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Band Protests Spotify With 1,000 Track Album of 30-Second Songs

The Pocket Gods Vs Spotify

Haulix clients The Pocket Gods are taking on the biggest music streaming platform on Earth by plotting an album tailor-made to extort a loophole in Spotify’s rules.

Spotify finds itself in a lot of hot water right now. The streaming giant is currently embroiled in a battle over misinformation and free speech centered around controversial podcast host Joe Rogan that has, to date, involved multiple rock legends and even earned a response from the White House. In addition to this, the Daniel Ek founded platform is battling several protests from artists worldwide concerned over the minuscule royalty rate offered by Spotify. While Joe Rogan earns $100million, musicians earn roughly $0.004 per stream before splitting that money with their team.

Longtime Haulix clients The Pocket Gods have developed a unique solution to their problems with Spotify. The English rock band is currently making headlines with plans to record and release a 1,000 track album comprised entirely of 30-second songs. The tracks are long enough to be counted as legitimate streams by Spotify but run much shorter than the average song.

The Pocket Gods were inspired to attempt this undertaking after reading an article in The Independent from professor Mike Errico. He said that Spotify’s methods surrounding what constitutes a song—otherwise known as their decision to count plays after 30-seconds—could signal the end of the three-minute pop song.

“I saw the article, and it made me think, ‘Why write longer songs when we get paid little enough for just 30 seconds?'” The Pocket Gods frontman Mark Christopher Lee told i News.

The new album – ‘1000×30 – Nobody Makes Money Anymore’ – directly references Spotify’s business model, and as such, Lee says that it means the band “run the risk of being thrown off the platform.”

Of the process of writing the album, he added: “We wrote and recorded 1,000 songs, each a shade over 30 seconds long for the album. The longest is 36 seconds. It is designed to raise awareness about the campaign for fair royalty rates.”

The logic behind Errico’s original story and The Pocket Gods’ new material is sound. If an artist stands to make the same amount of money for a 30-second song as they do from one that runs several minutes in length, then what is the value proposition of making longer songs? When it takes the same amount of time to consume one modern pop song in full as it does to hear 4-6 tracks of The Pocket Gods’ record, any artist hoping to make money will see the value in writing shorter material.

“Spotify is a great musical resource, and it allows indie bands like us to upload our music without record companies,” the frontman added. “I also believe in free speech even though I’m a massive Neil Young fan, so I don’t support the boycott. We just want to raise awareness of the royalties issue.”

If you agree with The Pocket Gods, the time to act is now. Spotify and other major streaming services recently proposed the “lowest royalty rates in history,” and many believe not enough is being done to fight back.

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New Platform The Van Hopes To Disrupt The Streaming Marketplace

The Van hopes to separate itself from its streaming competitors by emphasizing artist compensation over company revenue.

The van is a new worldwide music streaming platform exclusively for indie artists & labels, that enables & encourages listeners to support artists by compensating them directly. The platform encourages bands to make a contribution to the artists they enjoy without requiring a subscription fee or purchase minimum. It is perhaps the first streaming platform to truly place talent before its own interests, and it’s now available worldwide.

For listeners, the van removes the usual commitments & requirements that impede their ability to compensate artists flexibly, equitably and directly. For artists, it offers another means by which to monetize their creative work, on a non-exclusive basis, free of platform fees — while allowing them to upload & manage their music independently (without third-party distributors).

PayPal powers all transactions, and U.S. listeners on the mobile site can make contributions using Venmo. Funds from the artist’s share of a support transaction are deposited into their PayPal account immediately, subject to no holding period.

BUT. There is a small catch.

Artists and labels are personally invited and approved by The Van admin. Curation is managed by human programmers highlighting a limited array of releases at any one time and foregoing the use of algorithms that tend to filter out as much great music as they corral.

Does the world need another streaming service? It’s effortless to say that it does not. After all, the vast majority of all recorded music is available on every platform, and the number of unique benefits any platform can offer is limited.

The world needs a streaming service that emphasizes the importance of compensating artists instead of celebrating algorithms. Musicians worldwide are unhappy with how Spotify, Apple Music, and Amazon music compensate talent. These corporations are making billions while artists make fractions of a cent, and no amount of picketing or complaining online seems to convince those in power to change their methods. The Van may not prove to be a perfect solution, but it is attempting to find better ways of compensating artists and highlighting their talent. That’s better than nothing.

