low. We choose to focus on establishing a foundation for success with essential marketing and business knowledge in the hope it empowers your creative expression. We cannot make you a star, and anyone who is claiming they can is most likely selling you a lie.

With that in mind, here are three common lies sold to musicians on the rise all around the world. These ideas are discussed at conferences, on podcasts, and through blogs (un)like this one regularly, which is why so many foolishly believe they offer some magical solution to becoming a star. But trust us: No such magic exists.

“All you need is one great song.”

When people originally started telling artists that they only needed one great song, they were probably telling the truth. Before computers and the internet empowered anyone with a melody in their head to quickly release music, one great song could land you a record deal and number one single. If that single sold well, the success of your one great song could propel you into the music hierarchy long enough to make a little money, buy a house, and more or less sustain yourself until people came to their senses. The 1980s and 1990s were filled with musicians who blew up from a single song and never duplicated their success, but those instances became far less frequent with the rise of internet culture.

These days, one great song is all you needed to get started. One great song can turn heads and raise awareness for your music, but it is rarely enough to make you a star. Even Lil Nas X, who came out of nowhere with “Old Town Road” in 2019, needed several remixes of his hit to propel the song to its record-breaking streaks atop the Billboard charts. He also followed that song with “Panini,” which also performed incredibly well (aided, at least in part, by its own series of high-profile remixes).

The reason one great song isn’t enough is due to the marketplace. There is so much music being released all the time by artists from every corner of the planet that one song very rarely can establish a career. There will always be outliers, of course, but believing your song will make you one of the exceptions to the rule is a recipe for disaster. You need more than one great song. It would be best if you as had as many great songs as you can possibly write.

“You need to be on every social media platform.”

We have written extensively about the problems social media can create for artists. Social media is a time-consuming monster that must be fed frequently with original thoughts and ideas that may or may not convince someone to follow you. In the event you do earn a new follower, there is still no promise that an individual will become a financial supporter of your music or even become a fan of your creative output.

Experimenting with social media is the best method of participation. Launch accounts on any platforms that interest, but do not allow yourself to believe existing on social media is a necessity. The only place you need to be is where your fans already are, and the only people you need to worry about entertaining are the people already invested in your music. If you can get your current fans to engage with your tweets, new followers and fans will come in time. If your fans aren’t present or don’t participate, then getting people unfamiliar with your work will be incredibly difficult.

If something doesn’t work, delete your account and move on. You don’t have the time to be creating content for platforms that do not help your bottom line.

“You need to tour.”

Let’s get one thing straight: You don’t need to do anything that doesn’t make sense for your career. If you prefer releasing singles, then you shouldn’t worry about creating an album. If you prefer to record every instrument yourself with the help of a laptop, then you shouldn’t worry about building a band. If you have no interest in touring or it doesn’t make sense financially to hit the road, then you have no obligation to do so.

Will your fans always love your choices? Probably not. Will they respect you for taking care of yourself and consistently engaging with them, however, you are able? Absolutely.

Touring can be incredibly lucrative. Touring can also create a lot of debt. Make sure going on the road is right for you before you begin booking shows. If the numbers don’t add up or you don’t feel ready for it, then you have no obligation to tour.

Never let anyone tell you there is only one way to succeed. There are countless ways to excel in the music business, including numerous methods that have yet to be discovered. The best path anyone can take is the one that makes the most sense to them. That way, even if things don’t work out, you did things your way, and that’s more than many creatives can claim.

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Editorials News Writing Tips

How To Become a Better Music Writer In One Month

The Music Writer Exercise is coming, and you would be a fool to ignore the opportunities it presents.

As the saying goes, everyone is a critic. The age of social media has given everyone a voice to talk about everything they experience. One glance at Facebook or Twitter at any time of day will reveal countless opinions about everything, from entertainment to fast food. You don’t need a degree or any amount of experience to classify yourself as a critic, just like you don’t necessarily need any measurement tools to claim you’re an influencer. Did your friend do something because you suggested it? Congratulations. You’re an influencer.

