Twitch is making a strategic play to be the future home of music discovery, and a new report suggests the streaming giant is already well on its way.
A new Luminate study says that a third of 13 to 40-year-old listeners in the US discover new music on Twitch. The survey was conducted in Q4 of 2021 among 2,300+ US consumers in the US aged 13-40.
But there’s a catch.
Twitch also sponsored Luminate’s study.
We are not crying foul play or claiming payola is taking place. When a company sponsors a report that finds that the company is performing favorably, we must step back and consider the possibility of outside influence on the final results.
While the survey was conducted by a trusted source – Luminate (formerly MRC) provides all the Billboard chart data – it was funded by Twitch.
The survey admits to “a particular focus on both Twitch users and those who use Twitch specifically for music or music-related content.”
The stated objective of the study was “to quantify the value and influence of Twitch users on the music industry.”
In other words, Twitch paid for someone to find data that presented the company in a positive light, and that person did their job.
You can’t believe everything you read on the internet. For instance, if I told you this blog is the best blog for anyone wanting to work in music, it would make sense to question my motivations. After all, I write the blog, so I have some skin in the game. It benefits me if you believe this is the best blog for music professionals anywhere on Earth. It definitely is that, but it also helps if you believe me. Get it?
Twitch does matter.
The report from Luminate presents a lot of information that helps argue the company’s influence on pop culture.
Music discovery on Twitch
1-in-3 music listeners in the US discover new music through Twitch
54% have discovered new music from streamers actively calling out songs or artists / recommending them in the middle of a live stream
Twitch music engagers are eager to discover new and emerging artists via Twitch (62%)
Twitch houses valuable music fans
Twitch users spend 21% more time per week listening to music than the average music listener.
Twitch users spend 46% more of their hard-earned cash on music (per month) than the average music listener.
Twitch users make over 10x more direct-to-artists payments (per month) than the average music listener.
Twitch users are genre-agnostic enthusiasts
Hip-Hop/Rap is the #1 genre for Twitch’s music fans (70%)
Twitch users are 84% more likely to listen to EDM than the average music listener
Twitch users are far more diverse in weekly genre listenership than the average music listener — Heavy Metal (+61%), Classical (+51%), Jazz (+38%), K-Pop (27%)
Additionally, at any given time of day there are at least 2.5 million people watching streams on Twitch.
“Gaming and music are intrinsically linked, and much of the culture and fan behavior of our gaming community has resonated and found success with our music community,” said new Twitch Head of Music Geetha Mathews. “We are fueling the passion of this leaned-in audience by surfacing a diverse range of creators who are incredibly talented but still under the radar, driving discovery of emerging artists. We aim to help these creators break through the noise by bringing their authentic selves to a massive global user base eager to connect and contribute.”
Music discovery is the buzziest buzzword in music today, and for a good reason. Everyone wants to get ahead, but few know the truth.
Every artist I meet dreams of being discovered. They imagine themselves receiving a phone call or a direct message from someone in a position of influence with money and power who offers them whatever they want to create their art. It’s the same fantasy held by every musician and creative since the dawn of time, and despite our best efforts to streamline the process, discovery remains a dream for many.
But what ismusic discovery? In the simplest terms, discovery refers to finding and/or hearing an artist for the first time. It refers to the moment an artist goes from being a complete unknown to someone the listener may later recognize. The moment of discovery is when connections are made, fandoms launch, and artists first begin to see the fruit of their label.
In 2022, there are more ways to discover music than ever. Listeners can utilize multiple streaming platforms, dive into artists’ playlists, enjoy algorithmic internet radio, find songs playing in public via Shazam, and—as always—exchange mixes with their closest friends. That doesn’t account for countless music blogs and publications, charts, and other social metrics one could use to learn who is hot in entertainment right now.
As the avenues for music discovery have increased and the barriers to accessing music decreased, the number of artists vying for your attention has reached an all-time high. That in itself isn’t bad. Everyone who desires to make and promote music should be able to do so easily. However, the impact of that demand for attention on consumers is something we still don’t fully understand.
Think about it for a second. As a consumer, you always want to find the next great thing. It’s instinctual. We cannot help being this way. It doesn’t matter if we’re discussing restaurants or bathroom cleaners; people want the best. The same is true in music. We love the artists we love and have preferences, but a part of us is always looking for the next song or album or person or group that can make us feel alive all over again.
So, consumers want the next thing great song or artist as fast as possible, and more artists than ever are promoting more songs than ever to meet that demand. What could go wrong?
In short, burnout. On both ends.
Artists are becoming so conditioned to the constant churn of the modern industry that they abandon material almost as soon as it is released. It’s as if the three-to-six-month promotional cycle that precedes an album’s release is the only push the songs will receive outside of the artist’s subsequent touring. When those shows end, they will release more music, and it too will be largely forgotten in a few months.
Meanwhile, listeners look to playlists such as Spotify’s New Music Friday and Discover Weekly as the go-to destinations for new music. If an artist doesn’t make it into one of the very limited spots on this list, they have to hope an influencer with a decent playlist following or a massive brand uses their song. Otherwise, it’s up to fate and luck and whatever good word-of-mouth that artist has been able to build.
But that is an incomplete picture of discovery.
Music discovery extends far beyond release week. The long tail of music promotion is never-ending, and the proof is everywhere. Catalog streams are on the rise, as are catalog sales. Industry professionals realize that all material has value in the digital age, and they are scrambling to find ways to promote the content they’d previously left to rust.
Before you fall victim to thinking your opportunity to be discovered has already come and gone, please remember these five cold hard truths about music discovery.
1. Discovery Takes Time.
How many tweets do you see on a given day? If not tweets, how about Instagram stories? You probably don’t know the answer, and neither do I, but we can estimate it’s a lot. We flip by dozens or even hundreds of updates every day from friends and strangers alike, but how many can you remember? I’m willing to bet the answer is not that many.