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What Artists Should Know About Their Competition [Video]

The competition for attention in music is fierce, but it’s not as tough as you may think. That is, as long as you know what you’re doing.

If you look around the Internet, you will see startling statistics about the amount of content available online. At any moment, on any given day, people are uploading thousands of hours of video and audio content. More than 60,000 new songs appear on Spotify every single day. That’s more than 1.8 million new songs every month and over 20 million songs per year. Experts believe those numbers will grow exponentially in the years ahead, making competition among creative increasingly intense.

That brings us to a question that many up-and-coming artists ask: 

Is there a place for me in the music business?

Indeed, the amount of new music available to consumers daily is staggering. Still, it’s crucial that musicians not confuse the public’s access to new music with consumers’ desire for new music. Most people will not hear even 1% of the new music released on any given day. Of the 1.8 million songs added to Spotify this month, it is most likely that the average person will hear, at most, about 100 new songs. The amount of those tracks they listen to more than once is even less.

But do not let the overwhelming amount of music or the general public’s interest in most of it deter you from continuing to create. Most consumers do not want new music that challenges them and their tastes. The vast majority of listeners want something similar to what they already enjoy. They want to hear music that feels familiar yet is just different enough to feel fresh at the same time. Music is about pleasure and entertainment for most people. They want to enjoy whatever they enjoy, and they don’t want to overthink the song selection process.

Consumer behavior is a blessing. As host James Shotwell explains in the latest Music Biz update, understanding that most consumers want more of the same can help you build a lasting career in music. Suppose you can identify your niche, learn from those leading it, and consider strategies for success when developing your original content and ideas. In that case, the sky is the limit. Check it out:

Most of the music added to Spotify every day is not in direct competition with what you are creating when you think about it. There may be a few thousand songs by rock bands, but how many of those are targeting the same audience that you are? Thinking further, how many are good? How many are artists in your country or region? 

Many musicians make the mistake of thinking that every artist on the planet is their competition when nothing could be further from the truth. I would argue that 90% of artists or more exist outside the market you are trying to serve. As long as you can identify your target audience, cater to their tastes, and create quality contact, then you have no reason to worry about what anyone else is doing.

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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Could Spotify and Clubhouse be a Perfect Match? [VIDEO]

Combining two of the biggest audio-focused apps on the planet seems like a no-brainer, but will it actually happen?

The competition for listener attention and money in the crowded audio space is fierce. With virtually all streaming platforms offering the same songs, the only thing that can separate each brand is in the features they offer. Podcasts alone are not enough. High-fidelity recordings are not enough. The companies that rise above in 2021 and beyond need to be thinking outside the box, and it looks like Spotify may be doing just that with its latest activity. 

Recently, Spotify Daniel Ek participated in a Clubhouse event with Mark Zuckerberg that seemed to reveal his interest in audio-driven social technology. He then confirmed this belief in an interview with The Verge where he stated:

“I think that there’s a number of different elements of what social audio or Clubhouse even is. So I think on the one end, you’re seeing the interaction between two or more people talking, and obviously, if you think about podcasts today, that’s typically the format that’s working pretty well there, too. So I’m not surprised that that’s working.

I’m also not surprised that social features, users to users interacting with each other, are working. So it is an interesting space, and it’s definitely something that we’re keeping an eye on. Long-term, though, I think the broader shift that has been true with the internet has been most of the hours of consumption, we believe, will be moving from linear to on-demand. Meaning consumers should be able to consume whatever content that they want on their terms and not necessarily be beholden to someone else’s schedule. So I think it’s a really interesting format from a creation perspective, but I suspect that from the consumption perspective, most of the time consumed will still be on-demand which is what Spotify is known for today.“

The interest Ek — and by extension, Spotify — has in Clubhouse doesn’t stop there. In the last week, the streaming service has asked users with ad-supported streaming subscriptions to offer their thoughts on Clubhouse. The survey ends with a notice that the company will likely have more questions about Clubhouse soon.

But what does this mean? Two ideas that come to mind:

  • Spotify is considering acquiring Clubhouse.
  • Spotify is preparing to launch a native version of Clubhouse.