Being a music writer in 2020 is a strange thing. You believe your passion for music and your knowledge of its history are so great that people should take an interest in your perspective on an industry that millions try and fail to join annually. Everything a music writer attempts today is challenging to achieve. Successfully pitching stories is hard, securing exclusive access or content is hard, and finding an audience for your work often feels impossible. That said, there may be no more excellent feeling in this life than writing something you believe in that connects with people, even if “people” turns out to be someone you’ve known for years.

Writing about music is a passion many possess, and we want to make you better at conveying your thoughts on artists and songs with a challenge. Music Writer Exercise, otherwise known as #MWE, is a month-long writing challenge that will expand your palette and improve your wordplay. Watch the video below for more information.

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Artist Advice Editorials Industry News News

Singles Vs. Albums: What Works Best in 2020 [VIDEO]

The debate on the best way to release music rages on, but we can help decide what will work for your career.

Streaming changed the business of music forever. That statement has been repeated over and over for the last decade for good reasons. The music industry looks nothing like a did before services like Spotify began luring consumers away from physical media. From how we enjoy music to the amount of music consumed, the number of opportunities for music discovery, and the way an artist makes money, everything is different. Some changes are good, others not so much, but the only thing artists can do is adapt.

Recently, we spent a week in Los Angeles speaking with labels of all sizes about their approach to releasing music and signing artists in 2020. Almost everyone we talked to told us they struggle to break new artists in the current media landscape. Some are even changing their signing offers to focus on singles first as a way to ensure they don’t spend too much developing an artist that goes nowhere. They believe in new music, but they also need to be economical.

With this in mind, we got to thinking about unsigned artists and how they can best approach a career in the streaming age. There is no one way to establish yourself. What works for some musicians will not work for others and vice versa. That said, we can give you the insight you need to decide what is best for your career, which is precisely what today’s episode of Music Biz is all about. Check it out:

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Industry News Job Board News

Music Industry Job Board (January 20, 2020)

New opportunities:

Manager, Artist & Label Strategy (Ryman – Nashville, TN)

The Manager, Artist & Label Strategy will maintain close relationships with record labels, their respective artists & supportive teams to drive artist engagement and new opportunities across the OEG platform (Grand Ole Opry, Circle, Ole Red, WSM, Ryman, etc.). This individual will maintain knowledge of artist timelines & initiatives, identify new opportunities for artist engagement, and drive execution of projects as they liaise between internal teams & external partners.

Brand Communications Manager (Ryman – Nashville, TN)

The Brand Communications Manager is responsible for developing external communications strategies, messages, and tools for Ryman Auditorium and other Opry Entertainment brands as assigned. The Brand Communications Manager will partner with key stakeholders inside and outside the organization to promote concerts and daytime tour experiences by elevating awareness of the Ryman Auditorium with likely visitors, past visitors, the entertainment industry and the travel/tourism industry.

Administration Coordinator (Live Nation – Nashville, TN)

You are a highly organized individual with dynamic interpersonal skills who will assist in coordinating all activities of the office.

Manager, Artist / Label Relations (Live Nation – NYC)

We’re seeking a Manager, Artist/Label Relations who will serve as a key member of the Roc Nation Equity Distribution Team. The Manager Artist/Label Relations will work closely with a set roster of artists/labels and all departments within Equity Distribution. The Artist/Label Relations Representative will be the expert for Equity Distributions products as well as the artists/labels he/she represents.

Music Artist Manager (THL Productions – Charlotte, NC)

Music label located in the Charlotte, NC/ Rock Hill, SC area in search of an experienced music manager. Knowledge of the music industry and/ or a bachelor’s degree in business management is preferred. If interested email resume to larry.m.caldwell@gmail

Artist Marketing Manager (Tidal – NYC)

With a high-paced environment, talented team, and cutting-edge offering, you will be part of a team collaborating passionately on diverse marketing initiatives. You will have the chance to learn about content management, awareness and growth marketing along with the music streaming industry in general. The role is suitable for a structured, proactive, service-minded and hard-working person. You will report to the Director of Marketing.

