Tag: spotify

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News

RIP Distributors? Spotify is empowering indie artists to upload their own music

Spotify Followed Artists, spotify playlists
Spotify playlists are shaping the future music business, but reaching the curators of the most influential lists is often incredibly difficult. We can help.

Disruption has long been the name of the game when it comes to success in the digital space. Uber and Lyft destroyed the need for taxis, much like how Amazon Prime’s 2-day deliveries have undercut the success of box stores such as Wal-Mart and Target.

In music, disruption tends to happen all at once. iTunes, for example, changed the music industry overnight. As soon as people were aware of an alternative method for accessing music they could not be convinced to return to their old habits. Streaming services followed years later, with Spotify leading the pack as the latest and most efficient way to enjoy every song you’ve ever known at a price point those dealing with physical products (CDs, cassettes, etc) could never match.

Throughout all these evolutions, however, one area of music has remained largely untouched. Distribution, specifically as it relates to digital stores, has long been controlled by a few select companies (Tunecore, CDBaby) that offer access to placement on anywhere from one to several hundred digital stores in exchange for a percentage of the artists’ revenue. These companies have especially thrived in the streaming era as the demand to be available everywhere has never been higher (or more difficult to achieve without a third party help).

This week, Spotify announced a new development that threatens to challenge this distribution market. Beginning September 20th the streaming service began allowing a select number of indie artists to upload their music directly to Spotify themselves, marking a stark shift in the way distribution works throughout the industry. Artists who do this are also paid directly from Spotify, meaning they no longer have to share a portion of their revenue with distribution providers.

With this service, artists who control their copyrights and do not have label or distribution agreements in place can log into their Spotify For Artists account, upload their music, fill in relevant metadata information, preview how the upload will look on their page and set the song to go live at a pre-scheduled time.

As for payments, Billboard recently broke down how a partnership with Stripe will help not only get artists paid, but provide insight into their longterm revenue development:

Through payment-processing provider Stripe, Spotify will facilitate royalty payments, which will be accounted each month. In an email, a rep for Spotify clarified that artists who directly upload their music will receive 50 percent of Spotify’s net revenue (the service will also account to publishers and collection societies) and will keep 100 percent of royalties on that music. Artists will be able to track historical payments, as well as see projections for future payments, and track when those will be deposited in their bank accounts.

“One of the things we’ve heard from the tests is this level of transparency really helps artists be able to plan and budget for the future as well as connect their overall performance on Spotify – how their music is performing, how their fans are discovering their music – using all those existing tools along with these additional tools to release music and get paid,” Anoliefo says. “There’s not that much information needed other than the music and the metadata associated with it, and then we’ll take care of the rest.”

The idea of cutting out the middleman from distribution seems like a win-win for everyone except the hundreds employed by distro services. Whether or not Spotify’s plan will be imitated by Amazon, Apple Music, and other leading streaming services remains to be seen, but as each company competes to be the most popular platform it’s likely they will continue to empower artists and further develop their relationships with them. Follow Haulix on Twitter for updates.

What do you think should happen with digital distribution? Send your thoughts and questions to james@haulix.com.

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News

Spotify now offers a playlist submission tool

There's a new way to get on Spotify playlists.

Playlists are the new mixtapes.

Actually, that’s not entirely true. Very few people, if anyone, ever made good money off a mixtape. Playlist placement, however, can be life-changing. As more and more people turn to premium streaming services to access and discover music, curated playlists have become increasingly important in the overall ecosystem of the industry. Playlists can make people household names, and it can also encourage consumers to seek out “deep cuts” they may not have previously considered playing.

But how do you get on these lists? For the most part, the answer has long been to know the right people. If you know someone with a popular playlist or know someone who knows someone, then maybe — just maybe — you can get your song considered for inclusion. It’s a historically messy process with no clear path to results.

That is, until now.

Spotify’s new playlist submission feature aims to demystify the curation process for some of the world’s most popular playlists by creating a portal for consideration any artist can access. The new feature is part of its Spotify for Artists and Spotify Analytics tools, but it is still in beta and therefore not perfect.

If you’re an artist, label or manager with access to these tools, you’ll be able to choose one song to submit. That may seem strict, but the company tried to offer as much info as possible about the decision and tool with a recent statement:

“It’s important to give us as much information about the track as possible — genre, mood, and other data points all help us make decisions about where it may fit. You can note the instruments on it, whether it’s a cover, and the cultures you or the song belong to. The data you share will be complemented by what we already know about you — what else your fans listen to, what other playlists you’ve appeared on, etc. Editors will be searching through submissions based on the information you share to find unreleased music to consider for their playlists.”

Later in the release, Spotify notes that “as long as you tag and submit your track seven days in advance, the song you select will automatically appear in every one of your followers’ Release Radar playlists. This way you have control over which single you’re promoting to your fans.”

It’s unclear how well this last bit well function, especially for artists whose followers follow dozens of artists (or more), but the concept is definitely an alluring one. That power would allow artists to control the conversation around their music as it relates to discovery in a manner no other streaming service allows.

What do you think? Tweet at @Haulix and let us know your thoughts on these new developments.

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News

How to get your music on Spotify playlists

Spotify playlists are shaping the future music business, but reaching the curators of the most influential lists is often incredibly difficult. We can help.

Playlists are the new mixtapes. People of all ages use music to express themselves and curate a personal soundtrack to life that others are often encouraged to use. In the age of Spotify and Apple Music, the same goes for brands. There are hundreds of brands curating playlists crafted to represent a certain mood or aesthetic, and there are millions of people engaging with their selections every week.

In fact, placement on the right streaming playlist can do more for an artist than any blog or news publications because an appearance on a popular playlist provides income and exposure to the artist. Even if everyone who subscribes to a playlist only hears a song once, the artist behind that song could see a substantial boost in plays and streaming revenue.

With this in mind, it should come as no surprise that many up and coming artists are now trying their best to get the attention of playlist curators and digital influencers. There are even a few PR firms that specialize in playlist promotion, while other firms have begun adding such services to their coverage plans.

The simple truth is that everyone, including you and the artists hiring playlist promoters, is competing for the same spots. There is no magic formula for getting your music on Spotify playlists ahead of the competition, but there are several ways to improve your chances of getting noticed.

It all starts with an algorithm

Spotify is a tech company at the end of the day, and being a tech company Spotify knows its own data often tells them more than any artist or promoter could. Spotify playlist curators consider total fans in their algorithm for popularity, as well as the number song skips on your music versus those who play the tracks in full. They also consider how many users have you on playlists and whether or not your account is verified. Spotify is tracking everything its users do on the platform, so assume every time they engage with your music it changes the chances of being considered for a playlist. That might be a bit overwhelming, but it’s nonetheless true.

Here are a few additional tips for improving your chances of playlist inclusion:

Ask your fans for help

There is no shame in asking your fans to help you gain exposure. Encourage your fans to follow you’re on Spotify, save your songs, and include you on their personal playlists. Ask them to share playlists they’ve created with you, then choose the best and share those with your other fans. Use this approach to build a community of people who are brought together because they decided to enjoy your music on Spotify and your followers will feel connected to your cause. They will see the success of your band as being a necessity for the community they’ve now joined to thrive.

Become a verified artist

Get Spotify for Artists and take your presence on the world’s most popular subscription streaming service into your own hands. Becoming a verified artist will give you access to stats, including listener information, and allow you to customize your profile with everything from custom playlists, to tour dates, merchandise, and more.

Ask bands to help (and help them in return)

Spotify allows verified to create playlists that exist on their profiles alongside their top songs. While all artists should include a few of their own tracks on these mixes, most will also include songs from their close friends and tour companions. Reach out to the artists you know and ask them to use your material. In exchange, promise to use their songs on your upcoming playlists.

Avoid Playlist Promotion scams

As word about how playlists can influence an artist’s career has spread there has been a rash of new promotion and PR companies promising to get young talent on the biggest playlists. While it’s true some of these firms may have contacts with playlist curators, the fact of the matter is they are (most likely) unable to do anything more than you could. They will email your songs the same way you would, with messaging similar to what you might say. Don’t waste your money thinking someone has the ‘magic network’ needed for playlist inclusion because it does not exist.

Tell your story

A good way to raise engagement with your music is to share the story(s) that goes with it. For example, if your latest single was inspired by a specific time or experience in your life, you should make the story of that happening available to fans and use it to promote the song. Consumers love a good narrative, and if you can build one using your music, your fans will be champing at the bit for each new release.

Research. Research Research.

There are thousands of public playlists in existence. Find popular user-generated playlists and seek out the people (or brands) behind them. Pitching your music to popular genre playlists can be a great way to make fans and network with other industry hopefuls.

Think outside the box

You know everyone, and their mother is vying for a place on Spotify’s biggest playlists. Pitching the curators will only get you so far regardless of how good you are or how catchy your latest single may be. To really stand out you need to make a splash in the world outside Spotify. If you find a way to make a viral video, or perhaps you do something that starts trending on Twitter, the people at Spotify will take notice. You don’t have to market to them specifically to get their attention. You just have to be good enough to make people give a damn about what you’re doing. If you can do that, everything else will fall into place.

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Job Board News

Music Industry Job Board (April 30, 2018)

The music industry is growing, and it needs people to helpm build the future of entertainment. If that describes you, our job board is waiting.