In the latest Music Biz update, host James Shotwell explains the latest rumors and argues that combining these two wildly popular apps could mark the dawn of a new age in music consumption and conversation. Check it out:

Spotify — or any streaming service — offering a native version of Clubhouse could be a pivotal moment in digital music evolution. For the first time, artists would host interactive fan events in the same place where their music is available for consumption. Rather than pointing fans from IG live, Zoom, or Twitch to yet another platform, everything an artist needs to engage with fans would be in one place.

Only time will tell what happens between these apps, but given Ek’s interest it seems likely something will develop in the months and years ahead. Stay tuned.

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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Music Streaming Is Stalling. Should We Worry?

After bouncing back from historic lows in March, music streaming is beginning to stall, but is it time for the industry to panic?

In the decade since its rise to industry dominance began, music streaming has consistently grown, adding more songs and subscribers with each passing day. The tech has evolved as well, allowing for offline streaming, engaging looping videos, unique artist-specific promotional opportunities, and more. Streaming is an incredible sector of the music industry, which in many ways is still in its infancy, but that doesn’t mean the good times will last forever.

There’s good and bad news, so let’s start with the good. Streaming services have continued to add U.S. subscribers this year, according to MIDiA Research, growing by 11 million paying users from January to September, to 117.9 million. Global growth has continued as well.

Now for the bad news. Despite the rising number of subscribers, the total number of streams has remained the same for the last four months. According to Billboard, audio music streams have averaged 17.5 billion a week since September. That’s up slightly from the early March pre-pandemic peak, before the lockdown cut music listening down by 13% to a year low of fewer than 15 billion streams, as consumers stopped commuting and obsessed over the news. Streaming gradually rebounded, increasing 15% by the end of June — but has plateaued since.

Streaming music consumption in 2020

These numbers do not include podcast streams, which may be a good thing for streaming services. Spotify and other streaming companies have invested hundreds of millions into podcasting over the last two years. These services don’t share as much revenue with podcasts — many of which they now own — as they do musicians. A rise in podcast consumption means more money stays with the streaming service, which is bound to make investors happy, even if it means hurting the music business.

Let’s talk about the music business because that is what matters here. There are possible explanations for stagnant consumption, and most appear to be temporary. For starters, the vast majority of consumers no longer have a commute for work. The time between leaving home and arriving at a job is when many adult listeners consume the majority of their music content. A similar event is happening with young listeners and school. No bus rides, field trips, or walks to and from class equates to a lot less time when consumers are likely to put on headphones and turn on music.

There’s also an argument to be made that stagnation is due, at least in part, to a slow release schedule. While many indie artists pushed forward with release plans in light of the COVID-19 pandemic, labels with significant investments in their talent may choose to hold releases until the imminent return of live music. Labels and major talent — many of whom entered 2020 with plans and promises to release music — need the revenue from touring to recouped production and promotion costs, so until touring is feasible, most choose to hold records that may otherwise be ready to go. We’ve spoken to several labels sitting on anywhere from one to twelve releases that are completed but still have no release date because of the uncertainties surrounding live music in 2021.

These factors, plus the rising popularity of podcasts, have put the music in a unique position. While video streaming services such as HBO Max are doubling their release efforts to consumers engaging with their product, many in the music industry are trying to wait out the pandemic. They’re giving fans just enough to let them know they’re still active. Unlike most video platforms, music streaming services do not directly produce music content on their platforms. Spotify doesn’t necessarily need a new Drake release to make money. Drake and his team need that release. Apple Music doesn’t need a new Lizzo album. Lizzo and her fans need a new Lizzo album.

But should we worry? I don’t believe so. As we enter 2021 with the promise of vaccines and the potential for some level of normalcy, the industry is the most hopeful and enthusiastic it has been since March. By the time we hit the first anniversary of lockdown in three months, music’s role in the remainder of the year will be clear. If live music returns, many office jobs and schools will as well. Commutes will return, prominent artists will release big records, and live events will remind everyone what makes music special. Human beings have turned to music in the darkest times and the best moments throughout our history. The majority of consumers may be distracted by more pressing matters at the moment, but that passion has not gone away. No film or streaming series can compare to the way hearing the right song at the right time can make you feel, and that is something consumers will always want.