SVP, Marketing and Strategic Partnerships (CMA – Nashville, TN)

Oversee the development and execution of CMA’s marketing, communications and strategic partnerships strategies. Responsible for all aspects of global communication and marketing at CMA including oversight of marketing, communications, market research, creative, digital, and strategic partnerships teams. Facilitate strong communication and collaboration within the marketing team as well as across other internal departments. Maintain close relationships with network and other strategic partners.

Manager, Market Research Analysis (CMA – 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.

Patron Services Representative (Cincinnati Symphony Orchestra – Cincinnati, OH)

Reporting to the Box Office Manager, the Patron Service Representative serves as one of the first points of engagement with our patrons. Successful candidates are professional and personable individuals who show great attention to detail in a fast-paced environment, an interest in classical music, and a commitment to outstanding service to our guests and colleagues.

E-Commerce Marketing Analyst (Musicnotes – Madison, WI)

Contribute to sales and marketing strategy development and execution.

Executive Assistant (Live Nation – Los Angeles, CA)

720 Entertainment, a Roc Nation joint venture based in the Los Angeles office, is seeking an Assistant, Artist Manager. This role will be two hold; supporting Senior Management while also handling Day to Day Management of a major electronic artist. The ideal candidate will have excellent communication skills, is highly discretionary and is able to prioritize and multi-task efficiently in a fast-paced, demanding and ever-changing environment.

Entertainment Venue Marketing Manager (The Bomb Factory – Dallas, TX)

We are looking for someone who is passionate about crafting cool stories about amazing musical moments experienced by thousands and communicating them to the world. We’re looking for the fun person who loves music, is passionate about the places where it’s played and wants to be a part of an amazing history of Dallas music that’s being played out every day from our stages. As Marketing Manager, you will be responsible for managing the brand presence of three of the most iconic music venues in Dallas- The Bomb Factory, Canton Hall, and Trees, and will lead a team that manages the public-facing brand of the three venues, including all social media accounts, ad negotiations and placements, creation of unique story pitches for media, graphic design and branding, and promotional executions. This person will also work alongside our partners to promote all upcoming shows and to develop specific campaigns as required to promote specific shows.

Program Director (Cumulus Media – Pensacola, FL)

You must be ready to lead and contribute to the team. You will be responsible for day-to-day aspects of the programming including on-air content, music, imaging, digital, and personalities. Be creative, be innovative! The Program Director is also responsible for growing and operating strong brands and must have a strong background and passion for Country music. Energy, enthusiasm and experience within the genre is a must. You will be responsible for all aspects of programming including; music scheduling, managing on-air staff, imaging, station strategy, developing and executing revenue generating sales & programming promotions, website & social media, digital content and have a strong understanding of the core audience of a Country format. The position may also requires a daily air-shift, along with a weekend live/recorded shift and/or live appearances and live remotes!

Digital Marketing Manager (Primary Wave Music – NYC)

In this dynamic role, we will rely on you to develop and execute innovative digital marketing campaigns for our company and artist roster.

Head of US Music Programming (Amazon – Culver City, CA)

Amazon Music is seeking an experienced music executive to lead our Programming efforts in the world’s largest music market, the US. This role will report to Amazon’s Global Head of Programming and Content Strategy and will architect playlist, station and discovery experiences for US customers, and manage the team that delivers those week-to-week. The ideal candidate will be a seasoned strategist, with an understanding of customer acquisition and engagement that contemplates all the complexities of the current digital music business. The candidate will have the skills to build on this knowledge, and deliver the best experience possible, for all music fans, and will have a proven track record of delivering results.

Assistant, Music Brand Partnerships (CAA – Los Angeles, CA)

CAA is seeking an Assistant to support an Agent in our Music Brand Partnerships department based in Los Angeles. CAA Music Brand Partnerships is a dedicated team of music branding and marketing experts that works across all genres. The department works to service the agency’s music clients by developing strategic campaigns and successful partnerships with brands from across the globe.