The digital age has programmed us to believe that momentary, flash in the pan success can be leveraged into a career. We think that all we need is one good tweet or post or song or TikTok to take before everything is gravy for the foreseeable future. While there may be some truth in certain rare cases, it is far from the norm.
Let’s pretend a new listener hears your song via their Discovery Weekly playlist, which is algorithmically generated by Spotify based on a user’s previous consumption. That first listen is of the utmost importance. It has to grab their attention and hold it long enough to make them look at who is behind it. That alone can plant the seed of fandom, but it may still be weeks or months, or even years from development.
Winning fans in 2022 is an ongoing effort in engagement that spans virtually every aspect of your career. You might send a great tweet that leads to 100 new followers. Of those, maybe half will click a link to your next single. Perhaps one-third of those that click will listen to the full song and—if you’re lucky—check out other music. This process repeats with every tweet, post, and TikTok you share. It happens with every gig you play, song you release, and behind-the-scenes photograph that makes its way online. The process is never-ending, and you never know how far along someone is in their journey. All you can do is stay on the path.
2. Discovery is not linear.
The first time you hear a song is rarely the moment you become a fan of the artist behind it. Fandom is something deeper than general admiration, and again, it takes time to develop. I may like your song the first time I hear it, but it could take years for me to hear another track or see you live.
Many artists get frustrated with the way social media has busied their schedules. Rather than focusing on songwriting and performance, most artists now also need to consider marketing, branding, etc. What these artists don’t realize is that message they share and any piece of content they create is a reminder to everyone who ever heard their name in passing that they exist. Like Billboards, the stuff you put into the world does as much to introduce you to people as it reminds them you exist. Your next tweet might remind someone you have an album out. It sounds crazy, but it’s true!
3. Going viral isn’t enough.
I hear from musicians every week who dream of going viral. “If I can get that kind of attention,” they tell me, “I won’t let anyone down!”
Music discovery and going viral are not the same thing. Anyone can go viral. It may not seem that way right now, but it’s true. Platforms like TikTok recognize the value in catapulting random accounts into the spotlight, and they’re engineering their algorithms to look for opportunities to highlight otherwise unknown creators.
That said, going viral probably won’t change your life. You may get a boost in streams and general meetings with labels or management, but unless you’re prepared to respond to your viral moment most of the hype will come and go before you can blink. The boost in streams will be nice, no doubt, but it won’t last.
4. Consistency Matters
Getting people to notice you takes at least three things:
Quality content (photos, videos, tweets, etc.)
Catchy Songs
A consistent presence
Making quality content is as easy as logging online in today’s world. There are hundreds of sites that will tell you what to post, when to post, and they can even help you post it.
Catchy songs are slightly more difficult, but technology has advanced to such a point that recording your track can be done from virtually anywhere.
Consistency is a skill that only time can develop. Making one great piece of content is hard. Making one-hundred pieces of content is equally hard, but there are tricks you’ll learn to simplify the process.
For those getting started, don’t rush anything. Release one song at a time to maximize the value of that track. Create lyric videos, music videos, alternate music videos, behind-the-music vignettes, behind-the-scenes photos, lyric sheets, and anything else you can think of to make people look at your music.
Through it all, remain consistent. If you’re going to share photos, make sure they look good. Double-check that your videos are always exporting in 1080p or higher. Check your grammar. Etc. Etc. Etc.
5. Algorithms are your friend, not your foe.
In a world where artists fight to make people believe a song is worth more than $0.004 per stream, it’s easy to understand why many take issue with streaming services and the algorithmic recommendation engines behind them. However, I think that mindset blinds us to the unique opportunity of the modern age. Everything is everywhere, and almost everyone has access to it all the time. The distance between learning of an artist and consuming everything they’ve made is almost nonexistent.
Nobody has time to sort through everything, and most wouldn’t know how if they did. Algorithms help us cut through the noise to find music closely resembling what we already enjoy. Whether it’s recommending you to three or three thousand people doesn’t matter as much as the fact it’s recommending you at all. Streaming services could easily charge for that kind of exposure. Instead, they understand the value in discovery, even if they don’t care to admit it.
Try reframing your relationship with algorithms like this:
Every day, at all hours, there are computers worldwide working to match people with songs they might enjoy. Those machines promote you while you eat, sleep, shower, and go to the movies. They do not take holidays or weekends off, and they never have to leave early for a dentist appointment. Algorithms work for you even when you’re not working on music at all, and honestly, who or what else in your life can claim the same? Nothing!
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.
Every platform wants to help with music discovery, but what does that mean? Let’s discuss the reality behind music’s buzziest term.
Every artist I meet dreams of being discovered. They imagine themselves receiving a phone call or a direct message from someone in a position of influence with money and power who offers them whatever they want to create their art. It’s the same fantasy held by every musician and creative since the dawn of time, and despite our best efforts to streamline the process, discovery remains a dream for many.
But what ismusic discovery? In the simplest terms, discovery refers to finding and/or hearing an artist for the first time. It refers to the moment an artist goes from being a complete unknown to someone the listener may later recognize. The moment of discovery is when connections are made, fandoms launch, and artists first begin to see the fruit of their label.
In 2022, there are more ways to discover music than ever. Listeners can utilize multiple streaming platforms, dive into artists’ playlists, enjoy algorithmic internet radio, find songs playing in public via Shazam, and—as always—exchange mixes with their closest friends. That doesn’t account for countless music blogs and publications, charts, and other social metrics one could use to learn who is hot in entertainment right now.
As the avenues for music discovery have increased and the barriers to accessing music decreased, the number of artists vying for your attention has reached an all-time high. That in itself isn’t bad. Everyone who desires to make and promote music should be able to do so easily. However, the impact of that demand for attention on consumers is something we still don’t fully understand.