Be patient. The future is bright.

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Streaming Music Consumption Rises (Again)

After taking a dip in the wake of COVID-19, new data shows that streaming music consumption is on the rise yet again.

Trauma is a strange beast. You never know how you will react to traumatic situations, and sometimes, you don’t even realize you’re experiencing trauma until days, weeks, months, or even years after the fact. A perfect example is the headline-making moment coronavirus had in mid-March. Maybe you felt fear in that instance, or perhaps you didn’t feel the stress of a disease with no cure ripping through your lived ones until much later. Either way, you were experiencing something traumatic that more than likely influenced your behavior.

One change we can find through reviewing consumption data is how the lockdowns that followed the COVID-19 outbreak in the US impacted streaming. As Billboard reports, streaming was measured at 9.4% below average in the week ending March 26. That change can be blamed on a shift in consumer habits as much as a general sense of distraction. People were commuting less because their employers were closed. People were worried about their bills instead of the latest singles. Several big releases got delayed.

For a moment, the industry was scared this downward trend would last as long as the coronavirus itself, but new data says otherwise. Audio streaming rose to 0.9% above average in the week ending May 7, the latest period for which data is available. Music video streams have increased each of the last seven weeks and were 12.5% above average during the week ending May 7.

The report had some other interesting data as well. 84% of people who added a new music subscription service in the previous two weeks said they are likely to continue paying for it after COVID-19. As musicians’ touring income has been gutted during the pandemic, 43% of consumers said they are willing to buy merchandise or music to support artists, up from 36% the week of March 23. One in five consumers said they’ve watched a virtual concert since the lockdown began, although only 29% of the general population and just 17% of teens said they are willing to pay for one.

What does all this mean? The short answer is, the music business is resilient. Life may look nothing like it did before March 13, but that doesn’t mean people have stopped caring about entertainment. If anything, music has proven to be a great sense of comfort. It reminds us of a simpler time while simultaneously helping us cope with the chaos happening outside our homes. People are leaning on music to get them through, and the business is reaping the reward of being able to be there for people who may have no one else.

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Why Joe Rogan’s Spotify Deal is GOOD for Musicians [Video]

Joe Rogan is taking his massively successful podcast to Spotify in an exclusive deal that is upending the entertainment business.

The Joe Rogan Experience is the most popular podcast on the planet. Each month, the show’s in-depth interviews earn 190 million downloads and generate over 300 million YouTube views. That engagement translates to a ton of cash for Rogan and every platform hosting his show, but soon fans will have only one place to turn for their JRE fix.

Spotify announced an exclusive partnership with Joe Rogan on Tuesday, May 19, that will bring both the audio and video version of his platform to the service by the end of 2020. News of the deal and Rogan’s rumored $100-million payday has upended every facet of the entertainment business, with executives and artists at every level wondering what the move means for the future of audio. After all, podcasting is huge, but is it 9-figures huge?

To put this deal into perspective, an artist promoting their music through Spotify would need at least 28 billion streams to earn that much money. Drake, the most successful artist in Spotify history, only crossed the 28 billion stream threshold in late 2019.

But the deal is done and there is no turning back. Artists will continue to complain, but we see a lot of good things developing as a result of this announcement. For starters, a more Spotify users raises the likelihood of increased streams and discovery. Then there is the video element to Rogan’s deal, which will require a massive UI update that creates a world of possibilities for all creators.

In this Music Biz News update, host James Shotwell breaks down Rogan’s deal and explores the many ways his Spotify partnership will help artists everywhere in time.

Get more of the latest music headlines and learn how to succeed as an artist by subscribing to our YouTube channel!

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How Coronavirus Is Changing Music Consumption [Video]

With every artist unable to tour for the foreseeable future due to coronavirus concerns, all eyes are on music streaming and the revenue it (hopefully) produces.

Coronavirus has left countless musicians off the road, out of work, and struggling to make ends meet. The dependency on album sales and streaming has never been as high as it is now, but startling data brought to light by Rolling Stone (and other sources) say that music streams are declining.

According to numbers from Alpha Data, the data analytics provider that powers the Rolling Stone Charts, streams in the United States actually fell last week, failing to offset a far more grim downturn in digital and physical album sales.