New openings:

Campaign Coordinator (Bandsintown – NYC)

We are looking for a Campaign Coordinator to join our Ad Ops Team based in our New York City headquarters. The Campaign Coordinator will be responsible for the day-to-day execution of our email marketing program. This role involves the creation, scheduling, deployment, and reporting of email materials.

The ideal candidate is detail-oriented and has some initial experience using an Email Service Provider (ESP) to manage email campaigns. We are looking for someone who is passionate about the music and tech industry and wants to acquire digital marketing skills.

Sr. Coordinator, Licensing Administration (WMG – Los Angeles)

We are currently looking for an enthusiastic, detail orientated, team-player, and results-driven individual for the full-time position of Sr. Coordinator, Licensing Administration, based in Los Angeles. Under direct supervision with some latitude for independent judgement and decision, this individual will be responsible for the preparation of synch licenses for the use of Warner/Chappell Music songs as well as Warner Music Group master recordings in all media, collection of license fees, as well as heavy client interaction. This is a fun and challenging position in a fast-pace environment.

Coordinator, Sales (WMG – NYC)

We are currently looking for a high-energy, creative, curious and enthusiastic Coordinator. This individual needs to fit into a small, dedicated team to support our efforts as well as learn all aspects of sales and marketing. This position is meant to be a stepping-stone into a career.

Director of Sales and Marketing (1500 Sound Academy – Inglewood, CA)

Based in Los Angeles, 1500 sound academy curates an exclusive offering of courses and instructors in our state of the art facility. We’re about real insight and actionable learning from those who are leading the game today and shaping it for tomorrow. 1500 sound academy is ready to take the next step by growing the brand, creating new opportunities and building partnerships. We are seeking a Director of Sales & Marketing to help build our new business.

Sr. Manager Red Bull Music Publishing Administration (Red Bull – Santa Monica, CA)

As the point person for Red Bull Music Publishing, your prime responsibility is the appropriate rights management of Red Bull Media House’ fast growing catalogue of music assets. As a global unit, you coordinate with Red Bull Media House HQ and Sub-Publishers all over the world to guarantee smooth workflows and seamless collection of royalties. You are responsible for the entire royalty accounting of our frontline artist/writers, film score projects and the production music catalog SOUNDS OF RED BULL, which may also include master rights. You maintain good relationships with local and international PROs and other collecting societies, and make yopurself available to Red Bull on all questions about Music Licensing and Performance reporting requirements. You are familiar with royalty tracking methods and eager to innovate and develop Business Intelligence tools to monitor and track performances of our copyrights globally. You master demanding relationships with multiple stakeholders.

Music Manager (Malan Jones – Tucson, AZ)

Need enthusiastic, educated, and well-connected music manager to promote, present and help sell the musical content of Malan Jones. Must have a good eye, and understanding of advertising and marketing. Must understand contracts, and how to set up shows.

Sales Assistant (Cumulus Media – Chattanooga, TN)

We have an immediate opening for a full time Sales Assistant for our 4 station cluster. The sales assistant is an integral part of a radio advertising sales team and provides administrative support to the sales reps and managers. The ideal candidate will be dependable, hardworking and have the ability to balance multiple deadline-oriented projects while maintaining a great attitude and sense of humor in a fast-paced work environment. If this sounds like you, and you are looking for a great opportunity to learn the sales side of the radio broadcasting industry, read on.

Music Performance Manager (Phillips Exeter Academy – Exeter, NH)

The Music Performance Manager is responsible for planning and managing the Music Department’s Concert Series and performance tour program. The Performance Manager works with the Music Faculty to plan, schedule, curate, and provide logistical and managerial support for our Student Concerts, Faculty Concerts, and Guest Artists. The Performance Manager also works with the Music Faculty and the Global Initiatives Office to select a tour destination, create an itinerary, complete a site visit, and accompany the tour as the lead chaperone. Additional responsibilities include working with a tour company to plan the tour, and reconciling the tour budget.

Executive Music (Imagine New Media – NYC)

Seeking a self starting entrepreneurial spirited product manager for new music product. This is a ground up build.

You will be charged with sales, marketing and branding of this new web based application. Further responsibilities are cross channel partnerships and management of legal for all contracting needs. Staffing, P&L management and maintaining the vision are key parts within your umbrella as this is a start up.

While starting as product manager the roll essential grows into VP of “Product”.

Assistant Manager, Marketing- Fortas, New Music, PAFE and Hip Hop (The John F. Kennedy Center for the Performing Arts – Washington D.C.)

Oversees marketing strategy and reports daily on sales projections for upcoming productions, focused on Fortas, New Music, PAFE and Hip Hop. Together with Marketing Managers, determines discounting and promotions for upcoming productions and manages relationships with brokers. Helps oversee strategy and distribution for third party sales streams. Cultivates active and mutually beneficial relationships with local organizations that will help spread news and promotions about events occurring at the Kennedy Center. Coordinates box office setups, discount creation, and email lists.

Metadata Coordinator (Studio Entertainment – Burbank, CA)

Translate Label Copy information as received by A&R and other parties into Metadata and populate DNote according to the Production Schedule deadlines. Partner with the Manager to confirm all relevant and necessary data points are being captured. Proofing of artwork from Production and providing corrections/guidance. Researching Publishing information/ownership on Catalog releases.

Content Programming Manager, Moods and Moments (Spotify – NYC)

We are looking for a broadly experienced Music Programmer to join Spotify’s Shows and Editorial team in New York. You will identify and curate first rate music playlist listening experiences for a multitude of our moods, moments, and genres and demonstrate a passion for performance-oriented analytics. Above all, your work will impact the way the world experiences music.

Digital Music Catalog Specialist (Amazon Music – Seattle, WA)

The Digital Music Operations team is responsible for generating content for Amazon’s various digital music services. Our goal is to build technologies, metadata, and processes that create distinctive products for our customers and services all over the world.

The Digital Music Operations team manages the global digital supply chain of content, from partner deliveries to publishing on Amazon’s storefronts and devices. The Catalog Specialist is responsible for supporting the Digital Music experience through creating and upholding metadata standards. This includes managing the daily quality control of content, prioritization of work queues, and auditing and editing music metadata.

Manager Digital Marketing & Strategy (Live Nation – NYC)

One of Live Nation joint ventures is seeking a Manager, Digital Marketing and Strategy. This position reports to the Director of Digital Marketing and Strategy and serves as a key member of the Digital Music Team. Person will service record label or distribution clients & management clients. The role will support continued development and growth for a diverse roster of artists. Responsibilities will include executing promotional campaigns, designing and implementing creative marketing plans, securing digital retail merchandising, facilitating requests between partners, managers and artists & maintaining artist web and social platforms. This Manager will be responsible for shaping both digital strategy and the execution of plans, including social media publishing, on a daily basis.

Marketing Manager, Music + Promotions (Creative Circle – Los Angeles, CA)

Entertainment client is looking for a Marketing Manager to join their growing team! The Marketing Manager will be responsible for promoting a record label.

Programming Manager, Music & Entertainment (Entertcom Communications Corp – Philadelphia, PA)

Entercom Communications Corp. is looking for a highly motivated, creative and detail-oriented Programming Manager to join our growing Radio.com team based in our Philadelphia, PA headquarters.

The ideal candidate is a quick-thinking self-starter who has a deep understanding of editorial content within music and entertainment. This individual will be responsible for elevating real-time and on-demand audio programming opportunities from across our network of radio stations. They will use a variety of web-based tools to schedule and program promotional collateral and copy in the Radio.com app, across our web properties and via social media. Applicants should also have the ability to measure campaign effectiveness using analytics tools to shape future strategy.

Music Lessons Coordinator (Sam Ash Music Nashville – Madison, TN)

The Nashville Sam Ash Music Learning Center is growing and we have an immediate opportunity for the right person to assume the Lesson Coordinator position. We are looking for an energetic, organized, motivated, and creative person for the position of Lesson Coordinator. Responsibilities include scheduling students and teachers, selling lessons, organizing and promoting our lesson programs in both the store and community. Music teachers welcome. This position allows the time and schedule to teach in our Learning Center as well. Management experience a plus and Computer skills a must.

Music Brand Partnership Assistant (CAA – NYC)

This individual will work as an Assistant to an Agent in the Music Brand Partnerships department. This department focuses on creating partnerships between CAA’s roster of music clients and brands. It is most suitable for those with a passion for music and an interest in pursuing a career in brand partnerships. In this role you will be handling day to day administrative responsibilities on behalf of the Agent, including handling deal logistics, contracts, creative, and department scheduling. This is a sales role where you will also have the opportunity to learn how to pitch and create deals between our roster of music clients and brands.

Regional Programs Manager, Music, YouTube Spaces (Google – Los Angeles)

As a Regional Programs Manager, you will gather cross-functional requirements, co-design, and lead programs targeted to YouTube artists and labels. You will collaborate with YouTube teams to provide high valued content and opportunities to creators. You will independently lead multiple programs driving creator satisfaction across Asia Pacific (APAC), coordinating cross-functionally across the Music, Marketing, YouTube Spaces and YouTube key functional areas. You will drive and own regional initiatives from initial scoping to delivery, and you will develop and deliver plans and reviews to regional leadership.

Publicist, Entertainment Music PR (PMK BNC – NYC)

The PMK•BNC New York Music Department is seeking a Publicist to join the team and play a critical role in helping to manage current musicians and bands as well as signing new talent. This position will help to shape the public image of musical talent across a variety of media. The Publicist will also help to play a supporting role within the Music Department.

