This week’s new music recommendations offer something for everyone, from the technical prowess of rock icons to the surgical lyricism of a hip-hop legend.
Life will probably never be the same as it was before the COVID pandemic took the world by storm. Mourning the loss of the world we knew is normal, but it’s important to recognize all the good that continues to exist. Each new week brings us music that has the potential to change countless lives, and this week’s batch of new releases is no exception. There are too many good records for us to mention, but here are five from our clients that we believe everyone should experience.
Ice Nine Kills – I Heard They KILL Live (Fearless Records)
After riding a wave of critical and fan acclaim for their horror-themed record, The Silver Scream, Ice Nine Kills close the most important chapter in their history with a live record. I Heard They KILL Live, a reference to a NOFX live album from 1995, was recorded in INK’s hometown of Worcester, MA, during the last nationwide tour. The theatrics that served as hallmarks of the record and tour production translate well to a live recording, as the band brings 19 songs and frenetic energy to a hungry audience that is more than happy to sing every word at the top of their lungs.
In a year without concerts, I Heard They KILL Live plays like a soothing balm applied to an open wound that won’t heal until live music returns.
Of all Maynard James Keenan’s musical projects, Puscifer is perhaps the most consistently engaging and original. Without taking anything away from Tool or A Perfect Circle, which both thrive on pushing the boundaries of what rock and metal can be, Puscifer is a genre-less beast whose work is more unpredictable than any other group in music today. Existential Reckoning is a mesmerizing exploration of where we come from and what it means to be human. Each track has a unique identity, and they play like individual journeys that combine to create a sonic odyssey that listeners will want to explore over and over again. You cannot fully appreciate everything Puscifer is doing in a single listen, and that’s a good thing. Existential Reckoning is an album you can sink your teeth into, delivering one delicious bite of artistic expression after another until you’re too full to do anything else except surrender yourself to the noise.
Busta Rhymes – Extinction Level Event 2: The Wrath of God (EMPIRE)
Eleven long years have passed since Busta Rhymes dropped Back On My B.S. The world has changed several times over in the last decade, but nobody old or new has been able to fill the void left when Busta stopped releasing records. We can’t say why he stepped away, but if that’s what needed to happen for Extinction Level Event 2: The Wrath of God to come into existence, then it was worth the wait. Across twenty-two tracks adding up to nearly 80-minutes of music, the master of quick-tongued lyricism reminds everyone why he’s among the most outstanding artists ever to touch a microphone. The insights Busta offers on the state of the world, the chaos of being, and the state of hip-hop are what we need right now.
Mr. Bungle – The Raging Wrath of the Easter Bunny Demo (Ipecac Recordings)
After reforming for a series of concerts at the beginning of 2020, fans everywhere hoped Mike Patton’s band of rock icons and outcasts would have more to offer sooner than later. The group heard their cries and are now delivering The Raging Wrath of the Easter Bunny demo, a raucous batch of material that is sure to incite headbanging and mosh pits in places where such things typically do not occur. It’s a riot of a record, brash and relentless in its pursuit of something to shake you from the stupor of everyday existence. Mr. Bungle was never for everyone, but Wrath will be a welcomed addition to the band’s far too small catalog for those that get it.
I Prevail – Post Traumatic [Live/Deluxe] (Fearless)
It shook the alternative music community to learn I Prevail was nominated for a GRAMMY in the back-half of 2019. That disbelief was not a criticism of the band, who had the respect of their community, but a compliment. The Recording Academy’s recognition of their talent was a reminder that any artist can gain international attention and success if they write passionately about deeply personal topics. Post Traumatic is a celebration of what is possible when hard work, honesty, and determination collide. The bonus tracks will keep fans champing at the bit for more new music, but those songs take a deep backseat to the live material. Each live cut comes from a different performance where the energy was undeniable, and the group’s signature high-quality production harnesses that excitement into an equally satisfying personal listening experience.
Most of 2020 has been a disaster, but the ever-resilient music industry is finding a way to continue growing in spite of the global pandemic.
There are countless ways to gauge the health of the music industry. At Haulix, we often examine the volume of new releases and the reception they see when consider how well things are going. Others may look at touring revenue, audience sizes, or any one of a million other data points.