Director, Music, Creator and Consumer Communications (YouTube – Los Angeles, CA)

As the Director, Creator and Consumer Communications at YouTube, you will work with senior leadership to help craft and execute our overall creator and artist communication strategy against YouTube’s business objectives. This work includes creating an overall narrative of how YouTube creates global moments, developing creator stories, and promoting YouTube Originals and YouTube Premium services. To do this, you will lead the Consumer, YouTube Originals and Music communication teams that span across the country.

Music Lead, Spotify Studios (Spotify – Los Angeles, CA)

In this role, you’ll oversee Spotify’s Music & Music Talk content portfolio and a dedicated creative team. You will source, develop and produce premium audio and video series that engage existing and growth audiences, with an eye toward bolstering Spotify’s presence and voice in the category.

Manager, Music Performance Program (University of Chicago – Chicago, IL)

Under general guidance, the job performs a broad range of operational business activities relating to the design, planning, and execution of events and programming. 1) Plans and schedules events, programs, and outreach. Coordinates event-day logistics, and performs other routine assignments with guidance from others., 2) Assists with identification and resolution of event and program needs, including vendor selection and contract negotiation. Keeps track of all expenses, prepares reports on costs, using existing procedures to solve routine problems as they arise., 3) Maintains guest lists and assists with mailing invitations and creating brochures for the event., 4) Compiles data to be used in event and program evaluation. Contributes to improvements by implementing ideas as they are identified, with general direction from others., 5) Performs other related work as needed.

Music and Politics Internship (HeadCount – New York, NY)

Students with an interest in politics, music or grassroots organizing can channel their passions by interning with HeadCount. This is an opportunity to get invaluable hand-on experience and make an important contribution to a dynamic and growing organization. Our interns work side-by-side with seasoned staffers and play an important role from day one. Many of our interns have been offered and accepted full-time position with HeadCount and others have landed jobs within the music industry and at other non-profits.

Coordinator (Disney Music Group – Burbank, CA)

The Coordinator, Disney Music Group primary responsibility is to provide front desk (reception) support and administrative back-up to assistants/coordinators throughout DMG including for senior leaders including the President. Additional responsibilities includes ordering office supplies ordering, and organizing and maintaining product and storage rooms.

Social Media & Administration for busy Music Management Firm (Songster Studios – Las Vegas, NV)

We are Songster Studios one of North America’s fastest growing music management companies. We are opening a branch in Las Vegas and we are looking for a Social Media Manager + Administration.

Orchestra Management Assistant (Boston Symphony Orchestra – Boston, MA)

Assist Orchestra Manager in administering all activities and services of the Boston Symphony Orchestra, Inc. including Symphony, Pops, and Tanglewood Seasons, and Boston Symphony Chamber Players. Administer media contracts and AFM pension reporting.

Assistant, Music Touring (CAA – Los Angeles, CA)

The assistant will provide administrative support to a senior agent in our music touring department. The ideal candidate should be motivated, interested in the concert booking space, quick-thinking and open to working in an environment where he/she is capable of performing administrative tasks in a fast-paced environment. Growth opportunities exist for top performers.

Vice President of Music Commerce (88rising – Los Angeles, CA)

We are currently seeking a Vice President of Commerce who will be the primary account lead on 88rising commercial accounts across streaming and sales globally.

Sr. Program Manager (Apple Music – Santa Clara Valley, CA)

The Apple Media Products (AMP) organization is an exciting environment with many opportunities for learning and development. With customers in 155 countries, we are a thriving marketplace for music, movies, TV shows, apps and books. We’re looking for a Senior Engineering Program Manager (EPM) to drive initiatives related to Apple Music & partnerships with new clients. EPM’s at AMP are responsible for shipping new features. We’re looking for people with proven track records of shipping complex, customer-facing products under demanding timelines, with bonus points for new product introductions. This is a hands-on position where the EPM will be involved in requirements analysis, functional and technical design discussions, engineering implementation, QA testing, proof-of-concept, working with partners, and more. This is not a task-based job; you will be responsible for high-level successful outcomes and delivery. Ultimately, you are responsible for shipping the code which millions of customers will use. AMP EPM’s take responsibility, feeling a personal stake in the product they ship. They must communicate responsibilities and scope clearly, manage conflict, and thrive in uncertainty while striving to find solutions. They must build strong relationships across the entire organization, especially with Senior Directors & VP’s, as they’re frequently responsible for executive presentations. Autonomy is critical; EPM’s only receive consultative direction from leadership and must “figure it out” themselves. Multi-tasking and concise documentation are skills you’ll use every day.