Senior Publicist (Sounds True – Louisville, CO)

Sounds True, a multimedia publisher offering transformational books, audio, music, and online courses to help you live a more genuine, loving, and meaningful life, seeks a highly motivated publicist with a record of delivering vibrant and creative publicity campaigns for books in the mind, body, and spirit category.

Older posts (7+ days)

Director of Musical Programming & Artist Relations (Hard Rock – Hollywood, FL)

Responsible for curating Hard Rock International’s (HRI) music experience and artist relations strategy across all company and franchise Cafes and Rock Shops in over 75 countries as well as all music-based online initiatives. Leads a team focused on delivering music-centric experiences in new and exciting ways, on a global scale, spanning cafes, Rock Shops, live entertainment and experiential activations worldwide. With an innate ability to enhance the brand consumer journey through our musical DNA, coupled with the necessary skills to monetize our music initiatives, this individual will propel our cafe brand musical experience into the future while honoring our legacy.

Part-Time Music Researcher (BMI – Destin, FL)

Occasional part-time hourly work with hours ranging from 0-25 hours per week depending on availability of assignments. Work consists of music and market research in businesses in various states. Assignments include onsite research in businesses during late evenings, including weekends, and may require travel and overnight stay. Assignments also require completion of detailed reports following on-site visits.

Creative Director, Brand Partnerships (UMG – NYC)

We are currently seeking an eager and exceptional Creative Director for the UMGB US team to oversee and elevate our creative output and partnership solutions. The Creative Director should be a conceptual thinker with a keen business sense and a really deep understanding of pop and music culture. They will formulate innovative concepts that support brand, marketing, product, or technological goals for our brand partners and our artists.

Director of Marketing Solutions (AEG Presents – NYC)

This position will lead the ideation and development of strategic marketing sponsorship sales packages leveraging all of AEG Presents’ music properties which Include over 40 music clubs and over 30 music festivals. The Director of Marketing Solutions will oversee the department including progress and performance to ensure assigned work is completed correctly and by deadlines.

Marketing Director (Icon Collective Music Production School – Burbank, CA)

Icon Collective is seeking an energetic, innovative Marketing Director. The Marketing Director is in charge of translating/creating a vision for marketing into a coherent marketing strategy, developing an online marketing strategy and leading a team in implementing that strategy.

Entry Level Music Marketing & Promotion (AristoMedia – Nashville, TN)

The AristoMedia Group is seeking a full-time Marketing and Promotion person, to be based in our Nashville, TN office.

We are seeking an individual who has great interpersonal skills, is a self-starter, and has the ability to work in an open and creative group environment. The position requires strong organizational and communication skills, strong musical knowledge, and an awareness of the ever-changing music marketplace. Essential to the role is a desire to understand how music, communications and content play a role in the larger record release ecosystem.

This is a full-time position working on-site 8:30 a.m. – 5:30 p.m., Monday through Friday.

Music Publicist (Carry The 4 PR – Remote)

We are hiring for the position of Music Publicist. This is a part time role, commencing June 4th through the duration of 2018, with the opportunity for extension.

We are a music PR company, who secures leading press coverage for alternative bands, record labels and management companies from across North America and Europe. Our clients range from Billboard charting, internationally touring acts to emerging regional bands, with record labels and management companies also entrusting us to run their press campaigns.

Online Brand Manager (Townsquare Media – Remote)

Townsquare Media is seeking a leader to manage our online audio experience. Just as an On-Air Brand Manager creates a compelling listening experience, the Online Brand Manager will have a strong sense of curating an excellent audio listening experience across streaming, radio-in-dashboard, and voice-activated platforms (e.g., Alexa, Google Play, Apple Home) while possessing a keen ability to represent that experience in a highly attractive and engaging way. S/he will demonstrate successful history of programming and promoting radio brands, and a solid understanding of evolving digital consumer landscape. In short, if you love making great radio brands shine wherever they appear in 2018, this is your job.

Content Marketing Specialist (Guitar Center – Westlake Village, CA)

The Content Marketing Specialist is a support position that works closely with the Content Creation/Production and Artist Relations teams to plan, create, execute, and market content, musician empowerment programs, and events designed to drive traffic, engagement, and build brand affinity..

Advertising Creative Production Coordinator (Pandora – Oakland, CA)

As an Advertising Creative Production Coordinator, you will play a critical role in creative operations by working to effectively streamline the daily workflow of advertising production at Pandora. You must demonstrate excellent skills in written and verbal communication, organization, project management, and critical thinking, and thrive in a fast-paced environment with multiple projects and demanding deadlines. You should be familiar with the advertising and broadcast worlds.

Marketing Manager (Music For All – Indianapolis, IN)

The Marketing Manager works under the direction of the Vice President of Marketing and Communications and is an important part of the Music for All Team.

Digital Marketing Analyst (International Sports and Music Project – Remote)

We are looking for a Digital Marketing utility player to become a key part of the ISMP team. Our ideal Digital Marketing Analyst will be motivated to grow ISMP’s following and reach across all channels and educate the organization on best practices.

Marketing & Communications Manager (Heid Music Company – Appleton, WI)

The Marketing & Communications Manager is responsible for all activities related to the overall marketing/branding program for Heid Music including: Public Relations, Marketing Communication, Market Research, and Promotions. They will stay in tune with changes in the retail and music products environment to best serve the objectives of Heid Music. This position guides and directs the team regarding strategy, development, and execution of promotional plans.

Global Head of Music Social and Influencer Marketing (YouTube – San Bruno, CA)

Music makes the world go round. And more people consume music on YouTube than any other platform in the world. We’re looking for a Global Head of YouTube Music Social Media and Influencer Marketing to tell the world about it.

SVP of Events & Venue Partnerships (iHeartMedia – NYC)

The Senior Vice President of Events & Venue Partnerships will report to the President of National Sales & Marketing Partnerships and will be responsible for leading and owning the entire go-to-market strategy for all national sponsorship sales efforts; this includes the iHeartRadio national tent-pole events, Theaters, custom event and partnership opportunities, as well as market level events.

Manager, Content Partnerships (YouTube Music – Miami, FL)

As a Music-focused member of the LatAm Content Partnerships team, you will be responsible for a portfolio of established YouTube musicians along more established music acts under Majors, Indie Labels or Management companies and Majors Labels. You will also be the point of contact for other players in the music industry landscape. Your role will be both external and internal with many cross-functional initiatives.

Senior Manager, Brand Partnerships (UMG – NYC)

We are currently seeking an eager and exception Senior Account Manager to manage assigned brand partner accounts for UMG, as part of our brand partnerships team. The Director will be responsible for managing the day-to-day client relationships, and will play an integral role in the development of innovative music marketing programs and activations for brand partners. They will also be responsible for communicating the client needs, determining objectives and success metrics and collaborating with internal divisions to ensure plans are presented and delivered on time and on budget. The position requires experience and skill in, among other things, project/account management, P&L creation, talent relations, program execution, as well as a strong understanding of the music industry

Global Programs Lead, Music and Industry Advocates (YouTube Spaces – Los Angeles, CA)

As a Global Programs Lead, Music and Industry Advocates, you will be leading a team of Regional Program Managers focused on creating innovative and impactful programs to delight music labels.

Assistant, Urban Marketing (WMG – NYC)

Marketing product managers serve as the internal point person for all artists on their respective rosters. It is our job to develop marketing strategies for our artists while also ensuring that all messaging and themes of the project are properly conveyed to all. You will be working with two product managers on the urban marketing side, providing administrative support.

Artist Marketing Manager, Developing Artists (Fender – Los Angeles, CA)

We are looking for a talented Artist Marketing Manager – Developing Artists to join our global marketing team. Artists are the foundation for everything we create and our goal is to become best-in-class marketing partner to the soon-to-be-discovered generation of artists who can elevate & extend the Fender brand and move guitar forward in music and culture. Based in Hollywood, CA, the ideal candidate will blend their passion for music with their proven ability to: identify and build highly effective relationships with developing and younger artists, managers and influencers; expand artist adoption of Fender gear; and support the development of integrated marketing initiatives and programs that elevate developing and younger artists and create demand.

Rap Music Talent Manager (SORS Media – Los Angeles, CA)

2 Rappers In Need of SERIOUS Talent Manager ONLY with our Talent Management Company

We are searching for the right Talent Manager to Represent two of our Rappers; the Artists are signed at our Talent Management Company: SORS Media, LLC. We are seeking the right Talent Manager who has the experience and understanding with the background and skill sets and KNOWLEDGE of what a Talent Manager does on a daily basis with Talent and how to work within a company structure, as well as, being able to follow our processes on a daily basis.

The Talent are both extremely and they need a talent manager who communicates with them on a daily basis, travels with them to their shows and tours, focuses on their careers, shows proven motivation and drive daily, and has an interest in the rap music genre.

Vice President of Advancement (Music For All – Indianapolis, IN)

The Vice President of Advancement at Music for All demonstrates and reflects an understanding of and commitment to the mission, vision and core values of Music for All and the Music for All Foundation.

The Vice President of Advancement will have overall responsibility for designing and implementing comprehensive institutional advancement programs (development and sponsorship) and developing and managing a talented team focused toward the ultimate goal of significantly increasing constituent involvement and fundraising outcomes. The advancement function includes responsibility for the annual fund, sponsorship sales, corporate and foundation relations, major gifts and gift planning, endowment and campaign initiatives, stewardship, and sponsorship and advancement services.
The Vice President of Advancement reports to the President & CEO and serves on the senior administrative team and the Board’s Advancement Committee.