Recently, our friends at Toptal did a thorough examination of the music industry from a strictly financial point of view. Their work considers the changing trends in consumption, the spread of COVID-19, and many more factors that inform what is happening day to day throughout the music business. Lucky for us, they’re allowing us to share their insights with you.
The State of the Music Industry in 2020
The global music recording industry is back in growth territory again. According to the International Federation of the Phonographic Industry (IFPI), recorded music revenue returned to growth in 2015, after nearly two decades of piracy-driven declines. The global industry’s revenue bottomed out at $14 billion in 2014 but grew to $20 billion in 2019, back in line with 2004 levels.
Streaming Is Driving Music’s Growth
The convenience and personalization of music streaming, combined with the accessibility afforded by smartphones and smart devices, has driven recorded music’s growth. IFPI notes that global streaming revenues grew at a 42% CAGR (compound annual growth rate) since 2015, compared to the entire recording industry’s 9% CAGR. The following chart from IFPI shows the evolution of the industry’s revenue composition and how streaming growth has more than offset declines in physical and downloaded formats over the past decade.
Global Music Recording Industry Revenues: 2001-2019 ($ Billion)
Meanwhile, the global music publishing industry has proven resilient throughout the economic cycles of the past decade. According to the International Confederation of Societies of Authors and Composers (CISAC), publishing collections (performance royalties) increased from €6.5 billion in 2013 to €8.5 billion in 2018. Will Page, the former chief economist at Spotify, estimates that the global publishing business – CISAC collections plus estimates of non-CISAC publisher revenues from Music & Copyright – is worth $11.7 billion in 2020.
Despite its seeming ubiquity, streaming is still in the early innings of mass adoption. The following statistics highlight how the market still has room to expand:
According to IFPI, there were 341 million global paid streaming accounts by the end of 2019.
The figure represents less than 11% of the 3.2 billion global smartphone users.
According to the Digital Media Association, the US market had 99 million paid streaming subscribers (or 30% of the US population) at the end of 2019.
For comparison, in Sweden (the home of Spotify), global paid music streaming penetration is 52%.
In May 2020, Goldman Sachs estimated the entire music industry’s revenue (live, recorded, and publishing) to increase from $62 billion in 2017 to $131 billion in 2030, representing a 6% CAGR. The 2030 estimate was an increase on its original prediction of $104 billion, made in October 2016.
Music Intellectual Property Rights in the Spotlight
Music royalty payments derive from the underlying intellectual property (IP) rights of songs. The most common types of IP are copyrights, trademarks, patents, and trade secrets. Music – including lyrics, composition, and sound recording – is protected under copyright law.
WHAT IS MUSIC COPYRIGHT?
When music is put into tangible form (e.g., recorded or written in sheet music), a copyright is created. Further protections are given under law once the work is registered with the U.S. Copyright Office. Copyright provides its owner(s) with exclusive rights for a period of time. In general, rights last for 70 years after an author’s death.
A song contains two copyrights:
Sound recording copyright is “a fixation of a series of sounds” associated with a particular recording. The sound recording copyright is owned by an artist, who often assigns ownership to their representative record label.
Musical composition copyright is the song’s composition (music and lyrics) by the songwriter(s). The musical composition copyright is owned by a songwriter, who often assigns ownership and representation to a music publisher.
Several positive catalysts for music IP rightsholders are currently on the horizon, including:
New licensing opportunities
Regulatory changes
Emerging market growth
NEW LICENSING OPPORTUNITIES
There are new licensing opportunities for music IP owners that are just starting to emerge. Short-form videos (e.g., TikTok and Triller), e-fitness (e.g., Peloton), and other platforms (e.g., Facebook) are just starting to license music IP from rightsholders, creating new sources of future monetization. For example, in July 2020, the National Music Publishers’ Association (NMPA) reached a licensing agreement with TikTok, a platform with roughly 100 million US monthly active users and 700 million worldwide monthly active users. Before signing the licensing deal, the NMPA claimed that approximately 50% of the music publishing market was unlicensed with TikTok. Other large platforms, such as Facebook and Peloton, have recently signed inaugural licensing deals with music rightsholders. These licensing deals create exciting new future sources of income for music IP owners.