E-commerce Program Manager (Radio Systems Corporation – Knoxville, TN)

The E-commerce Program Manager will identify scalable processes and systems to drive growth or fix systemic issues on the Amazon marketplace and apply such learnings to Radio Systems Corporations expansion to other e-tailers.So, let’s talk about what’s famous about Knoxville, TN. We have been called “The Marble City” and Scruffy City, names we have embraced as our own. And, what do Quentin Tarantino and Johnny Knoxville have in common? They were both born Knoxville. We are the home of 1982 World’s Fair and we boast of 21 craft breweries in Knoxville now. Click here for the Ale Trail. If you like to hike or camp, visit the Great Smokey Mountain National Park. Take your pick on activities from hiking to biking, our Urban Wilderness has a lot to offer. Knox County has great public school systems, no state income tax and low property taxes and cost of living. If you like outdoor art, we have Music and Shakespeare on the Square, Family Movie Nights on the Square during the summer months in lovely downtown Knoxville.

Regional Ancillary Revenue Manager (Live Nation – Chicago, IL)

The Regional Ancillary Revenue Manager will be responsible for the consistent guidelines and application thereof that generate Merchandise, Premier Parking, Lawn chair, Reserved Lawn, Fast Lane, VIP Club upgrades, Future Ticket Sales and other upsell revenue. The Ancillary Manager will spend time traveling to different amphitheaters across the region applying best practices to drive revenue.

Music Lesson Coordinator (Sam Ash Music Nashville – Nashville, TN)

The Nashville Sam Ash Music Learning Center is growing and we have an immediate opportunity for the right person to assume the Lesson Coordinator position. We are looking for an energetic, organized, motivated, and creative person for the position of Lesson Coordinator.

Account Executive (Eventbrite – Nashville, TN)

We’re looking for candidates who have 2+ years of relevant industry experience in online ticketing, sales, talent management, artist booking, and/or venue/festival operations. Our ideal candidate has worked in the music industry and has a track record of successfully delivering compelling presentations to all levels within a prospect account. Our next Sales Executive is driven to raise the bar of success for the larger team, and knows what it takes to develop a successful partnerships in the industry. If you are smart, driven, and passionate about revolutionizing the ticketing industry, we want to hear from you.

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Inside Music Podcast #189: We The Kings (Travis Clark)

During a brief break from life on the road, We The Kings‘ Travis Clark stops by Inside Music to discuss his career in entertainment.

With enough luck, anyone can go viral. Becoming an internet sensation happens so often in 2020 that it is no longer considered weird or unusual for something completely random to be appreciated and almost immediately forgotten by millions around the world. There may be short term value in such success, like when a song becomes popular on TikTok and earns millions of Spotify plays as a result, but even the best viral stars find a hard time building a career that stands the test of time.

We The King were viral sensations before social media became something everyone looked at every hour of the day. The band’s breakout smash, “Check Yes Juliet.” injected a high-energy dose of sugary goodness into the alternative world and established the group as one of the most accessible acts to toe the line between pop-rock and pop-punk in some time.

Fast-forward to a decade later, and We The Kings continue to breathe positivity into the alternative landscape. The group has outlasted most of their genre peers, thanks mainly to an enduring connection with fans. Every major event in the band’s life over the last decade is present in their music, and that honesty has given fans a perfect soundtrack for personal development. The community built around We The Kings’ music is growing together, and that accomplishment is entirely due to the group’s efforts at transparency.

On this episode of Inside Music, We The Kings frontman Travis Clark hops on the phone with host James Shotwell to discuss his unique career in entertainment. Travis explains the critical moments on the band’s journey where one or two decisions shaped everything that followed, as well as the influence of his personal life on his creative output. He also shares a story about how he came to write for Avril Lavigne, and what fans should expect from We The Kings in the new year.

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