Director, Artist Relations (MAX  – Dallas, TX)

Music Audience Exchange (MAX) is a Dallas-based tech company that makes it easy for brands and music artists to work together to improve the consumer experience. By analyzing 150+ consumer attributes and how they relate to taste in music, MAX forms the most harmonious brand-artist partnerships in the world. MAX creates artist-centric content for radio, streaming, social, YouTube, and live shows, ensuring an engaging experience for consumers at every touchpoint. It’s a win-win-win. Brands get real, influential ambassadors with genuine brand affinity, music artists get otherwise unavailable marketing resources, and consumers get more content and experiences from artists they love. MAX powers strategic marketing programs for some of the world’s largest brands, including Ford, Dr Pepper, Budweiser, and more.

We are looking to hire the Artist Relations Director to lead our Artist Relations team. The director will be responsible for setting the direction of Artist Relations at MAX, managing a team of Artist Relations representatives. MAX’s Artist Relations team negotiates and secures artists for major marketing programs. This role requires researching and communicating with record labels, talent agencies, artist management teams, and self-managed artists across the country. The Artist Relations Director must feel comfortable working close to legal contracts. This job sits at the core of MAX, as it relies on internal collaborations with sales, product development, and services to ensure we continue delivering amazing marketing programs to our clients.

B2B Marketing Manager (Spotify – NYC)

We recently launched Spotify Ad Studio to enable small-and-medium size (SMB) businesses to easily create and manage Spotify audio advertising campaigns directly through an online interface. We’re seeking an exceptional SMB Marketing Manager focused on acquisition to help us accelerate our advertiser growth on this platform globally.

The role will be based in NYC with occasional travel to our other offices. This is a high-impact role as part of the team building out Spotify Ad Studio globally.

Categories
News

Cool Marketing: Spotify and 21 Savage launch ‘Issa Website’ to help identify what’s in your photos

Album exclusives are bad for the music business, and the industry as a whole has begun to recognize this as truth. Jay-Z’s latest album may have gone platinum in under a week thanks to support from Sprint and Tidal, but it was also pirated more than one-million times within three days of its release. It seems as much as exclusivity may attract new users it also encourages piracy because, honestly, no one needs more than one streaming service and using illegal links is still easier than cancelling a trial subscription to most premium platforms.

So if album exclusives do not produce the desired results for artists or streaming platforms, then those hoping to cash in on the hype behind an upcoming release need to think outside the box. If a company wants to align themselves with a talent without having exclusive rights to their new music they need to do something that sets their service apart. You may be able to find artist X on any website, but what website does that artist prefer you to use? The answer, at least for 21 Savage, appears to be Spotify.

This week, 21 Savage partnered with Spotify to launch a promotional website for his new LP, Issa Album, which will be released to all services on July 7. The site, fitting titled ‘Issa Website,’ works best on a mobile device. Simply upload any photo or take a picture with your webcam or phone camera and the voice of 21 Savage will try to help you identify whatever you uploaded. If he is unable to identify what you’re trying to input, he’ll give you answers like “issa error” or “issa I got no fucking clue.”

We played with ‘Issa Website’ for about thirty minutes today and found the project to be much more intelligent than one might expect. Before users even upload the site appears self aware, spouting “issa machine learning” and “issa Spotify.”

You can try ‘Issa Website’ for yourself right now.

Categories
Job Board News


New openings (6/5/17)

Music Supervisor (NFL – Los Angeles) 

Supervision and coordination of music content for assigned NLFN television shows and NFL Media content. Duties include timely distribution of thematic music and show/seasonal music packages, evaluation and recommendation of music libraries and the specific cuts therein; evaluation and recommendation of commercial music pertaining to specific shows and uses; Strong administrative component associated to all aspects listed above including, managing licensing requests and maintenance of music data for assigned shows.

Artist Marketing Manager (Red Bull – Miami) 

The Artist Marketing Manager role in the South Business Unit contributes to the goals of the various Culture programs including Red Bull Sound Select, Red Bull Music Academy, Red Bull Studios and more. He/she is an excellent project manager first, an expert at converting creative ideas into realistic timelines with actionable tasks that deliver tangible results. Secondly, he/she is a creative manager with diverse music taste and a solid network of 1:1 music industry and artist relationships.

Tidal Partner Manager (Overland Pakr, KS) 

This position will be responsible for developing and managing key aspects of the go-to-market plan for the TIDAL music platform created to raise the brand profile of Sprint and deliver on acquisition and retention goals. The successful candidate will demonstrate the ability to work as part of a team with focus in project management and deliveries, ability to develop top level presentations, while demonstrating the capability to solve problems independently. Travel is a requirement of the job.

Head of Music and Voice (PH Media Group – USA) 

Drawing on previous experience gained in the creative music or advertising industries, you’ll deliver workshops to Directors and CEOs of large organizations. You’ll use your musical flair and skills as a communicator to develop client briefs, giving businesses an exclusive track that represents their identity. And in return for your creativity, ambition and commitment, you’ll be rewarded with incredible career opportunities – including progression into management. 

Marketing Coordinator (Heavyocity Media – NYC) 

Heavyocity Media is seeking a driven Marketing Coordinator for our NYC office, to support the brand’s holistic Marketing efforts. The Marketing Coordinator will be a highly-organized, team-first individual, capable of managing multiple projects at once. The ideal candidate will be an entry-level marketer with a desire to develop in a hands-on environment. This person will be capable of both marketing/sales data analytics and best-in-class content production. They will be highly creative- but balanced with a keen business sense, and a passion for building a brand in an (almost) completely digital ecosystem.

This person will collaborate with the brand’s Marketing Director in developing overarching strategy, and then play a key role in implementing, executing, and measuring these actions.

Campaign Specialist (Pandora – Denver) 

The Campaign Specialist will be a key contributor in Pandora’s Client Services team and responsible for planning, implementing, maintaining and enhancing these campaigns.

The Campaign Specialist will partner with the Account Strategist and be responsible for working internally to ensure that Pandora executes flawlessly for our advertising partners. The right individual will be a key contributor in Pandora’s Client Services team and responsible for planning, implementing, maintaining and enhancing these campaigns. This position involves sales and client support, project management, execution and reporting.

Culture Marketing Manager (Red Bull – Austin, TX) 

The Culture Marketing Manager (CMM) drives the development and execution of regional culture-focused marketing initiatives (e.g. music, art, dance, fashion, film and social innovation initiatives). Through events, artists, and influencers, the CMM builds local and regional brand affinity while paying into Red Bull’s global strategies.

Show Marketing Coordinator (Live Nation – Houston) 

The Marketing Coordinator reports directly to the Marketing Manager. This person, under guidance of the Marketing Manager, will be responsible for communicating event marketing plans, budgeting advertising spends, developing promotions, leading street team initiatives, and scheduling of social media updates as requested.

Additionally, the Marketing Coordinator will track spends and handle billing for assigned-show budgets and compose email and text-based communications.

Ideal candidates will have extensive music knowledge; event planning, concert or sports marketing experience; familiarity multiple music genres, a thick skin and the ability to work at a fast pace while juggling multiple tasks.

Senior Campaign Manager (Amazon Music – Seattle) 

The Global Mass Advertising Team is looking for a sharp, experienced, innovative, results-oriented marketing professional to lead the campaign development for our Amazon Prime brands, including Prime Now, Amazon Fresh, Prime Video, Prime Music, etc. This role will drive the creation, management and execution of advertising programs (both onsite and offsite) and marketing communications with the creative, media, portfolio planning, research and product marketing teams. This individual will have a key role in helping to drive the acquisition and retention of new Prime customers as well adoption of other Prime benefits and services.

Marketing and Promotions Manager (Cumulus Media – Appleton, WI) 

Cumulus Appleton-Oshkosh, a 5-station cluster, is looking for an experienced Marketing and Promotions Director to coordinate and implement on and off-air promotions and events in order to promote the stations’ image and presence in the marketplace to our primary demographic while maintaining a winning onsite image. This position requires a high degree of organizational skills, attention to detail, time management and a personal disposition that works well with creative co-workers in both programming and sales.

Research Analyst, Content Insights (Spotify – NYC) 

We are looking for a Research Analyst to join the band and help drive a data-first culture across Spotify. Content Insights is primarily a data science team supporting the analysis needs of Content at Spotify. We’re looking to expand our capabilities and add more qualitative understanding to our analysis of the worlds of music, video and podcast.

Within the Content Insights team, it is our job to turn data into insights and get a deep understanding of the relationship between our users and the content we offer to them. As a Market Researcher for content, you will help us better understand how and why different Content engages our users in different ways.  In doing so, you will make recommendations on topics such as where we should invest in Original Content, and how we should promote music on Spotify.

Music Publishing Royalty Assistant (Wixen Music Publishing – Calabasas, CA) 

Wixen Music Publishing, Inc. in Calabasas is looking for an entry level, numbers-oriented, full-time Royalty Assistant to join its team.

Who we’re looking for:

  • Numbers Oriented Individual
  • Analytically Minded Individual
  • Proficient with MS Word and MS Excel
  • Must be able to work as a team as well as being self-sufficient and work independently
  • Able to handle multiple priorities and manage multiple tasks

The ideal candidate has no or limited experience in the music business and is looking to get a solid footing in the music business and grow with us. Success in this position requires a strong work ethic, attention to detail, and a deep desire to learn.