REGULATORY CHANGES
Most music publishing rights are regulated, and recent regulatory announcements have been beneficial to music IP rightsholders’ interests. For example, US musical composition mechanical royalties are regulated by the Copyright Royalty Board (CRB), a panel of three judges who determine music royalty rates and terms over a period of time. In January 2018, the CRB ruled that on-demand subscription streaming services (e.g., Spotify and Apple Music) must increase the percentage of revenue paid to songwriters and publishers by 44% to 15.1% of revenue over the five years of 2018 to 2022. While several streaming services are currently appealing the decision, it could have a very positive impact on composition mechanical royalties for US rightsholders.
EMERGING MARKET GROWTH
Emerging markets, such as China and India, are only just starting to pay for music IP. According to IFPI’s 2019 Global Music Report, China was the seventh-largest music recording market, and India was not even in the top 10, despite having the world’s two largest populations. Goldman Sachs’ “Music in the Air” analysis notes that paid streaming penetration rates in China and India are currently 4% and 3%, respectively. Furthermore, the following chart from Goldman shows how little is currently spent per capita on music in emerging markets relative to developed markets.
Music Spend per Capita Across Regions: 2015 (USD)
Despite the gulf in spending, IFPI reported strong 2019 recorded music revenue growth in China and India of 16% and 19%, respectively, attributed to progress in copyright enforcement and streaming adoption. If the trend continues, China and India will increasingly grow as a revenue source for the industry.
Who Are the Key Music Industry Players?
The music recording and publishing industries have many players. Record labels and music publishers are the traditional investors in the space. They sign performing artists and songwriters and help them create and monetize new music. Examples include Universal Music, Sony Music, Warner Music Group, and BMG, to name a few. Meanwhile, music royalty funds focus on acquiring existing music rights with a history of stable cash flows. Music royalty fund formation has increased significantly over the past several years. Prominent royalty funds include Hipgnosis Songs Fund, Round Hill Music, Kobalt Capital, Tempo Music Investments, and Shamrock Capital. In some instances, royalty funds have also signed artists and songwriters to release new music, blurring the line between them and traditional labels and publishers.
The music industry is concentrated and dominated by three main players.According to Music & Copyright, the three largest record labels – Universal Music Group (32% market share), Sony Music Entertainment (20%), and Warner Music Group (16%) – hold a 68% share of the music recording market. Similarly, the three largest music publishers – Sony (25%), Universal Music Publishing (21%), and Warner Chappell Music (12%) – maintain a 58% share of the music publishing market.
Universal, Sony, and Warner are collectively referred to as the “Majors,” or the “Big Three.” Industry concentration is relevant in music because the majors’ deals with streaming services benefit from their market share: As streaming services’ revenues grow, so should the majors’ income. Furthermore, streaming and digital download margins are roughly 50-60%, compared to physical margins of 40-50%, lower due to manufacturing and distribution costs. As streaming continues to take a greater share of sales, the majors’ operating margins will benefit.
How Has COVID-19 Impacted the Music Industry?
“The unique nature and the diversification of our sources of income mean music publishers are well protected compared to most businesses.”
Music industry revenues have held up relatively well compared to other industries during the COVID-19 pandemic. The growth of digital streaming has allowed consumers to access and enjoy music regardless of social distancing restrictions. At the same time, other forms of music consumption, especially live, have suffered.
Streaming Remains Resilient
There have been modest disruptions to streaming as a result of COVID-19. At the start of the pandemic, audio streaming saw a decrease in listening hours as consumers drove less and focused on other platforms (e.g., video streaming) and forms of entertainment (e.g., TV and video gaming). However, according to Billboard, these declines returned to growth by the end of April.
Indeed, the modest decline in engagement measured by listening hours has not impacted consumers’ willingness to pay for audio streaming. Spotify’s Q2 2020 Monthly Active Users (MAU) and paid streaming subscribers increased by 29% and 27% year-on-year, respectively, which was at the top of its guidance. As a result, Spotify’s Q2 2020 premium revenue increased by 17% year-on-year.