Think about it for a second. As a consumer, you always want to find the next great thing. It’s instinctual. We cannot help being this way. It doesn’t matter if we’re discussing restaurants or bathroom cleaners; people want the best. The same is true in music. We love the artists we love and have preferences, but a part of us is always looking for the next song or album or person or group that can make us feel alive all over again.
So, consumers want the next thing great song or artist as fast as possible, and more artists than ever are promoting more songs than ever to meet that demand. What could go wrong?
In short, burnout. On both ends.
Artists are becoming so conditioned to the constant churn of the modern industry that they abandon material almost as soon as it is released. It’s as if the three-to-six-month promotional cycle that precedes an album’s release is the only push the songs will receive outside of the artist’s subsequent touring. When those shows end, they will release more music, and it too will be largely forgotten in a few months.
Meanwhile, listeners look to playlists such as Spotify’s New Music Friday and Discover Weekly as the go-to destinations for new music. If an artist doesn’t make it into one of the very limited spots on this list, they have to hope an influencer with a decent playlist following or a massive brand uses their song. Otherwise, it’s up to fate and luck and whatever good word-of-mouth that artist has been able to build.
But that is an incomplete picture of discovery.
Music discovery extends far beyond release week. The long tail of music promotion is never-ending, and the proof is everywhere. Catalog streams are on the rise, as are catalog sales. Industry professionals realize that all material has value in the digital age, and they are scrambling to find ways to promote the content they’d previously left to rust.
Before you fall victim to thinking your opportunity to be discovered has already come and gone, please remember these five cold hard truths about music discovery.
1. Discovery Takes Time.
How many tweets do you see on a given day? If not tweets, how about Instagram stories? You probably don’t know the answer, and neither do I, but we can estimate it’s a lot. We flip by dozens or even hundreds of updates every day from friends and strangers alike, but how many can you remember? I’m willing to bet the answer is not that many.
The digital age has programmed us to believe that momentary, flash in the pan success can be leveraged into a career. We think that all we need is one good tweet or post or song or TikTok to take before everything is gravy for the foreseeable future. While there may be some truth in certain rare cases, it is far from the norm.
Let’s pretend a new listener hears your song via their Discovery Weekly playlist, which is algorithmically generated by Spotify based on a user’s previous consumption. That first listen is of the utmost importance. It has to grab their attention and hold it long enough to make them look at who is behind it. That alone can plant the seed of fandom, but it may still be weeks or months, or even years from development.
Winning fans in 2022 is an ongoing effort in engagement that spans virtually every aspect of your career. You might send a great tweet that leads to 100 new followers. Of those, maybe half will click a link to your next single. Perhaps one-third of those that click will listen to the full song and—if you’re lucky—check out other music. This process repeats with every tweet, post, and TikTok you share. It happens with every gig you play, song you release, and behind-the-scenes photograph that makes its way online. The process is never-ending, and you never know how far along someone is in their journey. All you can do is stay on the path.
2. Discovery is not linear.
The first time you hear a song is rarely the moment you become a fan of the artist behind it. Fandom is something deeper than general admiration, and again, it takes time to develop. I may like your song the first time I hear it, but it could take years for me to hear another track or see you live.
Many artists get frustrated with the way social media has busied their schedules. Rather than focusing on songwriting and performance, most artists now also need to consider marketing, branding, etc. What these artists don’t realize is that message they share and any piece of content they create is a reminder to everyone who ever heard their name in passing that they exist. Like Billboards, the stuff you put into the world does as much to introduce you to people as it reminds them you exist. Your next tweet might remind someone you have an album out. It sounds crazy, but it’s true!
3. Going viral isn’t enough.
I hear from musicians every week who dream of going viral. “If I can get that kind of attention,” they tell me, “I won’t let anyone down!”
Anyone can go viral. It may not seem that way right now, but it’s true. Platforms like TikTok recognize the value in catapulting random accounts into the spotlight, and they’re engineering their algorithms to look for opportunities to highlight otherwise unknown creators.
That said, going viral probably won’t change your life. You may get a boost in streams and general meetings with labels or management, but unless you’re prepared to respond to your viral moment most of the hype will come and go before you can blink. The boost in streams will be nice, no doubt, but it won’t last.
4. Consistency Matters
Getting people to notice you takes at least three things:
Quality content (photos, videos, tweets, etc.)
Catchy Songs
A consistent presence
Making quality content is as easy as logging online in today’s world. There are hundreds of sites that will tell you what to post, when to post, and they can even help you post it.
Catchy songs are slightly more difficult, but technology has advanced to such a point that recording your track can be done from virtually anywhere.
Consistency is a skill that only time can develop. Making one great piece of content is hard. Making one-hundred pieces of content is equally hard, but there are tricks you’ll learn to simplify the process.
For those getting started, don’t rush anything. Release one song at a time to maximize the value of that track. Create lyric videos, music videos, alternate music videos, behind-the-music vignettes, behind-the-scenes photos, lyric sheets, and anything else you can think of to make people look at your music.
Through it all, remain consistent. If you’re going to share photos, make sure they look good. Double-check that your videos are always exporting in 1080p or higher. Check your grammar. Etc. Etc. Etc.
5. Algorithms are your friend, not your foe.
In a world where artists fight to make people believe a song is worth more than $0.004 per stream, it’s easy to understand why many take issue with streaming services and the algorithmic recommendation engines behind them. However, I think that mindset blinds us to the unique opportunity of the modern age. Everything is everywhere, and almost everyone has access to it all the time. The distance between learning of an artist and consuming everything they’ve made is almost nonexistent.