During the week of March 13 through March 19, the same week most businesses and restaurants were forced to close, streams dropped 7.6 percent, to under 20.1 billion. Programmed streams on services like Pandora dropped 9 percent to just under 3.5 billion, while on-demand streams (audio and video) dropped 7.3 percent to 16.6 billion.

The sales side of music did not far any better. Digital song sales dropped 10.7 percent to 3.9 million, which is the lowest one-week total since Alpha Charts began tracking the sales. Physical album sales plummeted 27.6 percent and digital album sales dropped 12.4 percent. Album sales declining is nothing new, but these changes are closer to jumping off a cliff than rolling down a hill.

What the charts fail to reveal, however, are the likely reasons for these changes. With businesses closed and more people working from home, commutes have temporarily dissipated. The vast majority of listening time for individuals can be attributed to time spent in their cars, but most have nowhere to go right now. People also have limited time to themselves at home, as everyone (spouses, partners, kids) is home together. Finding time to listen to an album in full or even music in general, is difficult.

But fear not! As host James Shotwell explains in the latest episode of Music Biz, there are still reasons to keep hopes high. Some areas of music are thriving in the streaming age, and there remains a huge audience of devoted music fans who are constantly seeking the next song that makes them feel good. Your music may very well end up being the soundtrack to someone’s quarantine, and that possibility is all the reason anyone should need to keep going.

More importantly, the panic and existential dread people feel right now is temporary. As people come to understand and accept our new reality they will once again turn to music. It’s music, not film or television or video games, that offers hope for a better tomorrow. You have a role to play in the recovery, and we are going to be with you every step of the way.

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The Top Priority For All New Artists

Every artist has a unique journey to success in the music industry, but they should all start with the same goal.

Now is the best time ever to start a music career. The opportunities for exposure and success are at an all-time high, and virtually everyone can begin making money for their creative output as soon as it’s uploaded to the internet. Artists have never been as empowered to express themselves as they are right now, and that has made music as a whole far more interesting.

But regardless of who you are and the kind of music you seek to create, the goal of every musician starting today should be the same: Growth.

Jesse Cannon, music producer and author of numerous books geared at helping musicians succeed, says all new artists should prioritize growth until they have at least 20,000 monthly listeners on Spotify.

Why Spotify? If you asked a few years back, Cannon would have said the goal growth on Facebook or Twitter. Online metrics matter significantly in the industry, and having a sizable audience on any platform is a clear sign to the industry at large that people care about what you’re doing.

These days, however, Spotify is the most sought-after platform for strong performance stats. After all, the streaming giant is where digital engagement transforms into money. Every stream on Spotify counts towards an artist’s income. When labels, management, and the like are looking for new talent, Spotify is the place most turn to gauge an artist’s value.

When asked for more information, Cannon said 20,000 was indicative of an artist having “buzz beyond those of us who talk about [music] all day.” Meaning, an artist with a large Spotify following confirms the general public has discovered and taken an interest in their music. There are many artists that critics and industry professionals love who may never reach a following that large, so it’s important — from a business standpoint — to know music consumers are embracing someone.

Cannon further suggested that artists should avoid releasing or working on albums until they hit the 20,000 listener goal. Until that time, Cannon recommends releasing singles regularly. Consistently giving people a new reason to care or give you a chance is a proven tactic for developing an audience. Until people are willing to wait for something that could take a long time to complete, stick with singles as a means of showcasing your talent.

Careers are built on fans. In the age of the internet, engaging with listeners is incredibly easy. You can tweet at people, post to Facebook, share stories on Instagram, create videos for YouTube, and maintain a mailing list, among other things, without spending a dime. Growth on any platform is excellent, but growth on Spotify makes a difference that other digital communities cannot. Focus your efforts, build a community, and in time you will have the audience needed to support a full-time career.

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Bridging the Entertainment Gap Between China and the US

Music streaming is a global business, but artists are unknowingly missing out on revenue due to cultural and geographic differences. Fortunately, East Goes Global has a solution.