On-air Talent/Production (Alpha Media – Tyler, TX) 

Alpha Media – East Texas is seeking an experienced On-Air Talent / Production. The ideal candidate is someone with a great attitude, an exceptional work ethic, and is able to naturally resonate with the listening audience.

Sales Music Production Company (Stargazer Live – Plano, TX) 

Stargazer Productions creates and books show bands for clubs, casinos, festivals, weddings, corporate events, and galas. We are currently seeking a highly motivated person with excellent phone and people skills to call leads coming into business in addition to acquiring independent leads. This opportunity is commission based, and experience in sales is essential.

Older listings (7+ Days)

Campaign Specialist (Pandora – NYC)

The Campaign Specialist will partner directly with Sales Account Executives and will be responsible for working internally and externally to ensure that we execute strategically and flawlessly for our advertising partners. The right individual will be a key contributor in Pandora’s Client Services team and responsible for operational development, implementing, maintaining and enhancing these campaigns. This position involves sales and client support, project management, execution and reporting.

Social Media Coordinator, Music (All Def Digital – Los Angeles)

All Def Digital is looking for a full-time Social Media Coordinator (Music) to increase fan interaction across key social platforms. The coordinator will play a big part in planning and driving success of social and video content.

Manager, Film & TV Music (WMG – Los Angeles)

Under general supervision, with latitude for independent judgment and decision, Seeks out, makes contact and meets with Film & TV music representatives for purposes of recommending music to be used on their projects, negotiates quotes as necessary, and markets songs/catalog to Film & TV community.

Music Coordinator (Mob Scene –  Los Angeles)

Mob Scene is seeking a talented Music Coordinator to join our Music Team and work as direct support to our music creatives. The ideal candidate will be highly organized, efficient and self-motivated with a general working knowledge of music licensing and music cue sheet reporting, and an obsessive love of all things music.

Director, Consumer Analytics and Data Science (TouchTunes – NYC)

The Director, Consumer Data Science and Analytics will be responsible for increasing revenue growth by accessing and analyzing consumer purchase and behavioral data and developing insights to increase customer engagement, optimize the product portfolio and assess areas for growth. Reporting to the SVP, Marketing you will work closely with the product management, marketing, advertising and sales organizations. The Director will work closely with his peer groups as well as finance and the technical database teams to provide thought-leadership, prioritization and delivery of insights across the TouchTunes suite of hardware and software products. The Director must be a thought-leader with a curious analytical character, striving to identify and convey analysis-based insights while embracing the analysis and data itself.

Manager, Music Label Partnerships (YouTube – Los Angeles)

As Manager, Music Label Partnerships (US), you will be responsible for providing ongoing relationship management to YouTube and Google Play’s key US label partners, with a focus on supporting labels and artists with promotional opportunities to help build their success. In this role you will interact regularly with counterparts at labels and also collaborate closely with internal teams. You will have exceptional partner management skills, a service mindset, and extensive relationships in the music industry.

Manager, Marketing Strategy MSG Live (Madison Square Garden – NYC)

Development of fan-focused brand strategies, brand execution and fan engagement for Live events with a focus on music events at the New York venues, including Madison Square Garden, Beacon Theatre, Radio City Music Hall and The Theatre at the Garden. This individual will coordinate across all marketing functions and manage relationships with internal stakeholders, external agencies and partners to ensure effective development and execution of marketing efforts in order to achieve business goals.

Serve as primary liaison with our clients at promoters and booking agencies. To build and nurture the fan communities which come together around our live events, shows and venues, in line with our business goals.

Marketing & Social Media Coordinator (Cafe Press – Louisville, KY)

The Marketing & Social Media Coordinator is responsible for collaborating with our customer service team, creating unique content around cultural trends, and growing our social communities.  He/she will also be a key member of the brand marketing team, supporting public relations and branding efforts.

Music Licensing Contract Specialist (Netflix – Los Angeles)

Netflix seeks an experienced Music Licensing Contract Specialist to help support our expanding slate of Originals content.  This role will work closely with our Music Licensing Managers and our Music Contract Administrator and will have broad responsibility for reviewing, drafting and negotiating a high volume of contracts for the Music Group.

In this unique and exciting role, you will be the Music Group’s first Music Licensing Contract Specialist.  This is not your traditional licensing contract role:  in this role you will manage vital components of our music license review and negotiation process and will have visibility into all facets of our music business from a studio perspective, a “network” perspective and even from a music publisher perspective.  As this is a new role, you will have the opportunity to shape Netflix’s music licensing process.  If this sounds intriguing, read on for the details…

Artist Marketing Manager (Redbull – Santa Monica, CA)

Red Bull’s Culture Marketing department champions the leading voices and unique stories in Music, Art and Dance across our established programming pillars, including Red Bull Music Academy, Red Bull Sound Select, Music Festival Live Broadcasts on Red Bull TV, BC One and more. The Artist Marketing team, a division within the Culture Marketing department, is made up of passionate, arts-driven creators and curators committed to inspiring artist development and innovation across multiple disciplines. The Artist Marketing Manager, ABS role at U.S. HQ is focused on building an internal talent buying agency, centralizing the brand’s music booking conversations for all of the U.S. He/she is a project management leader who can deliver both immediate and long-term solutions to the various challenges that surround our artist booking initiatives, and educate the business on industry standards and best practices.

Development Assistant (St. Paul Chamber Orchestra – MN)

The Development Assistant provides administrative support to the Development Department, including corporate sponsorship benefit fulfillment, gift entry, data maintenance and support for special events.

US Music Researcher (Boiler Room – NYC)

Boiler Room are looking for a passionate individual to help our team research and discover ideas and scenes from across the globe based in our New York office

Key responsibilities

  • Day-to-day research of the wider world of music with a focus on the US, Canada and Latin America; from rap in Mexico to Jazz in Oakland
  • Developing ideas alongside the creative teams to create engaging and exciting content across all of our platforms
  • Identifying trends, upcoming artists and opportunities, across the US, Canada and Latin America

Senior Manager, Studio Sourcing – Production (Disney – Burbank)

This employee will identify and lead Studio Production Sourcing initiatives, ensuring these initiatives meet the price, quality, reliability, and security requirements of our production teams. This role will be responsible for the execution of all production sourcing initiatives, covering the needs of Disney, Marvel, and Lucasfilm productions globally, as well as Stage Plays, Industrial Light & Magic, and Skywalker Sound. This position will also work with Pixar and Walt Disney Animation Studios to identify projects and efficiencies across the production sourcing landscape. The employee is also expected to have a close, collaborative relationship with the aforementioned teams and to develop a deep understanding of their strategies and priorities, as well as possess a detailed understanding of the motion picture production process and vendor base.

This position reports to the Director, Studio Sourcing & Strategy.

Tidal Partner Manager (Sprint – NYC)

Identifies, creates and develops on-going marketing alliances and relationship programs between the company, strategic partners and customers. Evaluates program trends and provides analysis and recommendations to management. Works toward mutual goals and objectives to build awareness and support of overall strategic benefits of the alliance. Represents Sprint and strategic partners internally and externally to identify, analyze and resolve issues on both sides of the relationship. Manages internal and external resources across Sprint and partner companies to drive revenue results. Provides analyses of business opportunity, financials, long-range forecasting and studies associated with potential markets, alliances, and partnerships. Monitors programs to assess the sales impact of the solutions in the marketplace and the overall success of the alliance.

This position will work closely with and report directly to the Director, Music Partnerships. The Marketing Manager, based in New York, will support the Director in managing our TIDAL music partnership to ensure both companies benefit from this partnership. Responsibilities may include partnership management, strategy development, activation planning, communication to external and internal constituents and management of agency partners. A music industry background is required (including music industry trends, Rights, licensing. Artist relations experience and talent alignment is a plus). Some client service and VAS experience is welcome.

Counsel, Music Production (Netflix – Los Angeles)

Netflix seeks a seasoned production music attorney as Counsel, Music Production to help support our expanding slate of Originals content and our domestic and international expansion strategy.

The successful candidate will work in the company’s Music Group, which is part of the Business & Legal Affairs Team based in Beverly Hills. The Music Group is based in Los Angeles, London and Berlin and is responsible for all of Netflix’s global music business and strategy, from the production and licensing of Netflix Originals to the administration of Netflix’s repertoire of music and through to the distribution of the Netflix service globally. This exciting role focuses on the production side and will be responsible for structuring, negotiating and drafting agreements with the composers, songwriters, artists and performers who create music for Netflix’s Original film, series and documentary content and with the record companies and music publishers who license music.  He or she will handle music contract and copyright related matters as they arise, will likely need to dig into local law and practice in various International territories, and should be extremely comfortable working independently and counseling internal and external business partners, making decisions that have both legal and business impacts, and evaluating risk and making quick decisions when faced with the exigencies of production. He or she will have an innate ability to maintain organization and focus that fuels his/her effectiveness in successfully juggling multiple projects.   The successful candidate will also thrive in an environment that places thoughtful efficiency over process yet have the ability  to work with organizations or institutions who may not hold the same beliefs.

Music Department Staffer (Cabin 21 Sound – Los Angeles)

Hollywood based entertainment sound company looking for a full-time Music Department Staffer.