Spotify Monthly Active Users (MAUs): 2017-2020 (Q2)
Live Music Has Suffered
Other sources of music income, especially live music, have suffered during the pandemic. Social distancing restrictions have severely impacted the live music market. For example, Live Nation, a leading live entertainment company, experienced a 98% year-on-year revenue decline in Q2 2020, driven by global concert shutdowns. Live Nation management expects concerts to return to scale by summer 2021. Its view is corroborated by Goldman Sachs, which projects live music revenue to decrease 75% in 2020 before recovering in 2021 or 2022.
Reduced Advertising Weighs on Radio and General Licensing Income
Sirius XM, the satellite and digital radio broadcaster, saw total company sales decline 5% year-on-year in Q2 2020, driven by a 34% decline in advertising revenue. For the full year, Sirius XM management expects total company sales to decline by 3%.
Lower advertising spending has also impacted terrestrial radio, although the pullback may be reversing. iHeartMedia, the owner of 800+ AM/FM radio stations, saw an even larger impact than Sirius XM, with Q2 2020 sales declining 47% year-on-year. iHeartMedia did note that annual revenue declines had improved each month from April (down 50% year-on-year) through July (down 27% year-on-year).
As a result, royalties paid by radio stations to Performance Rights Organizations (PROs) will likely fall sharply over the next couple of quarters. ASCAP (one of the largest PROs) President Paul Williams noted in April 2020 that as more licensee businesses shut down, the pandemic will “have a material and negative impact financially on almost every category of licensing.”
The “Majors” Are Impacted, Positively and Negatively, by All Factors
The three “major” record labels and publishers have seen industry trends begin to play out in recent earnings reports. Universal Music Group was the only label to see revenue increase year-on-year up to June 30, 2020 (+6%), while Sony (-12%) and Warner Music Group (-5%) reported declines. Inside the results, all three attributed positive growth trends to streaming, but pandemic-related lockdowns negatively impacted non-digital revenues, especially in the areas of merchandise, physicals (e.g., CDs), and artist services.
Recent Music IP Acquisition and Capital Markets Activity
Wall Street has been taking notice of the music industry’s secular growth story. In recent years, billions of dollars have been raised, privately and publicly, to invest in music intellectual property rights and the companies that own them:
Warner Music Group recently went public, raising just under $2 billion at a $13 billion valuation.
Hipgnosis Songs Fund raised more than £850 million in its July 2018 IPO and four subsequent equity offerings.
Universal Music announced that it is planning an IPO in the next three years.
Meanwhile, several private equity firms have raised funds focused on music IP rights:
December 2019: Providence Equity Partners announced $650 million of equity and debt capacity for Tempo Music Investments, its music IP acquisition platform.
July 2020: Shamrock Capital closed its second Content IP Fund, which focuses on different types of intellectual property, including music IP.
August 2020: Concord Music closed a $1 billion debt financing.
Overall, there is a significant amount of activity in the equity and debt capital markets for music IP assets.
With capital pouring into the space, music IP acquisition activity has been hot. Recent years have seen several significant deals:
January 2018: Round Hill Music purchased Carlin Music Publishing – home to songs by Elvis Presley, James Brown, and Billie Holiday – for an estimated $240 million.
June 2019: Scooter Braun’s Ithaca Holdings and Carlyle Group acquired independent label and publisher Big Machine Label Group for an estimated $300 million.
March 2020: A consortium led by China’s Tencent Holdings bought a 10% stake in Universal Music Group (UMG) at a €30 billion valuation.
Since going public in July 2018, Hipgnosis Songs Fund has also spent more than $1 billion, acquiring more than 60 catalogs. In short, the M&A market is very active, with BMG’s CEO Hartwig Masuch even calling the current environment “a feeding frenzy.”
The combination of capital formation and increased acquisition activity has led music IP valuations to trend upward over the past few years. In a future article, I will go deeper into the asset class of royalties and, in particular, why music royalties are considered an attractive asset class in the current market environment. The article will review the main levers that active investors use when attempting to increase music IP’s value, the potential pitfalls to look out for, and the instruments used for IP investing.
In a world of copycats, Ghostemane is forging a unique path through the music business that is turning heads and winning fans worldwide.