Nobody has time to sort through everything, and most wouldn’t know how if they did. Algorithms help us cut through the noise to find music closely resembling what we already enjoy. Whether it’s recommending you to three or three thousand people doesn’t matter as much as the fact it’s recommending you at all. Streaming services could easily charge for that kind of exposure. Instead, they understand the value in discovery, even if they don’t care to admit it.
Try reframing your relationship with algorithms like this:
Every day, at all hours, there are computers worldwide working to match people with songs they might enjoy. Those machines promote you while you eat, sleep, shower, and go to the movies. They do not take holidays or weekends off, and they never have to leave early for a dentist appointment. Algorithms work for you even when you’re not working on music at all, and honestly, who or what else in your life can claim the same? Nothing!
Do people really listen to the music that goes viral on TikTok? A new report finds the answer is an ecstatic “Yes!”
Ever since “Old Town Road” first went viral, music professionals and artists hoping to get attention have looked to TikTok to help break new talent. The popular video-sharing platform welcomes hundreds of millions of users every month. To date, more than 100 songs that initially rose to popularity on the app have found their way onto the Billboard charts. The working theory in music is that no other platform can make an artist or song known faster than TikTok, and the data from a pair of new industry reports seem to agree.
A music perceptions study was conducted in November 2020 by MRC Data, while a study about TikTok’s impact on culture was handled in March 2021 by London-based Flamingo Group. Both surveys were conducted online, polling nearly 1,500 TikTok users. Highlights from both studies were revealed Wednesday morning in a TikTok blog post.
With music discovery being one of the platform’s most talked-about attributes, it won’t surprise most music marketers to learn that 75% of TikTok visitors discover artists there, while 63% say it’s a source for music they’ve not heard before and 72% indicating they associate certain songs with TikTok.
A few examples of TikTok’s growing influence:
Lil Nas X first rose to popularity following TikTok’s embrace of “Old Town Road.” That song now holds the title for the most consecutive weeks at number one—ever.
Blanco Brown, rising country superstar, found a deal after his track “The Git Up” and its accompanying dance challenge spawned thousands of videos.
Fleetwood Mac’s hit “Dreams” experienced its biggest success in decades after a video of a man listening to the song while riding a skateboard drinking Ocean Spray cranberry juice went viral. Ocean Spray later bought the man a truck.
Claire Rosinkranz, Dixie D’Amelio, Powfu, Priscilla Block, Bella Porch, and Tai Verdes are some of the more than 70 musicians who have signed label deals following TikTok success.
In a study conducted in May by MusicWatch for trade group Digital Media Assn. (DiMA), in which respondents could choose more than one source, the leading driver cited for music discovery was audio streaming services at 47%, followed closely by video streaming services at 45% and AM/FM radio at 41%. In that study, posts from video or dance sites like TikTok, Instagram’s Reels, and Triller were cited by 29% of respondents, right behind “posts or alerts” on Facebook, Instagram, Twitter, and Snapchat at 30%. Other factors, like music placed in film, TV, or video games ranked higher, with music in movies polling at 35%, while recommendations from family or friends ranked even higher at 39%.
The one factor that is hard to study is how TikTok’s influence compares to that of other platforms.
“Since 100% of the music fan base doesn’t all stream, or play video games, or watch dance videos, etc., it’s good to see how these user segments react differently when it comes to discovery or anything else for that matter,” says MusicWatch managing partner Russ Crupnick.
Still, it’s clear TikTok is a platform where artists from all corners of life are finding success. If you have yet to open an account, or if you need help getting started, we’ve got the clip for you:
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.
Closeup of a needle in haystack. Isolted on white background
Streaming has given more artists than ever a shot at short-term popularity, but that alone is not enough to build careers.
The music industry has a discovery problem. As audiences increasingly turn away from television and radio, opportunities for mass exposure are limited. Streaming is a stopgap offering exposure through popular playlists, but with millions of playlists in existence across numerous platforms, each with specific themes and audiences, the likelihood of any song propelling an artist or group to widespread popularity is low.
People may complain about radio’s repetitiveness, but it remains the platform most likely to break an artist into mainstream popularity. The problem is, most radio stations have limited space for new artists in their rotation. Labels may be able to convince stations to add more slots for new talent, but figuring out how to do so without driving away listeners looking for certain levels of quality and familiarity is a complicated formula that the industry has not cracked.
Discovery also cannot be dependent on the influence of money. That has long been the case, which is why labels are still useful to many artist’s careers. Business savvy talent may be able to make themselves known in the digital space with viral hits and creative marketing, but going from clubs to theaters and larger venues requires an added level of success that digital popularity alone cannot manifest.
Think about Lil Nas X for a moment. His knowledge of internet culture and a knack for creating memes helped propel “Old Town Road” into the spotlight, but it wasn’t until he had the support of a label that the song reached number one on the Billboard charts.
Another example of funding pushing an artist over the threshold between notoriety and rockstar level fame is Billie Eilish. When the teen songwriter’s debut album dropped in March, it was plastered across every major streaming service. That level of exposure is not provided for free by the companies behind those services. Eilish’s label had to negotiate deals, create exclusive content, and work many hours to make that level of promotion happen. Would she still have an excellent record without the label’s help? Most likely, yes. Would she still be selling out arena tours nearly a year in advance? Probably not.
Streaming may have created more avenues to short-term success for independent artists, but there are no clear paths to mainstream exposure without succumbing to the same industry machine that has been chewing up and spitting out talent for the last century. That said, there is a glass ceiling of sorts that a select number of forward-thinking, consumer-focused artists can achieve without giving into tradition. These are artists who build communities around their music that propel them into longterm success through fan retention and consistently strong releases. Such careers are often the result of multiple albums and tours. Rarely, if ever, are they possible without years of work.