This position works under the supervision of the Music Director and helps drive strategic direction. He/she must be a seasoned composer, preferably with experience composing for the Theatrical Marketing/Trailer Music genre. The ideal candidate will have strong relationships with Music Supervisors and Editors and be willing to network within the industry to further the Company’s goals.

Music Department Assistant (Nectar’s – Burlington, VA)

This part-time position’s primary role is to assist in the marketing and production of all shows and events. Responsibilities include the oversight of all websites and social media, graphic design, grassroots promotion, development and execution of individualized marketing plans and other related duties.

Sound Technician/Sound Engineer (BB King’s Blues Club & Restaurant – Nashville)

BBKings Nashville is looking for a full time sound engineer/tech. We are rapidly expanding and looking for quality people to help out with our music program. Bonus opportunities available. Will require normal tech nightly duties along with scheduled maintenance assignment weekly. Pay to be discussed upon interview.

Grant Manager (Country Music Hall of Fame – Nashville)

The Country Music Hall of Fame® and Museum seeks an experienced grants manager to lead and grow the Museum’s development efforts with foundations, corporations, and government sources. The grants manager will be responsible for attaining an aggressive resource generation goal that includes diverse grant gifts to support the Museum’s collections, exhibitions, educational programs, capital campaign, etc.

Categories
News

Spotify has resurrected QR Codes, but will anyone care?

Spotify has a pretty strong record so far in the music business. Apple Music may be able to claim exclusive content, but Spotify is by and large the leader of the subscription streaming revolution. Nearly every single change and improvement the platform has made has been heralded as a smart decision, but their latest tool for sharing may fall short.

Spotify Codes, which the company has also called Spotify Scannables, are an updated take on QR Codes. The classic square appearance has been replaced by a soundwave-like bar code, but the functionality is the same. To use the code, go to your Spotify app, click the search button, and you’ll see a camera icon in the search bar. Hover the camera over the code and the linked music should appear automatically.

The question is not if this tool works, as it most certainly does, but whether or not consumers will embrace them. As we have written in the past, the only notable QR Code driven campaigns to date have come from major brands who were able to mass produce the codes and market their availability. Small campaigns, like those run by independent artists promoting music or gigs, have for more mixed results.  

After all, this tool may be useful, but still involves switching to your camera app, which is what people didn’t like about QR codes in the first place. It adds an extra step to discovery that is just as long – if not longer – than typing something into a search box. 

The good news here is that Spotify appears to be recognizing the value of the numerous independent artists around the globe who rely on their service to make money off their music. Tools like Spotify Codes show a desire to empower people to share music, which in turn helps artists. 

Spotify Codes are now available to all users. 

Editor’s note: If you or someone you know has found success in QR code marketing, please email james@haulix.com and share your story. 

Categories
Job Board News

Music Industry Job Board (10/30/16)

A lot has been written about the supposed dire state of the music industry, but truth be told there are a number of successful and growing companies, including record labels, that are thriving in 2016. In this column we bring together every job opening we can find from the companies responsible for building the future of the business and present them to you, our reader, in hopes of aiding you on your journey to join the global music industry professional family.

Each week we scour the internet for the latest and greatest job postings throughout the music industry. You can help us better serve our community by sending any job openings you find or have to james@haulix.com. Be sure to include the name of the company hiring, a detailed description of the position being offered, a desired start date, contact information, and any additional supplemental information you feel may be needed.

New openings:

Manager, Label Relations (Spotify – NYC) 

Job summary: The Label Relations team manages hundreds of label relationships across the globe with a network of Manager’s in different Spotify territories. This position will serve as primary point of contact for our label partners, specifically in the United States, but also working with international teams. The Label Relations Manager will focus on developing & maintaining excellent relationships with Spotify’s content providers by enabling them to maximize the service as both a sales and promotional platform.

Conversion Associate (Spotify – NYC) 

Job summary: At Spotify, we’re focused on providing the right music for every moment. We’ve connected millions of people to their favorite songs and created a service that people use to discover and share music they love. The fast-moving, high-impact Conversion Team at Spotify is responsible for converting free Spotify users to a paid Premium subscription across 60 markets around the world. We’re seeking an outstanding Conversion Associate to help us accelerate our global subscriber growth.The Conversion Associate will support our Conversion Team by building, testing and scaling world-class marketing campaigns. We are seeking someone collaborative, nimble and detail-oriented to work cross-functionally on the delivery of emails, ads, and other marketing materials.

Marketing Project Manager (The Fader – New York State) 

Job summary: The FADER is looking for a dynamic and strategic Project Manager. This is an opportunity for someone to make his or her mark in a successful and fast growing environment. Day to day responsibilities will include overseeing The FADER clients, executing branded events and content programs, coordinating activities between multiple internal departments, financial reporting and maintaining the overall health of client/agency relationships. Position will report to The FADER Marketing Director.

Marketing Coordinator (Horn Stash Music Store – Palatine, IL) 

Job summary: The ideal candidate would have a great sense of humor, be detail oriented, not be easily offended, be able to multitask and coordinate multiple projects to completion, and be supportive in a team atmosphere. Above all, the applicant must be reliable, responsible, and punctual.This position is expected to start out as part-time (approximately 20 hours a week, minimum) and grow relatively quickly into a full-time position. We offer a fun and engaging environment, long-term opportunities, and room for growth and advancement for the right person. Full-time employees also receive full benefits, including health insurance, company-matching retirement savings, paid holidays, vacation, and more.

Coordinator, College Marketing (WMG – NYC) 

Job summary: Assist in supervising, training, and motivating staff of approximately 50 College Marketing Reps. Under direction of College Label Services Director, work closely with various departments within WEA & ADA and at the labels to outline and implement college marketing strategies for priority artists and projects.  Provide critical support functions for College Label Services department including maintaining daily communication and follow-up with reps and assisting with hiring and training of new recruits.

Music Enthusiast (Heid Music – Appleton, WI) 

Job summary: Heid Music is looking for a part-time team member to join our Appleton, WI team.  We select team members who take pride in their work and embrace our concept of providing “Bravo” customer service and pursuing our passion for making music. Music Enthusiasts are critical to Heid Music’s success in creating and maintaining a “Bravo” customer service experience.  This position builds and maintains meaningful relationships by assisting customers in selecting and purchasing merchandise and following through the entire sales process. Qualified candidates will ideally have a Bachelor’s degree in Music or Business along with musical instrument knowledge and/or playing experience.  Minimum of a high school diploma is required.  Previous retail or outside sales experience is preferred.  Band instrument knowledge is highly desired.

Audio Artist (Schell Games – Pittsburgh, PA) 

Job summary: We are currently seeking a talented Audio Artist to join our team and help build educational game and entertainment experiences.  Our ideal candidate will have the ability to handle both technical and artistic issues during game development as well as be able to work quickly in a team atmosphere with schedules and reliable milestone delivery.  Passion for audio design, SFX, VO recording and cleanup, and musical composition are crucial. The applicant will be working on a variety of projects, under direction of our audio designers. Previous experience with creating and placing audio hooks, mixing and leveling audio, and working with game teams is prefered. 

Manager, Tour Merchandise (WMG – Nashville) 

Job summary: The Manager of Tour Merchandise is responsible for all aspects of the tour revenue stream.  From A to Z, everything related to selling artist branded product on the road is their responsibility.  This position requires integration of all departments including art, production, logistics and finance.

Artistic Planning Assistant (San Francisco Symphony – CA) 

Job summary: The Artistic Planning Assistant works with the Associate Director of Artistic Planning, Artistic Planning Manager and Artistic Planning Coordinator to provide a full range of departmental administrative support.  The Artistic Planning Assistant reports to the Associate Director of Artistic Planning.

Executive Director (Iowa Rock N Roll Music Association – Des Moines) 

Job summary: The Executive Director will oversee all IRRMA operations including supervision of IRRMA staff and volunteers. The Executive director reports directly to the Executive Committee of the Association and ultimately to the IRRMA Board of Directors.

Music Archivist Assistant (College of DuPage – Glen Ellyn, IL) 

Job summary: Assist music archivist and music faculty in catalog of music holdings.Under direction of music archivist and music faculty, catalog music holdings. Process requests to borrow music, in accordance with established borrowing policies. Under supervision of music archivist, update electronic database of holdings. Identify, distribute and file music. Under supervision of music archivist, assess condition of music.

Administrative Assistant (LiveNation – Hollywood)

Job summary: Live Nation is seeking an exceptionally bright, multi-tasking and self-motivated Administrative Assistant to directly support at the SVP level. This is a great opportunity for an experienced and enthusiastic candidate to work and grow in an innovative, fun, and creative environment. The role will be based in Hollywood, CA.The Administrative Assistant will provide a full range of administrative support including scheduling meetings, maintaining calendars, making travel arrangements, processing expense reports and assisting with special projects.

Project Coordinator, Industry Event Marketing (Pandora – NYC)

Job summary: The Project Coordinator, Industry Event Marketing will be responsible for assisting with hands-on project management of large scale and highly visible industry events such as CES, SXSW and Cannes as well as agency events, sponsored conferences and “owned and operated” events. As Project Coordinator you will work closely with members of the Industry & Agency Marketing team to manage the execution of these events by working cross functionally with almost every department within Pandora. This role will ensure the successful and seamless rollout of these programs enhancing Pandora’s industry presence and marketplace positioning.