Ghostemane is the perfect example of a modern superstar. After releasing eight albums in six short years, the versatile musician has amassed a fiercely loyal global following without the help of mainstream media. His 3.3 million monthly Spotify listeners and 40 million monthly streams place Ghostemane among the ranks of today’s biggest names. Yet, he doesn’t have a major label or the money that comes from playing ball with the quote/unquote “traditional music business.” He is a self-made headliner, and his new album, Anti-Icon, seems poised further to accelerate his already astonishing rise through the underground ranks.
It’s easier to tell you what Ghostemane has in common with mainstream stars than to list the numerous traits that set him apart. First, he has immaculate branding skills that tell you everything you need to know before hearing a single second of music. He also understands that the music business is part of a global marketplace. The internet has made it possible for any musician to engage with listeners and grow an audience worldwide. He focuses his time on creating music at a high-volume to constantly deliver new songs and videos, and images to fans, which helps keep his name on the tips of their tongues. He’s as ubiquitous as anyone can hope to be, and he doesn’t sacrifice the quality of his product to meet the ever-growing demand.
That’s only the tip of the iceberg. Ghostemane is a rare example of an independent artist who knows what they want and what they’re willing to give up to achieve their goals. He appreciates the power of saying “no” to anything that doesn’t align with the career he pictures for himself, and he’s willing to do things ‘the hard way’ to ensure his vision comes to fruition.
In this Music Biz update, host James Shotwell explores the many contributing factors to Ghostemane’s success, including his vision and refusal to compromise. James then uses these traits to outline a refined path to success that artists from any genre can follow to develop their careers further. Check it out:
For the first time in its history, the annual Country Radio Seminar will be a digital event in 2021.
Country Radio Broadcasters, Inc., has announced Country Radio Seminar (CRS) 2021: The Virtual Experience, set for Tuesday, Feb. 16-Friday, Feb. 19, adding an extra day of content and a newly-launched Streaming Summit.
Next year’s online-only experience will include educational panels, virtual networking, and workshops. Every registration will include access to the New Faces of Country Music Show, Bob Kingsley’s Acoustic Alley, and the daily label lunchtime performances.
Kurt Johnson, CRB/CRS Board of Directors President, commented, “While we can’t be together at the Omni, we can still celebrate CRS together online. I look forward to seeing you all there…for CRS 2021!”
Luke Bryan has been confirmed for the annual “CRS Artist Interview,” sponsored by BMI.
Also new for 2021 is the Streaming Summit, which will be held Feb. 16 and will feature industry professionals and platform experts providing insights on trends, strategies, and best practices to optimize digital assets and streaming platforms.
“Now, everybody can come to CRS,” commented CRB Executive Director RJ Curtis. “Our expanded, four-day ‘CRS 2021: The Virtual Experience’ will be an uncompromising event, providing attendees with more than 14 educational sessions, four morning networking events, three lunchtime performances, four interactive workshops, all-day networking, Bob Kingsley’s Acoustic Alley, and, for the first time in CRS history, a New Faces of Country Music ticket with every registration.”
Early Bird Registration for CRS 2021: The Virtual Experience will open on Oct. 28 at Noon CT / 1 p.m. ET at $149 per person and will be offered through Nov. 4. The registration rate will increase to $199 on November 5. All registrations include access to the 2021 New Faces of Country Music Show.
A CRS360 Webinar Session will be held at 11 a.m. (CT) Wednesday, Oct. 28, offering additional details, answering questions, and revealing more content featured at CRS 2021: The Virtual Experience. Only a limited number of slots are available for CRS360 and are based on a first-come, first-served basis. To register for the October installment of CRS360, sign up here. The Country Radio Broadcasters are taking questions in advance of the session. Inquiries must be received by close of the business day on Oct. 27 and can be submitted to darcie@crb.org.
Join us for a free music management panel when Bronson Ltd. takes over Haulix LIVE! on Thursday, October 29.
If there is anything to learn from the age of COVID-19, aside from the need for personal hygiene, it is the importance of connection. Human beings are not meant to live in isolation. We need relationships as much as we need air in our lungs and water in our cups. Friendships are the key to everything, including happiness and success, which explains why these long periods without human interaction are so tricky. Haulix LIVE! is not a perfect solution, but it has the potential to keep us connected until life as we knew it resumes.
