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How Short Attention Spans Are Drastically Changing Songwriting [Video]

Between our shrinking attention spans and increasing competition, the world’s biggest songs are among the shortest ever made.

In a report released by Samsung in December 2020, scientists found the average consumer attention span is now 8-seconds long. That discovery is 33% lower than a similar study from 2000 that claimed consumers had 12-second attention spans. Four seconds may not sound like a great deal to some, but in the age of streaming, every moment counts — now more than ever.

The team behind the study cites our shrinking attention spans as one of two main factors shaping the current state of music. The other factor is streaming, which grants consumers so much access to content that every artist must work harder to grab and hold listeners’ attention. These two forces are making songwriters rethink their approach to crafting hit songs. So much so that the same report claims that by 2030 the average length of a hit song will be two-minutes. That is about half the length of a hit song from the 1990s.

Proof of the study’s findings is everywhere. One look at streaming charts, and anyone can see that most popular songs are already under four-minutes in length, with many far shorter than that. 24KGoldn’s inescapable 2020 hit “Mood,” for example, runs just two-minutes and twenty-one seconds. Billie Eilish’s “Therefore I Am” is slightly longer, coming in at two-minutes and fifty-four seconds. 

In the latest Music Biz News update, host James Shotwell reports on the study’s findings and what it means for the future of music. He also explains how introducing emerging trends in popular music can help artists from all corners of the industry increase their chances of writing a breakout hit. Check it out:

Music Biz is brought to you by Haulix, the music industry’s leading promotional distribution platform. Start your one-month free trial today and gain instant access to the same promotional tools used by BMG, Concord, Rise Records, Pure Noise Records, and hundreds more. Visit http://haulix.com/signup for details.

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What promotional platforms offer artists that Soundcloud, Dropbox, etc. do not

Just because a service is free does not mean it’s right for your promotional needs.

Promotion is the name of the game in music today. As consumers spend less and less on physical media with each passing year, the need to promote music in a way that resonates with influencers and industry gatekeepers enough to produce coverage is greater than ever. The challenge of accomplishing this has never been harder either, as the competition for coverage has grown as quickly as consumers’ attention spans have diminished. 

The good news is, there have never been more avenues for music promotion and conversation. From traditional publications and music blogs to YouTube critics, playlist curators, Twitter feeds dedicated to music discussion, Instagram pages curating beautiful scenes from concerts, and countless other digital avenues, the paths to exposure in the modern age are limitless.

Getting the attention of influencers, radio, and journalists is where the battle for exposure begins. Fan support can go a long way, and it can certainly make an impact on the decision of these so-called gatekeepers to cover your music, but there remains a great value in getting exposure from people and companies that lie outside your already established circle of supporters.

Companies like Soundcloud and Dropbox are among the numerous platforms offering free or low-cost streaming and sharing of music. These services also offer private streams, which are usually protected by secret access links, as well as the ability to share that same material with the public if the artist desires to do so. The ease of access and friendly price point has made both, as well as their competitor Box, popular, but for artists and the people who represent them the benefits of using such services very minimal.

That is why most artists who succeed today, as well as labels who continue to thrive, rely on promotional distribution platforms such as Haulix to share new and upcoming releases. Haulix and its competitors match the offerings of Soundcloud or Dropbox, but they also give (much) more power and insight to artists and their teams.

Using Haulix as an example, here are just a few tools the service offers that free and low-cost streaming platforms do not:

  • Customizable landing pages complete with numerous branding opportunities.
  • Customizable messaging with branding opportunities.
  • Contact upload and contact list management.
  • In-depth analytics that reveals who is engaging with your music, how often they listen, and what songs are getting the most attention.
  • Sub-administrator accounts that allow for team interaction and company organization.

The two biggest advantages Haulix users have over those who choose to use Soundcloud or Dropbox is their ability to brand and to track individual user engagement. Soundcloud may tell you how many plays a song has, but how do you know who on your massive mailing list has been listening? Dropbox may make downloading material a breeze, but how can you showcase your brand and build name recognition when every download screen looks exactly the same?

Here’s a Haulix promo, which as you can see reinforces the artist’s name and the title of their record while conveying the aesthetic of the material.

Haulix is trusted by artists at every level of the music business to do everything from attracting press coverage to securing management, enticing promoters, developing material while members are recording in different locations, and more. You can find a list of clients currently relying on the system, including Chance The Rapper and Metallica, by visiting their official website.

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Don’t rely on social media to tell your story

While Googling “jobs at Poler” back in 2014, I came across a quote from Drew Dayberry who does Creative / Product and Brand Development for the company:

"My goal overall is simple, keep the Internet and the digital world a wild place. A place where brands can co exist with everyday people without buying their way into their lives. There is still a lot of it to discover and tons of never been dones so there is no reason we should all hide in those social networks.”

The site doesn’t exist anymore (here’s a cached version), but that quote has stuck with me over the years. As bands, brands, and people, we are filling up social networks with lots of our “stuff.” Photos, memories, travel stories, births, wedding, new songs, your latest video – and for anyone not on a particualr social network, well, they’re hidden.

So here we are in 2016, and there is certainly still a lot to discover. There are “tons of never been dones,“ and not just with whatever hot new social media network of the day happens to be.

Today bands and labels are expected to sit on social networks and clack away with specials and semi-persnonal interactions with their legions of fans. Peopel who work in the field are expected to be experts within a year, and grow, and engage in brand new ways. Email lists bustle with tour dates and links to iTunes and Bandcamp. Epermeral videos on Snapchat and / or periscope, interactions that disappear like sparks in the night.

But where is the nightly podcast from a band in the studio, or stories from the road? Reatlity TV shows thrive because they’re cheap and they’ve got interesting stories. Your band, your label, you art – you’ve got so many stories bubbling inside you. You don’t need to scatter your stories to the social media winds and hope they find root somewhere – you have an amazing audience already in front of you hanging onto your every word. By using the world wide web your stories can remain for fans who discover three years from now, and who even knows if we’ll still be using Twitter three years from now?


Seth Werkheiser is the quiz master of metal trivia at Skulltoaster. He’s also the founder of some music sites you may have heard of, including Noise Creep (2009) + Buzzgrinder (2001). He’s anti-Facebook, anti-clickbait, and anti-growth hacking. You should most definitely follow him on Twitter. Yes, right now.

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