Communications Coordinator (Houston Grand Opera – TX)

Job summary: The Communications Coordinator plays a vital role in maintaining up-to date messaging and external communications through the Houston Grand Opera website and social media channels. Providing services to all departments within HGO, this position acts as the central source of all web and social messaging. Working closely with the Communications Manager, the Communications Coordinator must be aware of all current messaging strategies to implement consistent messaging online.

Assistant, A&R (WMG – Burbank, CA)

Job summary: Job responsibilities include (but are not limited to) managing all administrative aspects of work for an EVP of A&R, as well as more detailed project management and independent projects on various levels.  Requires an intelligent, flexible, proactive, organized and independent person who is willing to engage in typical administrative/clerical duties as well as more complex project work related to all aspects of the record-making process.

Assistant Professor of Music (Doane University – Crete, NE)

Job summary: Doane University invites applications for a full-time tenure-track position as an Assistant Professor of Music beginning August 2017. Ph.D. preferred, advanced ABD considered. Responsibilities include teaching music theory and ear training, teaching piano lessons and overseeing all piano instruction and accompanists in a thriving department. The candidate will also oversee and organize activities such as recital scheduling, weekly music seminars, administer the piano proficiency requirement for Doane’s music majors, and will be responsible to help with auditions and contribute to the recruitment of pianists to the University. Multiple solo and collaborative performance opportunities are available at various departmental events. The successful candidate will also have the opportunity to teach in interdisciplinary programs.

Audio Engineer (Discovery – Miami)

Job summary: In this position, you will be a part of a creative team that is responsible for, but not limited to the recording, editing, and mixing of audio soundtracks for television, radio and multimedia.

Music Manager (Chelsea Entertainment – North Palm Beach, FL)

Job summary: Chelsea Entertainment music managers or band managers handle career areas for bands, singers, and DJs. The manager’s main job is to help with determining decisions related to career moves, bookings, promotion, business deals, recording contracts, etc. The role of music managers can be extensive and may include similar duties to that of a press agent, promoter, booking agent, business manager (who are usually certified public accountants), tour managers, and sometimes even a personal assistant. Responsibilities of a music manager are often divided among many who manage various aspects of a musical career. With an unsigned act, music managers may assume multiple roles: graphic designer, publicist, promoter, and handling money and finances. As an artist’s career develops, responsibilities may grow. A component of your job is to look for new artists as well.

Marketing Coordinator (MIH Entertainment – Anaheim, CA)

Job summary: This position reports to the CEO, partners and V.P. of Development, the marketing department is focused on providing strong marketing campaigns. The marketing coordinator will manage the development and execution of marketing and sales campaigns with brand partners and retail outlets. Marketing coordinator is also responsible for overseeing all aspects of marketing for assigned artist and for coordinating the efforts of the label to ensure the consistency of imaging between artist and their music. Sales and marketing will involve all facets of MIH Entertainment, LLC physical, digital and mobile products. The marketing manager will be responsible for creating, managing and executing third party sponsorships and promotions involving MIH Entertainment labels and studios. One of the primary goals is to develop and create revenue-driving opportunities and promotions between third party companies, promoting MIH Entertainment music/video content at physical, digital and mobile retailers. Involved in this position is the ability to make cold calls to new corporate partners as well as agencies interested in cross promotions/sponsorships with entertainment. Additionally, will manage local physical and digital music accounts, and be the company’s onsite point person in California to handle any miscellaneous duties that require handholding or personal delivery in the marketplace, including covering visibility and artist performances. This position requires a highly motivated and detailed oriented person for our management and label department. Marketing coordinator must have the ability to keep up with a robust, fast-paced office, and remain composed in high-pressure situations, while being able to multi-task. Marketing coordinator must be able to function well in a “start-up” environment.

Director, Partner Marketing (Crackle/Sony – Culver City, CA)

Job summary: The Crackle Marketing team is seeking a Director, Partner Marketing to head development and management of all Crackle distribution partner relationships in US, Canada and Australia. A successful candidate will leverage both the right and left-brain to work creatively and analytically and master the full partner marketing lifecycle from ideation to execution to post-mortem analysis – rinse and repeat.Reporting to the VP of Marketing, the Director, Partner Marketing is responsible for driving all efforts to execute innovative multi-faceted marketing campaigns to achieve traffic and download goals across mobile (iOS, Android, Windows Phone), gaming consoles (PlayStation, Xbox) and connected TV devices (such as Sony Blu-ray players, Apple TV, Roku and Samsung TVs).

Manager, Digital Marketing and Creative Services (UMG – Hollywood)

Job summary: Capitol Music Group is looking for a Manager Digital Marketing to be a part of the Caroline/Capitol Marketing Team located in Hollywood, CA who will oversee and direct aspects of day-to-day digital creative and online marketing management. Responsible for creating and executing marketing and promotional plans across all areas of online including all company portals and distribution partners, artist website, social media, new technology, CRM, SEM/SEO, third party lifestyle, and e-commerce.  Also responsible for nurturing and leveraging relationships with our label partners, artists and their management teams, and for strategizing on the best digital campaigns for them.  Required to set goals and manage campaigns in an effort to optimize reach and revenue. Additionally, will need to manage and interpret departmental reports and partner data.

Beats and Production Instructor (Red Clay Music Foundry – Duluth, GA)

Job summary: Red Clay Music Foundry is looking for an instructor for a Production/DJ class. Applicant must know Ableton software in and out and be well versed on making beats, writing and producing. Must be very personable and have a passion for sharing their knowledge with others. Instructor will be responsible for creating a course outline/curriculum for a weekly 60 minute class that will meet in 8 week sessions (preferably Saturdays) beginning in 2017.

Inventory Assistant (WMG – NY)

Job summary: The Inventory Assistant, under the supervision of the Director of Catalog, is a liaison to both Production and Inventory personnel, for all WMG distributed labels and all associated sub labels including third party.  Interaction with labels, Sales, and Distribution personnel is also necessary. The person in this position acts as a trouble-shooter to assure that product manufactured and housed in the WEA Distribution warehouses meets the needs of our customers.  Special projects and other related tasks performed as required. Functions may fluctuate based on label responsibilities, which are reviewed periodically to balance departmental workload.  The Inventory Assistant also provides backup to other similar positions within the department.

Music/Mixer Editor – Mid to Senior (Bungie – Bellevue, WA)

Job summary: A Bungie game is incomplete without a score. We’re not talking about the kill count after a match in the Crucible. In this case, the score is the thundering anthem that drives a player forward as they blast their way through waves of aliens to complete their mission.  Our current mission is to add a bold new member to our Audio Team. Bungie is looking for a multi-talented Music Editor and Mixer with strong technical audio skills to help the music team create amazing music. Your work will help deliver video game soundtracks and media to be enjoyed by our community. If you love playing games, bring your passion to the music team at Bungie.

President of Artist Relations (Jamwar – NYC)

Job summary: As the President of our Artist Relations team, you will develop and direct artist relation managers. You will collaborate with artists, managers, booking agents, and labels to deliver distinctive, engaging and premium content direct from artists to their fans via the Jamwar platform.
This role is based out of either NYC or LA and reports to the Chief Operating Officer of Jamwar, Inc.

TV – Music Coordinator (Dreamworks – CA)

Job summary: DreamWorks Animation Television is currently a Music Production Coordinator to be a part of a fast growing and busy TV Music Department. This individual will be interfacing with many different individuals at all levels of the company, from production assistants to Head of the Studio, as well as a broad range of individuals outside the company. This will require an outgoing, confident personality coupled with good judgment, resourcefulness and discretion.

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OP-ED: What movies got right about streaming is everything music got wrong

The following opinion piece was written by Haulix Digital Marketing Coordinator James Shotwell. We’d love to hear your opinion on this piece, so once you finish reading head over to Twitter and tell us what you think.

Before I dive too deep into this piece I want to stress that I am a huge supporter of streaming services in general. The age of streaming has made it possible for artists at every level to continue making money on older releases long after consumer interest in purchasing those titles has been depleted. We can argue all day about whether or not the royalty rate is acceptable (it’s not), but that is another conversation for another. Streaming provides a steady stream of income for artists even when they have nothing new to promote, which in turn makes it possible for more artists to continue creating even when their latest release is less than well received by the general public.

Okay? Okay.

The more I think about the digital age and how it has impacted the entertainment industry as a whole the more I realize that the film industry may have handled the war against piracy far better than those working in music. Unless a film is being released on VOD (video on demand), those interested in seeing a new title still have to buy a ticket and visit a theater in order to experience the film immediately following its release. Those who are not willing to do that must wait for the film to hit VOD (usually three months after a theatrical debut) or wait for the title to be made available on streaming services like Netflix, Hulu, or Amazon Prime (which typically happens six-nine months after the theatrical debut). Some may choose to pirate the film before that happens, but if they do their only viewing option is a significantly lower quality product, often captured by handycam or similar home video recording device.

This is not the case with music. Aside from a very select number of releases, every new album is made available on streaming services and in stores at the exact same time. More often than not, full streams of new releases hit the internet days before an album goes on sale, so even if you bought a copy through pre-order you are able to access the music as the same time as everyone who didn’t bother to support the artist in question. As long as you have access to YouTube you can more than likely hear a new release in full 2-3 days before it’s available for sale, and if you have an account through Spotify, Tidal, or AppleMusic you can hear the vast majority of all music ever made available in the digital format for less than the cost of one album in stores. 