Join us on Thursday, October 29, at 2 PM EST for a free music management roundtable with the entire Bronson Ltd. team. Representing the company will be Chris Hodge, Kevin Garcia, and Jesse Lebhar. The event will cover the state of music management today and what the team looks for when seeking new talent. Viewers will also have an opportunity to ask our guests questions.
The event is free, but attendees must register in advance to ask questions. Click here to RSVP TODAY!
About our panelists:
Hailing from the great state of New Jersey, Chris Hodge has spent over a decade working in both Artist Management and Tour Management. After time well spent touring the world and learning from some incredible colleagues, he created Bronson Ltd. a little over a year ago with a mission to continue to grow and build both a passionate and successful artist and management team. Trying to learn every day while not forgetting where he came from.
Kevin Garcia has been involved in the Music Industry since he started playing and promoting shows in his local scene at the age of 15. After 10 years of touring, fulfilling both performing and tour management duties, he found a strong passion for developing artist careers. Kevin began to transition into day-to-day Artist Management and brought his roster to the Bronson Ltd. family in 2019.
After years playing in local bands, Jesse Lebhar got his real start putting on shows in the Tampa Bay Area, as well as booking tours and tour managing for his friends’ bands. He started pursing a career in the music industry earnestly in late 2016, working his way up from tour manager, day-today manager, co-manager, and now working as a full-time manager. Jesse has a passion for project management, research, and data analytics, all of which he utilizes in supporting his artist’s career development.
Brimming with furious riff and soaring hooks, this week’s new music roundup offers a bounty of radical rock releases that you would be a fool to miss!
Life will probably never be the same as it was before the COVID pandemic took the world by storm. Mourning the loss of the world we knew is normal, but it’s important to recognize all the good that continues to exist. Each new week brings us music that has the potential to change countless lives, and this week’s batch of new releases is no exception. There are too many good records for us to mention, but here are five from our clients that we believe everyone should experience.
Sevendust – Blood & Stone (Rise Records)
Most bands are lucky to release three studio albums before going on hiatus or breaking up. Blood & Stone is Sevendust’s thirteenth record, and it sounds just as energetic as their 1997 self-titled debut. From the crunchy riff of “Dying To Live” to the cathartic “What You’ve Become” and reflective “Wish You Well,” the Georgia rock band uses their latest creation to analyze the lessons learned throughout their career. The group stops short of saying they’ve figured out how to live and succeed in the modern age, but they now share a bond that time and struggle cannot break. Blood & Stone tells us that Sevendust is here to stay, and they’re urging us to be as bold as them in everything we attempt during our short time on this planet.
Pup – This Place Sucks Ass (Rise Records)
No one understands the challenges of chasing dreams as a human born in the late twentieth century better than Pup. Their nihilistic optimism creates a space where listeners can scream about all the things going wrong in their lives while figuring out how to live in the present. It’s a delicate balance between clinging to hope and calling out the things we cannot change, but these Canadian gentlemen make it seem easy. This Place Sucks Ass is precisely what fans have come to expect. Complete with gang vocals and the creeping suspicion we might feel the way we do right now for the rest of our lives, it’s everything we need to keep fighting for a time when things might improve (even if we know they never will).
Undeath – Lesions of a Different Kind (Prosthetic Records)
Offering a new take on a classic sound, New York’s Undeath has quickly built a ravenous following in the death metal scene. Lesions of a Different Kind is leaps and bounds beyond the material found on the band’s 2019 demo, but it stays close to the themes and aesthetics that initially helped the group take the heavy music scene by storm. This is the kind of record that genre fans will have on repeat throughout the winter, and with each subsequent listen, they will find themselves developing a tight connection to the three-piece that should lead to strong ticket sales once live music resumes in 2021. Lesions is an album that deserves to be heard in concert, and the work ethic displayed on it tells us that we will have many opportunities to witness Undeath’s rise through the metal ranks in person in the years to come.