An example of this ‘outside the machine’ success would be Drew Holcomb, a singer-songwriter from Tennessee who has dedicated the better part of two decades to his career. Holcomb’s Americana-influenced style has developed help him develop a community of devoted fans who seek out his tours and releases. He does not need placements in prominent publications or mentions by popular music influencers to continue his career. Holcomb plays to packed theaters, and that level of success is more than enough to support his family. It’s a good life, but the chances his profile raises much, if any, further without a substantial amount of third-party funding is low.
The myth of the independent success story has grown transparent over time. People know the ‘self-made’ stars promoted to them on any significant platform owes a high debt to an office of hardworking industry professionals. Streaming was meant to usher in the future of music, but instead, it has retrofitted classic industry schemes for a new generation of talent. Unless there can be a low-cost entry for unsigned artists to reach the masses, the major labels will continue their reign over the business.
But the discovery problem also exists outside streaming and listening. With more artists touring than ever before, the opportunities for young talent to gain exposure through performances appear to be shrinking. Legacy acts are not taking unknowns on tour with them, nor are those few artists able to fill stadiums. Mid-level talents are filling their tours with other mid-level talents to justify playing venues they might not otherwise book. The few opportunities for newer artists that do exist on prominent tours and festivals are often pay-to-play scenarios. Others are gifted to artists who live on the same label or management company as the headliner.
With all this in mind, where do young musicians go to excel on their own merit? How does an artist today start a career and work their way to the top without submitting to the authority of the industry machine? Is it even possible to do so?
The age of streaming has not delivered on its promise of making the industry better for independent talent. It has opened more doors, yes, but all those doors lead to the same system that has been in place since the dawn of the industry. The margins are slimmer, the opportunities are limited, and the ability to do anything truly independently is disappearing at an alarming rate. To build a better industry for everyone, we must create paths to sustainability for all musicians. Discovery is one part of the problem, but exposure alone is not enough to build a career. We owe artists more than we are giving them, and the time to make a change is now.
>By harnessing its massive data set, which it gathers from more than 100 million users worldwide, Shazam can determine what song will hit No. 1 over a month in advance.
If you didn’t believe in the power of big data before, you will now: according to a talk given yesterday by Cait O’Riordan, Shazam’s VP of product, her company can predict nearly every successful pop song ahead of time. The Shazam app, which allows you to identify songs with your phone, has 100 million users worldwide, and people use the app approximately 20 million times a day. This gives Shazam a huge data set, and with lots of data comes forecasting power. O’Riordan says that “with relative accuracy, we can predict 33 days out what song will go to number one on the Billboard charts.”
That’s not all: Shazam can watch as songs begin to blow up in different regions and snowball into global successes. O’Riordan traces the rise of Clean Bandit’s “Rather Be"—the most Shazamed song of 2014—and suggests that its 2015 equivalent might be the remix of Omi’s "Cheerleader.” Possibly coolest of all, Shazam can tell exactly what moment in a song causes people to reach for their phones and get the app going. For O.T. Genasis’ “Coco,” the famous exclamation, “baking soda, I got baking soda!” sent people scrambling for their devices. And when people were listening to Kanye’s “Monster” back in 2010,Nicki’s verse was the one that got most of the Shazam’s. Disputes about who had the best rap verse will never be the same again.
We have written a lot about data in the past, but this is one of the first times a music discovery company has revealed how its data can be used to predict the future of our industry. What I found the most fascinating about the video above, which I highly suggest you watch in full, is that it seems most songs only have about ten or fifteen seconds to grab someone’s attention before the likelihood of being Shazam’d begins to fall at an alarming rate. I would hope people give new music more than the length of an Instagram video to prove their staying power, but at the same time I know when using Spotify on shuffle I often skip from track to track within three or four seconds.
What I want to know is whether or not Shazam has any plans to make this data available to labels, or even the public, at some point in the future. There is a lot of power to be wielded by understanding the flow of public interest as it relates to popular music, and I am sure there are already people doing everything they can to gain access to that information. Knowing who is going to be big next would allow labels, as well as the artists themselves, to know how and where to allocate their marketing funds. If I know for certain Artist A is a month away from the Billboard chart, then my focus for the next four weeks will be doing everything I can to facilitate that artists ability to reach number one. If I don’t have that information, I might not think to focus any special time or attention on that talent until they’re already charting, and by that point you’re already behind the curve.
Do you think this data has real applications in the real world, and if so, do you feel it should be made available to the public?
There is nothing like the chill that runs down my spine whenever I hear an incredible musical talent for the very first time. You probably experience this phenomena in your own way, but for me it begins in the spine and then makes its way to the tips of my fingers and toes. Before long, I’m entranced in the sound, with all the hair on both my arms standing on end. I rarely know exactly what it is about the song playing in that moment that causes this reaction, but over time I’ve found myself more or less living for those unpredictable instances when the stars align and a new discovery is made. I even made a career out of it, or I’ve tried to, and it’s still something I wake every day hoping to encounter.
Don’t get me wrong. I’m not depressed or anything like that. All I am saying is that there are far better ways to pay the bills than writing about music for anyone willing to throw a few financial crumbs your way. People who make this line of work do so almost entirely for the opportunity to experience the feeling I attempted to describe above again and again. It propels us, driving home a sense of responsibility to find the next great sound because if we don’t there may never be another Morrissey to sing lonely hearts to sleep at night.
The Posture is a band born out of the ashes of several once promising New York groups. Their sound is the result of blending the heartbreaking simplicity of groups like The Cure with a large amount of modern alternative influence. They could fit in on Warped Tour just as easily as they could find success at modern rock radio, and the band’s debut EP, I Wish I Had, showcases five potential underground hits that deserve far more attention than they have received thus far.