The Chinese music market is booming, and it’s still growing. For the first time in history, the Chinese market is among the world’s largest–in 2017, the International Federation of the Phonographic Industry confirmed China had finally entered the top ten music markets. This is all great news for American artists who want to break into the Chinese market but doing so remains a challenge. Many of the most popular streaming services and social media platforms in North America and Europe—Spotify, Youtube, Facebook, Instagram, Apple Music, etc.—are banned in China. Plenty of streaming services exist, but it’s a new development in a country with a history of piracy where the laws are constantly evolving. That’s where East Goes Global comes in. Founder Andrew Spalter is an expert in the Chinese market, stemming from his tenure as the day to day and tour manager for internationally-charting pop star Jessie J, who became the first foreign competitor to win Chinese competition and television show Singer 2018. Following Jessie J’s win [on the show], Spalter’s name began to gain notoriety in the Chinese mainstream music scene.

Spalter was soon approached by numerous superstars to aid in breaking the artists in the American market. What Spalter immediately discovered is that there is an enormous disconnect between both American and Chinese listeners and both sides were missing out on significant revenue because of it.

“You hear it all the time when speaking to entrepreneurs…my ‘aha!’ moment was…well, in my case, there were a few ‘aha’s!’, and they beat me over the head with a sledgehammer. Things like Directors of International Marketing at major US labels claiming that Spotify was available in China, another label offering a dairy branded deal to a Vegan, Chinese artists who were signed to US labels never seeing a dime of their streaming royalties, and so much more…it became clear that both sides were missing something that no one saw an opportunity in. 

Operating using his knowledge of working with Jessie J in the Chinese market, Spalter launched East Goes Global to build a bridge between eastern and western music markets, targeting streaming services like NetEase and QQ Music that have four times the number of users that Spotify and Apple Music do.

In just a year, East Goes Global has begun to reveal new paths into a previously uncharted market, guiding the likes of Carly Rae Jepsen, DJ Snake, Yungblud and Clairo to millions of new listeners. Because Spalter has experience in both markets, East Goes Global’s approach is natural, comprehensive and focused on breaking down cultural barriers using social media, playlist pitching, working directly with influencers and consulting, in addition to other methods. East Goes Global is well-equipped to operate in the Chinese market in part because they are aware of copyright laws and the state of the Chinese music industry as a result.

According to IFPL, music streaming services in China are slow to take off because “overall subscriber numbers remain low due largely to a combination of free licensed offerings and online piracy.” Despite this, IFPL insists that there is a strong case for optimism about the industry. In 2018, IFPL regional director for Asia Ang Kwee Tiang said that the value of the music industry grew in 2017 by 35.3% to $292.3m, with streaming revenue growing 26.5% to $204.5m. Though these numbers are still low compared to United States services like Spotify, it’s a significant increase when, less than a decade ago, piracy dominated people’s listening habits. According to Music Ally, “This is why piracy is no longer the main debate in the Chinese music industry. Ang showed a slide claiming that in 2010, 97.5% of online-music traffic in China was going to unlicensed and pirate sites, but that by 2017, 70% of traffic was to licensed audio and video sites.”

Entering the Chinese market as an American artist isn’t the only thing that East Goes Global can help with—Spalter and his team are experts in the American music industry as well and are more than capable of introducing Chinese artists to the American market. In 2017, the United States music industry made over seven billion dollars, according to an RIAA report. The report cites an 11.4 percent growth from the previous year, due in large part to the increase in on-demand streaming services. In the second quarter of 2019, Spotify had over 100 million paid users. With so many paid users and an industry worth more than 20 times what its Chinese counterpart is worth, the American music market contains untold potential for Chinese artists. East Goes Global is designed with artists on both sides of the globe in mind. With anti-piracy laws finally succeeding and legal, paid streaming services exploding, it’s only a matter of time before the demand for American artists grows in China and vice versa.

“There has never been a better time than now to begin focusing on the Chinese entertainment market. In music, China has moved up to the #10 largest music market in the entire world. Today, with the recent success of anti-piracy laws, the growth of revenue from streaming services, and the increased focus and role that social media plays in artists’ global success, the stage is perfectly set for global opportunity. With years of experience within both the Eastern and Western entertainment markets, East Goes Global has positioned itself to be the leader in the field of global development. From managing both Chinese and US social media platforms to assurance and collection of streaming royalties to sourcing branding and marketing opportunities for now more than 40 clients all working the Eastern market, East Goes Global is the premier team in developing your business on a truly global scale.“

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