Hands Like Houses – Hands Like Houses (UNFD)
Summer may have come and gone, but there is a vibe running throughout Hands Like Houses’ self-titled EP that hits you the same way that only a road trip with the windows down in mid-July can. It’s easy and breezy on the surface, but the deeper you dig, the more immersive the experience becomes. “Space” tackles the struggle of figuring out who you are when you’re trying to be something to everyone, while “Dangerous” seeks to harness the power we possess within ourselves. Like the other tracks on the record, these songs serve as a collection of rapturous moments where the band — along with listeners — can take stock of how a life with music has shaped the people they’ve become. This is therapy as much as it is an artistic expression, and the fact it works on a commercial level argues that Hands Like Houses should continue using this approach moving forward.
The Bouncing Souls – Volume 2 (Pure Noise Records)
Creativity is an endless journey that can radically evolve with time. The way someone writes a song or paints a portrait in their youth may look and feel nothing like the work they do later in life, but that doesn’t mean they’ve lost touch with themselves. It often means the opposite because time gives us the gift of perspective, enabling us to view our history with fresh eyes. The Bouncing Souls have seen and done everything a band can hope to do. They’re using the gift of a long career to revisit their catalog and reimagine the material that still resonates deep within their souls. Volume 2is the latest in this series of second chances, and it proves that no matter how the band chooses to express themselves, their songs will always hit close to home.
The head of marketing at Frontiers Records stops by Inside Music this week to discuss the unpredictable business of rock and roll.
The head of marketing at Frontiers Records stops by Inside Music this week to discuss the unpredictable business of rock and roll.
If you don’t know the name Frontiers, then you might be a fake rock fan. Few labels are betting on rock and roll the way Frontiers has for the last quarter-century, especially in 2020. The label is home to the best emerging and legacy acts in the industry, and they’ve somehow mastered a powerful marketing approach for both.
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But you probably need an example of Frontiers’ reign over all things rock. After all, seeing is believing, so let us point out the latest record from rock legends Blue Oyster Cult. The band’s first album in twenty years hit stores on October 9 through Frontiers. The album’s promotion was impossible to miss, and critics seem to agree the material is worth your time. As Metal Planet Music wrote in their review, “Somehow, The Symbol Remains seems to traverse the whole career of the band, drawing in elements from multiple points in their timeline and throwing in the odd curveball, giving it a variety and freshness that makes it never less than compulsive listening.”
In this episode of Inside Music, host James Shotwell speaks to Frontiers’ Head of Marketing, Nick Tieder, about the company and his role in it. Nick shares the challenges of marketing amid a pandemic, his optimistic outlook for the future, and why AC/DC is the comfort listening all rock fans need right now. Learn more on our blog: https://haulixdaily.com.
Inside Music is brought to you by Haulix, the music industry’s leading promotional distribution platform. Join today to gain immediate access to the same promo tools used by Bruce Springsteen, Slipknot, I Prevail, and thousands more. Visit http://haulix.com/signup for details.
The Haulix team recently caught a glimpse at live music’s future during a concert with fan pods in rural Tennessee.
We miss concerts. We’re going to assume that you do as well. Nothing else on the planet can provide the same rush that live music offers. Scientists can probably explain why that is, but we believe it’s tied to our history. Humans have been gathering to perform music and celebrate life since the dawn of time. It is a communal event as old as time itself, more or less, and our inability to participate in it has made 2020 a drag.
The music business, of course, is resilient. Some artists and promoters have found success with drive-in events. Critics say that the experience of listening to music inside your car in what is essentially a giant parking lot doesn’t really compare to the excitement of being near fellow humans. It’s a stopgap measure at best, but something is better than nothing when you’re feeling desperate.
One other option exists. Many countries are finding success with socially-distant concerts that utilize a concept known as fan pods. These events place people in groups of two or more, and every group stays in a designated area where only they can enjoy the show. The interaction with other concertgoers is minimal, as are the interactions with venue staff. It’s a bold notion that could provide more opportunities for live music in the future, but it has been slow to catch on in the states.