You may listen to the songs featured in this post and disagree with everything I have said about this band, but that is no way means my thoughts on The Posture are wrong. Part of what makes music so wonderful and mysterious is the ability for a single song to impact people ways far too numerous to count. Some may listen to this band and find their next obsession, but others will listen and feel as if they have wasted some of their precious time on Earth. Still others might think it’s okay, but certainly not the kind of thing they would want to listen to on a regular basis. Everyone is right in their own way because everyone is entitled to their own opinion. The important thing is that you gave this band a chance, and that is due largely to the fact I just brought them to your attention. Had I never mentioned The Posture you may have never heard them, which is an example of one of the many reasons countless talented musicians will never have their time in the limelight: People just don’t care enough to share.
Make no mistake: My complaint isn’t with the internet, or even the so-called ‘scene’ in general. It’s not your fault that you haven’t heard and begun to praise The Posture anymore than it is your fault you haven’t heard every Simon & Garfunkel recording. There is some degree of user error, and by that I mean you could probably find a jaded blogger to argue there is, but the blame largely falls on time, or lack thereof, and the various demands of life that minimize the amount of time anyone can spend enjoying art. Music discovery may be easier than ever in the digital age, but finding time to simply explore the latest musical offerings from around the world is increasingly difficult. That isn’t your fault anymore than it is mine.
What we must remember as writers is that music discovery is key to building a better entertainment industry and it’s our responsibility as influencers to play an active role in the sound that reaches the masses. Without taking the time to sift through the various music undergrounds of the world in search of the next great talent we risk running out of creative and/or original ideas to promote. It doesn’t take a person with a Master’s Degree in music to tell you the chart-topping hits of today are largely forgettable. That does not mean the music being released today is necessarily bad, but within two or three years no one will be talking about, letting alone, playing what is currently in heavy rotation at the radio. That is a dangerous trend, and its continued proliferation throughout the world of music only serves to further devalue the work of musicians everywhere, regardless of whether or not they create pop music. The only way to curb these efforts, or better yet stop them altogether, is to seek out and promote the innovative creatives with original ideas on where the future of music is headed. Then, and only then, can we make the people who read our work feel about music the way you and I do every single day of our lives. They want music to excite them just as much as you, but they need some help finding the talent capable of having that impact on them. They look to you and your work to be a supplier of fresh talent, and that is an honor most never recognize, let alone appreciate.
I initially discovered The Posture while spending an otherwise uneventful Thursday afternoon browsing Bandcamp while avoiding the responsibilities of my various freelance jobs. It wasn’t the first time I had been on the site for this purpose, and I am certain it won’t be the last. I know there are dozens, if not hundreds, of blogs dedicated to helping showcase new bands, but I’ve found I prefer the rush of blindly clicking around until I stumble across something whose inherent catchiness I simply cannot deny. It doesn’t always happen, and sometimes I have essentially wasted hours clicking from lackluster recording to lackluster recording, but when something like The Posture appears on your monitor all the lost hours and poorly recorded demos are no longer weighing on your thoughts. You have found your new muse, and for a short while it’s as if nothing else on Earth matters.
By not only seeking out fresh talent, but also promoting that talent to anyone willing to listen, we are writers are playing an active role in shaping the future of music. We’re plucking bands and solo acts from the grey of anonymity and telling the world “Hey, this is going to blow your mind,” which is something admittedly anyone can do, but for whatever reason you have put yourself in a position to say so with some semblance of authority. Music writers at every level of this profession can positively impact the lives of musicians and music fans alike by using their platform for conversation to showcase the latest and greatest art, but only a select few ever seize that opportunity and make the most of it. I can’t make you act differently, but I can plead with you to think not only about yourself and whatever clickbait style article you have been trying to pen to instead turn your attention to the world of underground music. Ventures through the charts on site like Bandcamp and Purevolume, find something great you never knew existed, and share it with the world. You may find something that changes your life, and by sharing it you may change or at the very least make a positive impact on the lives of others. You’ll also be helping a hard working artist, which is what we’re all supposed to do as writers in the first place.
I know I have written a lot at this point, so let me leave things by saying you never know how amazing the world of music really is until you get off your ass and take it upon yourself to explore all it has to offer. Once you do that, it is your responsibility to share what you’ve seen, heard, and found with others. They will do the same with the people they know and, over time, a new music business that was undeniably shaped by your input will emerge. You may never get credit for your discovery, but you will be able to sleep at night with the knowledge you made a positive impact on the world around you. At the end of the day, what more could you ask for out of life?
This morning I attended a SXSW panel filled with leaders from Shazam, Sirius XM, and other digital music platforms that hoped to tackle the tough subject of music discovery and where it may be headed in the future. It was a continuation of a panel from 2014, but the content shared was wholly unique to this session.
The first topic was the rise in demand for professional curators. Apple is hiring some right now, but there is an argument to be made for whether or not machines can do they job just as well. The team from Sirius XM commented that this trend is good, but they have always made it a point to use both man and machine for their curation needs. Shazam seconded this notion, and added that their path to discovery begins with user generated questions. Users hear a song they like, then engage in discovery by opening Shazam to figure out who is responsible for the track. To help make a connection between personal discovery and more large scale music discovery the company recently added charts, which shows every user the songs most often being sought on the Shazam platform.
Other panelists had variations on the comments above, but almost everyone agreed the most difficult part of the curation and discovery process right now is how to expose people to talent they may enjoy without doing a hard sell. For Rdio, one of Spotify’s biggest competitors, the changes being made to better facilitate discovery began with the launch of their own radio tool. Users can choose the song or artist they like, turn on radio, and the service will attempt to serve users with artists and songs they believe to be similar to the user’s initial choice. Who makes this cut is based on cumulative data from all users, which is fed through an algorithm to find what artists/songs are most often played together.
When asked how they plan to take this idea and develop it further, Rdio mentioned personalized radio stations for users that take into consideration everything they listen to, as well as how often each song/artist/genre is enjoyed. Other panelists agreed that this idea was the way of the future, though each has their own take on how it should work. Again, everything comes back to data, and it seems that will be a constant theme throughout SXSW this week.