This is a long way of saying new release streaming on release day is a bad recipe for financial success. The ease of access does not raise the value of a product in the streaming age, it diminishes it. Why should consumers even consider paying $10 for an album they can essentially access for free? If I pay $10 a month for a streaming service and stream at least 1000 songs each month that means each song stream cost me one cent. As we already know, artists do not receive even a penny per stream, so the actual value of each song played is less than a cent. Add offline streaming to the mix, which is the equivalent to downloading an mp3 onto your computer or mobile device, and you’ve basically got an endless supply of digital albums at your disposal whenever you need them.

One could argue that cost to produce a movie is far greater than the cost of producing an album, which justifies the need to push direct sales and rentals longer than music, but cost of production matters very little in this situation. No artist or record label releases music hoping to make just enough money to cover the cost of production. Artists and their labels want to make as much money as possible, and I believe they may be selling themselves short by rushing to streaming services on release day.

If you think about it, the promotional efforts for new movies and new albums are basically the same across the board. A trailer for a film is like a music video or single for an album. Filmmakers and actors do interviews to build awareness for their upcoming release just like musicians. Stills from the movie are like promo photos for an artist or group. Posters are album covers. The difference is, when release day comes you still have to go to a theater to see the film. It’s not available on your phone as soon as you wake up unless it’s purchased in advance on a VOD platform. Your excitement for a new film may been building for weeks or months, just like it would for new music music, but on release day there is still a barrier to entry because studios understand those who really want the product are still willing pay for it. Those who are not as excited will wait for the cost to decrease or for the title to hit streaming platforms. Some will pirate the material, sure, but those people were never likely to buy a ticket or purchase the film in the first place.

If I had to pinpoint where music went wrong I would wager it happened somewhere around the dawn of the new millennium. Napster targeted music long before film piracy was a hot topic, and no one really knew how to respond. The music industry panicked, and soon the powers that be decided that the best way to fight piracy was to give everything away themselves in hopes of controlling the conversation. Their reasoning in this action was sound at the time: If labels and artists control how people access free content they can directly interact with and market to fans that are eager to hear the material. 

As time carried on however, the ability to control the conversation by granting immediate/advance access began to shrink. Streams went from being hosted on an artist’s website to being available through third party platforms like Soundcloud and YouTube, which in turn made the material embeddable for anyone with a website. As you can guess, and as we now know thanks to numerous studies, this approach didn’t really solve anything except how easy it was for people to access music. According to a 2015 report from Cisco, music piracy is currently 48% worse than it was in 2008, and it’s expected to double by 2020. 

A great example of immediate streaming hindering the sales potential of a record can be found by examining the rollout of Kanye West’s latest release, The Life Of Pablo. The album, which allegedly received 250 million streams during in its first week of availability in February 2016, was released exclusively through Tidal without an option for fans to buy the record. This lead to a surge in Tidal signups, which in turn garnered a good deal of press for the platform, but it also lead to a surge in music piracy. According to a report from TorrentFreak, a rip of the The Life Of Pablo was pirated through torrent sites more than half a million times in that same first week. This does not take into account direct downloads of the pirated album – AKA downloads from services like ZippyShare or MediaFire – which would likely place the number of stolen copies closer to, if not above, one million in a single week.

The Life Of Pablo was eventually made available for download on April 1 for $20. The album moved the equivalent to 90,000 units and hit number one on Billboard with more than half of its ‘sales’ being generated by streaming equivalent albums. That means Kanye actually sold, at most, around 40,000 downloads. Compared to the 327,000 first week album sales (pure album sales, no streaming) of his previous release, Yeezus, this is a dramatic 87% slide in first week sales. Furthermore, The Life Of Pablo has not sold more than 1000 downloads in a single week since its second week of availability, which puts Kanye’s total pure sales for this release to date (May 31, 2016) around 55,000 or less. 

Kanye is not the only one covering low actual sales with big streaming numbers. The rate of streams is impressive, but the payout most likely is far lower than the total that could have been made from actual album sales. With this in mind, I posit that streaming’s impact on overall sales would be much lower if new releases didn’t hit streaming platform for a month(+) after their initial release. We cannot undo the last decade of content being made available instantaneously, largely for free, overnight, but we can adjust our release efforts moving forward in hopes of creating greater demand for downloads and physical product. 

Some believe people are not willing to buy albums anymore because they do not want to risk purchasing something they might not like, but again that is exactly what happens in the world of film. Trailers for new movies can be very misleading, and we’ve all been fooled by a good trailer for a bad movie. Still, consumers spend billions of dollars every year to see new titles of all sizes in theaters or on demand. One could also argue the risk is even greater with film, as most ticket prices – especially for 3D films – are far higher than the cost of a record and they only allow for a single viewing/entertainment experience. Downloads and physical sales allow consumers to spend time with material, and more often than not repeated plays of a record have a tendency to change people’s views of the material.

Fans who are unwilling or unable to purchase an album outright can and will wait for the record to be available on a subscription platform. What artists and labels alike need to do is create demand up front, push sales hard for a short period, then – only after the core buying market has been depleted – make the content available everywhere. Once your product is a click away, especially at little to no cost to the consumer, you’re forever fighting an uphill battle for sales where consumers win far more often than content creators.

James Shotwell is the Digital Marketing Manager for Haulix. He is also a professional entertainment critic, covering both film and music, as well as the co-founder of Antique Records. Feel free to tell him you love or hate the article above by connecting with him on Twitter. Bonus points if you introduce yourself by sharing your favorite Simpsons character.

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What is ‘windowing,’ and why is it bad for the music business?

Exclusivity it dead. Long live exclusivity.

Despite what the proliferation of streaming services may have lead you to believe, exclusivity in the music business is alive and well in 2016. Regardless of whether you’re discussing sales, streams, video content, or even written editorials, the demand from companies and blogs alike to lay claim to something no one else can offer has never been higher than it is right now. Even artists are in on the game, with Kanye West proclaiming Tidal as the only place he will ever allow The Life Of Pablo to be made available to the public online, or with Drake having his “Hotline Bling” video financed and premiered by Apple. The idea behind these moves is that it draws everyone’s attention to one place where the conversation is controlled by the party, or parties, responsible for the content being shared. It’s a concept known to many as windowing, and in theory it’s a real game-changer, but in reality it’s a process that ultimately devalues whatever content such activity is intended to promote.

“Windowing” is a term often thought of in relation to film, but in recent years it has become increasingly popular in conversations based around the music industry. The word refers to the idea of releasing a new piece of media in a select number of locations or to a select user set at first before later making the same content available in more places and to more people as it begins to age. In digital music, a windowed release would be one that is only available on Spotify or a similar streaming platform at first. Then, after several weeks or months has passed, the album is made available on Apple Music, Tidal, YouTube, and/or any other streaming platform you can think to name.

Sony Entertainment CEO Michael Lynton recently suggested that in future, we will see music releases being windowed like movies, with new music being made available exclusively on paid subscription services first, and only on free services later. Companies want to offer something their competition cannot, and as that trend continues the amount of money services will be willing to pay for exclusive access will rise. This mean labels and artists alike will be able to cash in on new material with a big payday up front as opposed to pursuing a traditional release and the uncertainty that comes with it. Windowing guarantees some return on investment, at least up front, even if the material isn’t all that great. After all, companies are paying for content, not quality.

The problem with windowing, especially in music, is that it assume consumers will change their behavior based on a corporate sponsorship that does not benefit them in any way whatsoever. Consumers have grown accustomed to having everything ever released available on demand, often for free, pretty much whenever they wish to access it. They have likely already chosen a streaming platform, or have at least used several free trials, and they have established a routine when it comes to new music consumption that they rarely deviate from. If they buy vinyl, a streaming exclusive won’t get them to use Tidal. If they pay for Spotify, a physical release of something might not find its way into their collection. This isn’t to say music fans are stuck in their ways, but they do tend to know how they prefer to engage with music and they rarely change their behavior without somehow finding it absolutely necessary to do so. Promises of better quality might work, which I suppose is the hope of hi-fi services such as Tidal, but the only people who care about such things are those who feel what they already have is not good enough.

Take Kanye’s latest, The Life Of Pablo, for example. The record, which was released exclusively on Tidal, reportedly helped the fledgling streaming platform more than double its total number of subscribers (from 1.5 million to 3 million), but it also lead to a boom in online piracy that quickly outpaced Tidal’s growth. Within 72-hours of the album first appearing online several torrent trackers reported the record to have already been illegally downloaded more than 500,000 times, and by the end of the album’s first week of release that number had already doubled. Kanye may see some return on those downloads in the form of praise from fans received over Twitter or another social network, but the real winners in this scenario are the pirate sites promoting the album’s illegal availability. Their pages have ads, often many, and they gain a few pennies for every click they receive. Times those pennies by a million or more and you begin to see real money, which will never reach Kanye or anyone he may be indebted to as a result of creating TLOP.

The short term gains of windowing releases in music is only a good thing when one does not consider the potential lost income  and engagement that will arise from consumers forging their own path to your content. Instead of limiting access to material, artists big and small should be doing everything in their power to make their music available everywhere under the sun. Make it harder for people to find illegal links to your music by supplying them with endless legal options instead. Don’t limit yourself or your fans to just one service when you can use them all and have your content available anywhere on the planet at a moment’s notice. You might not receive a big check overnight, or even have the immediate press blitz you desire, but in the long run you will develop a more dedicated and engaged audience that is willing to put their money where their tweets are and financially support your efforts. That should be the ultimate goal for any artist, and it’s only possible by allowing your fans to be themselves and make their own decisions.

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