Recently, Music Biz host James Shotwell traveled to Tennessee to watch an outdoor, socially-distant concert utilizing fan pods to keep people safe. He uses our latest video clip to recount the experience, including the positives and negatives of going to a show using pods to separate attendees. Check it out:
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Spotify’s efforts to become the premier platform to listen, discover, and create podcasts just took a giant leap forward.
Spotify just reinvented music podcasts. Starting last week, users worldwide can create podcasts using Anchor that includes music from the Spotify library. The music is available to creators without licensing fees, but artists will make money from the use. It’s a first of its kind development that stands to create a boom of new content for the popular streaming platform.
Anchor, which Spotify acquired in February 2019, is a podcast creation and distribution platform that is free to use. With a few clicks, anyone can upload and share their recordings with the world. The new feature, available in numerous countries, allows creators to add full songs from anyone with music on Spotify without fear of copyright claims or expensive licensing costs.
But there is a catch. There’s always a catch.
Shows featuring music from the Spotify library will only be available to Spotify users. That may frustrate some creators, but it’s a genius decision for Spotify corporate. The company is encouraging boundless creativity while still keeping the final product of that creativity within its ecosystem. As a result, more creators will move shows or make new ones exclusive to Spotify, and Spotify will have a constant stream of new content for its massive community of users to consume. All this, plus the fact musicians will make money any time people stream podcasts with their music, makes this development a winning combination for everyone!
In this Music Biz 101 update, host James Shotwell breaks down the newest Spotify development and the many ways it can potentially help artists everywhere get ahead while earning money. Check it out:
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Whether you’re looking for breakdowns of the musical or emotional variety, these new music picks have something for you.
Life will probably never be the same as it was before the COVID pandemic took the world by storm. Mourning the loss of the world we knew is normal, but it’s important to recognize all the good that continues to exist. Each new week brings us music that has the potential to change countless lives, and this week’s batch of new releases is no exception. There are too many good records for us to mention, but here are four we believe everyone should experience.
Tyler Bryant & The Shakedown – Pressure (Snakefarm/Spinefarm)
Tyler Bryant has nothing left to prove. After a decade of constant touring and recording, the rock meets blues talent has built a fervent following that any artist would desire. His marketing talents are only outmatched by his musical output, which has been consistently inspiring. Pressure finds a perfect balance between old school aesthetics and a modern outlook that understands our collective yearning for freedom. It’s a fitting soundtrack for quarantine, combining the frustrations of the year with inspiring anthems that will make you want to drive fast and break laws. We wouldn’t blame you for getting into trouble while this plays, but please, don’t blame us for whatever happens next.
Mayday Parade – Out of Here EP (Rise Records)
Emo icons Mayday Parade refuses to rely on the successful output of their past to define the people that they are today. No one would blame the Florida-based rockers for becoming a modern legacy act, touring into irrelevance with greatest hits sets, but the band continues to push forward. As the title infers, Out Of Here plays like the blueprint to an escape plan that listeners will hatch as the EP unfolds. We expect every song on this release to appear in the band’s 2021 setlist, so you better start learning the words now.
Molasses – Through The Hollow (Season of Mist)
Through The Hollow is a constant reminder that the search for artistic greatness is never-ending. The first full-length release from a group of industry veterans, the record revels in the journey that is creativity. The record is both haunting and enchanting, pulling listeners into a world wherever anything is possible, and everything is on the table. It’s the kind of immersive listening experience that all artists strive to deliver, and we imagine anyone who partakes will have a hard time walking away. Through The Hollow will stick with you like muscles to bone.
Lost Symphony – Chapter II (XOFF Records)
Every corner of music has reached a saturation point where virtually any new artist falls in line with someone or more than one talent that came before them. Finding something boldly original is the dream of any genre fan, and the answer for hard rock fans lies in Lost Symphony. A supergroup of sorts, the band combines metal and classical music styles to create a wholly original sound. It’s symphonic, yes, but it’s also far more commercial than any group typically carrying that title. When listeners put on the band’s latest work, Chapter II, they embark on a sonic odyssey they won’t want to quit.
Chapter II is an essential record. Not for metal fans, but everyone. Don’t think twice. Dive in and let Lost Symphony carry you far away from the hellscape that is 2020.
Discover even more new music from Haulix clients by streaming our essential fall playlist on Spotify.