If we accept that data is the key to curation and digital discovery, which the panel in this session did, then we next need to discuss what parameters need to be placed on the data being used. People who use applications like Shazam or Rdio have possibly compiled years worth of data about their music interest, so how far back should these companies dig through that data when trying to determine new talent to show that user? No one seems to have an answer quite yet, but almost everyone agrees there needs to be some kind of cut off point. People’s tastes change over time, so it doesn’t make sense to use the entirety of your time with a service to generate new recommendations.
8Tracks founder David Porter was quick to reply to this conversation by adding that having too little data about a user is just as problematic as too much. He used Twitter’s ‘People You May Know’ service as an example, citing how the company did a poor job of recommending people you may actually know early on, but over time they refined their tools through the use of more and more data.
At this point the panel was asked whether or not users would feel comfortable with constant data mining being made in the name of content curation and future music discovery. The panelists were quick to comment that the answer will always be dependent on the way the discovery tools are presented to users. General recommendations like Prince or Madonna are only going to push people away, as most users will already know of these artists. The key is to find a way to show users lesser known artists who relate to the talent they already know without coming across and pushing a hard sell or otherwise being intrusive.
Building on this idea, Shazam commented that they have learned bad and/or poor recommendations tend to drive away users. If people get push notifications or emails that attempt to connect them with music they already are aware of they are far more likely to turn off notifications and unsubscribe from email chains than if no recommendations were serviced at all. Other panelists commented that they have seem similar trends with their various attempts to change or innovate discovery.
Before closing the panelists were asked to summarize their thoughts. There were some variations, as well as plenty of pitches for their various companies, but as a whole everyone seemed to agree that the future of music discovery and content curation is not about man versus machine, but rather man and machine finding a way to work together while leveraging the vast pools of data each business has collected. No one knows exactly what the next phase of discovery will be or what it will look like, but everyone is interested in seeing it brought to the public sooner than later. In order for these companies to thrive they need users who are constantly consuming content, and the only way to guarantee that happens is by consistently providing them with good recommendations, or at least giving them the tools to find artists they may enjoy. Once someone cracks that code, everything about content curation will change.
It’s funny how our experiences in life slowly steer us toward the careers we eventually seek. I’m sure most of you can remember a time in your youth when you sat in the back of your parents’ car on a summer day and sang along with whatever was playing on the radio. Metallica, Spin Doctors, Britney Spears, it did not matter who came on next as long as you could sing along (or at least pretend to), preferably at the top of your lungs. That’s an experience almost every child goes through, and it’s something most parents reflect on later as a ‘golden memory’ of their children. For some children, however, it’s something more. They do not know it at the time, of course, and neither do their parents, but for a select few those first car ride sing-a-longs are laying the foundation for a career in music that will likely impact thousands, if not millions over time.
Todd Kunsman remembers those car rides, and from a very young age he knew he wanted to be involved in the world of music. Unfortunately, due to college, work, internships, and the tasks of every day life in between he found making time to do so incredibly difficult. Anything worth doing is worth doing to the best of your abilities, after all, and realizing this Todd waited to begin his journey in the world of music criticism until he had finished school and found time in his demanding schedule for a new project. When that day came, he bought the domain OhSoFreshMusic, and in no time began developing a following passionate about new artist discovery.
Today, OhSoFreshMusic is a hub for people who want to know about the latest trends in music. Through timely news, engaging editorials, interviews, and an ever-expanding collection of unique features Todd has managed to carve a unique niche in the world of music discovery that stands apart from the rest of the blogging world in all the right ways. You can read any article on OhSoFreshMusic and feel the passion the creator of that content had for their subject. If that is not the sign of a truly great zine, I do not know what is.
We spoke with Todd earlier this month about everything he experienced while starting his site, and he was kind enough to offer an in-depth look at everything he went through to get where he is today. If you would like to learn more about Todd and his efforts in music criticism, please take a few moments to follow OhSoFreshMusic on Twitter. Additional questions and comments can be left at the end of this post.
H: Before we begin, please tell everyone your full name, job title, and the site you’re here to discuss:
T: My name is Todd Kunsman and I am the founder, editor, and social media person for Oh So Fresh! Music blog.
H: Thanks for joining us, Todd. I’m a fan of your site, but must admit I have never learned the story behind its name. Would you please tell us the origin story of ‘Oh So Fresh,” and when the site came into existence?
T: I’ve actually wanted to start something music related for a long time, but with College, interning, and working, there really wasn’t much time. However, back in 2010 a few months after graduating college I decided it was time. And to be honest, the name was something that first came to mind and the domain was available so I snagged it. I just had in mind that I wanted a place to find fresh new music and post about fresh faces that might not be getting notice.
H: Now let’s take a step back and learn a thing or two about you. When you think about your earliest memories with music, what comes to mind first?
T: Probably singing in the car as a young kid to all sorts of different music. My parents listen to a whole mix of stuff, so I’d be jamming out to MC Hammer then Spin Doctors. Pretty embarrassing now that I think about it haha.
H: Who is the first musician you can remember obsessing over, and how did you originally discover them? Feel free to share any early fan-boy moments you’re able to remember.
T: Man, I would say Bradley Nowell of Sublime. A friend had showed me some of their music back in in middle school because his older brother was a fan and I instantly became addicted to them. I know almost all the lyrics of Sublime’s catalog just because of the constant replays. I’m still a big fan today, especially of Brad.
H: On what format was the first album (or single) you bought with your own money?
T: Hmm, I know was fairly young and it was probably Will Smith’s Big Willie Style, who didn’t have that album in the mid/late 90s?
H: Do you remember your first concert experience? Go on, paint us a word picture:
T: I’m quite sure my parents dragged me to some Hall & Oates concert at a local music festival in my town. Not really my type of music, but those guys know how to put on a good show.
H: Let’s turn our focus to writing. Can you pinpoint any specific moments in life when you realized your abilities in writing could be put to good use in the world of music criticism?
T: I took a journalism elective in College and surprisingly enjoyed it, which then lead to my communications minor. Since music was always a big part of my life, writing gave me a way to talk about the music I love. From there I just kept pursuing different outlets where I could write about music.
H: Who or what inspires you as a writer?
T: Good music. Every time I hear a song that just catches my attention, the writing just flows easier. It basically gives me more thoughts and passion in the writing when music clicks with me.
H: How would you describe the content offered on your site to someone who may have never visited your blog before reading this article?
T: I think the site description says it best: “The freshest music posted on a daily basis. We share some of the best tunes before the mainstream even knows about it.” But, I would also say if indie. hip hop, electronic, and EDM are genres you enjoy, then you’ll find what you are looking for at Oh So Fresh. There is the occasional interview and feature as well to mix it up.
H: There are a number of sites covering similar areas of entertainment. What is it about the content offered on OSF that separates you from the competition?
T: I think that we don’t always rush to post the latest track as soon as it comes out. Some blogs really compete with each other to be the “first” sharing a tune. Granted, that can get you more traffic, but I like to listen to a song a few times before sharing. So while a song might of just come out, we might write about 3 hours later or maybe a day later. The music we share are songs that we indeed really like and aren’t just posted for the sake of seeming cool or to be the first ones.
H: Out of curiosity, how large is the writing team at your site?
T: It’s varied over the years, currently it’s 5 other writers and at one point I had 7. Typically they write a few times a week, but I post multiple times a day.
H: Are you currently looking for additional team members? If so, what should those interested in contributing to your site do to apply?
T: Sure, I can always use writers or people interested in marketing. All you have to do is email me (osfeditor@gmail.com), tell me a bit about yourself, music you love or currently enjoying, and a bit of your experience. Simple as that!
H: When you were first starting off, who were some of the first labels/publicists to give you a chance and/or take you seriously in the music industry?
T: There were very limited interest from labels at first, but PR people were there from day one. The one I recall really reaching out first was the Planetary Group, who still send me things today via email and to my home. Really nice group of people right there.
H: What advice would you offer to someone reading this now who may be considering pursuing a career in the world of music journalism/criticism?
T: Just go for it. It’s a crowded market, but it doesn’t mean you shouldn’t give it a go. If you are really passionate about it reach out to bloggers or others in the industry. Sure some will ignore you, but others are also willing to share some knowledge if they sense your passion and enthusiasm.
H: You have featured a number of up and coming artists on your blog, in addition to national headliners. Where do you turn when hoping to discover new music, and what should indie artist looking to appear on your site do to get your attention?
T: There are a ton of places I discover new music. One being my email, I get sent 150+ a day and while plenty are not my style, there are always a few gems in there. Soundcloud has been a big one too because it plays similar songs to something you just listened to or the artist shares tracks of other artists they like. And I occasionally find some great material from other writers out there.
An artist can grab my attention by an original email, not some mundane robot-like paragraph. it’s more personable and you can get a better sense of the passion they have for their craft.
H: When it comes to receiving music for review/feature consideration, which digital distribution services do you prefer and why?
T: I like Soundcloud, Bandcamp, and Audiomack. They all have clean designs and are easy to embed when we create posts, which is perfect for blogs.
H: How many articles do you write in a week?
T: I tend to write 4 a day, and maybe like 2-3 during the weekends. Typically it will be between 20-25 a week.
H: What are your current career goals?
T: Currently I’ve been interesting in doing more freelance/consulting work in the music/entertainment industries. Whether it’s social media, marketing, blogging, design, or A&R related things. Trying to get as much experience as I can.
H: What are your goals for the site, and how have those goals changed since launch?
T: I would love to keep seeing the site grow. I’ve had my ups and downs with it (almost quit back in Summer), but I’m glad I stuck with it because I would miss writing and interacting with the music industry. Before it was just a place for me to share music and my friends to check out, now I have more of an audience so I keep them in mind as well.
H: If you could change one thing about the music industry today, what would it be?
T: I’d say some labels pushing generic sounds out there for a quick buck. It’s no wonder there is a decline in album sales (Besides the Internet causing that as well) and that many artists are getting their music out there without a label. Look at Macklemore winning Grammys as an independent artist. I think a lot of labels need to rethink their strategies and many are starting to realize that.
H: Who is one artist you think is severely underrated?
T: That’s a tough one because there are a few I could name, but I’ll go with Jhameel on this one. He’s grown tremendously since he first reached out to me back in 2010, but deserves so much more attention. He’s a singer, songwriter, multi-instrumentalist, choreographer, and a generally interesting artist. Think Michael Jackson meets Prince meets modern pop.
H: What can we expect from your site in the remaining months of 2014?
T: We’ve rolled out a new feature to get College radio stations involved with our site. We just started it so hopefully more will get on board in the next few months and this potentially could be a great feature. Otherwise, great content will continue and hopefully pushing more great artists to the readers.
H: Okay, I think that covers everything. Before we go our separate ways, do you have any finals thoughts or observations that you would like to share with our readers? The floor is yours:
T: If you are thinking about starting a music blog, just do it. If it’s on your mind go for it because many bloggers are friendly and willing to help with questions you might have. I’ve learned a lot along the way, made plenty of connections, and realized this can be a great resume booster. I’d like to thank anyone who visits the site daily or even if it’s only one time, I’m still surprised people actually have such an interest in my site. I also want to thank anyone who has written or is writing currently because they enjoy the site and love music as much as I do. We all have busy schedules but they still make time to work on posts and emails. Also, I’ll be launching a lifestyle and culture site in late Spring called THVT GOOD, check it out!
