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5 YouTube channels everyone in music should follow

Want the benefits of a music business education without the debt of student loans? YouTube is the answer.

YouTube channels are the new blogs. Actually, YouTube channels are better than most blogs. The content creators working on the video platform today can convey complex information in entertaining ways that create a more enjoyable learning experience for everyone. Whether you’re hoping to be the next music superstar or hope to work in the industry, YouTube is filled with experts offering the benefits of their experience and education without any of the cost or hard times.

For virtually nothing, anyone on the planet can access more hours of music business guides and criticism than any person could hope to devour in one lifetime. We haven’t tested that theory, but we’re pretty sure it’s accurate.

There are more than enough content creators releasing quality videos regularly on YouTube for everyone to find the channel(s) that suit their learning style the best. We could not hope to bring together all the channels worth checking out, but we have gathered a handful of picks that we believe to be worthy of your time. They offer everything from music criticism to history lessons, industry stories, and essential step-by-step guides to navigating the music business as a whole. Enjoy!

Punk Rock MBA

Finn McKenty is more punk rock than you. Lucky for us, he’s sharing his knowledge of punk and all things alternative with anyone willing to give him attention. Punk Rock MBA offers an in-depth look at the history of punk, rock, metal, and numerous niche areas of alternative/underground music, as well as lessons learned from important moments in music history. Most videos McKenty releases play like short documentaries, each with his unique perspective on a moment in music that more mainstream publications often overlook. He also recruits seasoned professionals to weigh in on the latest music from aspiring musicians, as well as commentary on the recent industry trends that may be shaping the future of the business.

McKenty is the perfect entry point for anyone new to YouTube, and also those hoping to improve their careers as musicians. As he explains on his channel’s about page, his goal is to offer “information, inspiration, and hopefully entertainment for people who want to live life on their own terms.”


The Needle Drop

Some of you may be questioning how a music critic ended up on a list intended for industry professionals. The answer is simple: Anthony Fantano (aka The Needle Drop) understands the digital generation. Unlike many of his industry careers, Fantano has found a way to connect with audiences in an increasingly saturated marketplace by sharing his informed opinions on a wide variety of music. His influence is so great, in fact, that numerous musicians have referenced his work in their own creative endeavors. For example, you may have seen Fantano’s animated cameo in the “Old Town Road” remix video from Lil Nas X featuring Young Thug and Mason Ramsey.

There are ten-thousand articles claiming that professional criticism is dead in the age of social media, but The Needle Drop is proof those hot takes are wrong. Fantano’s reviews often garner thousands of reviews within minutes of going live, and he’s using that platform to expose people to music they may otherwise have never given a chance. Anyone hoping to influence others through their work in music would be wise to follow The Needle Drop because no one else in this business has done nearly as good of a job building a community around their voice as Anthony Fantano has accomplished with his channel.


Music Biz

James Shotwell wants to do everything before his time in music is done. After opening a venue in his hometown with a grant from the city council at fourteen, Shotwell tried his hand at everything from touring to promotion before he even graduated college. Since then, he’s written for some of the biggest publications in music (including Alternative Press and Rolling Stone), ran a record label, traveled with Warped Tour, spoken at major industry events (SXSW, LAUNCH Music Conference, Music Biz), and spread the word about the power of promotional distribution.

On Music Biz, which is powered by Haulix, Shotwell shares his knowledge on how professionals and musicians alike can build a successful career in the entertainment business. He also explains the stories behind the biggest headlines in the music industry, as well as in-depth conversations with a wide array of industry professionals.


Brand Man

Sean Taylor is a music branding and marketing expert who, according to his website, is ‘working to build a platform that closes the knowledge gap for aspiring artists’ On his Youtube-channel, Sean shares information about branding, growing your career and building a fan base. His focus usually revolves around the hip-hop and rap genres, but the lessons shared can easily be applied to any area of music.

What we love about Taylor’s content is his energy and the way he often utilizes the knowledge of other industry professionals to make the most of the topics he discusses. Whether that means pulling content from his own podcast or referencing quotes made by musicians in other interviews, Taylor grounds his lessons in examples pulled from the real world. That approach makes it clear that anyone can succeed in this business as long as they are willing to put in the work required to get ahead.


Berklee Online

Talk about a music business education without the burden of student debt. Berklee Online is the official YouTube channel of Boston’s iconic Berklee College of Music. With world-renowned faculty and unparalleled networking opportunities, Berklee Online brings the best of Berklee to students around the globe, for free.

More than any other channel on this list, Berklee Online offers an education portal for those unable or unwilling to pay for school. They do post about courses available through them, but the majority of the videos offer industry advice and analysis from experts that other content creators could never reach. The content shared by Berklee Online is polished, informative, and above all entertaining. You don’t want to miss out.

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News

Are Cell Phones Destroying The Concert Experience?

Hello, everyone. Thank you for taking a few minutes out of your day to join us for a little music industry discussion. We were not planning to run this particular feature today, but life has a funny way of telling you what needs to be done when you least expect it (as you will soon learn). If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.

I was halfway through an editorial on stage lighting today when a new post from our friend Anthony at The Needle Drop caught my attention. In the clip, a fan wrote to Anthony asking him about his thoughts on cell phone usage at shows, and what he remembers from attending performances before smart phones. I was both fascinated and made to feel extremely old by Anthony’s response, as I had never thought of my life as having been lived in an era now known as ‘pre-smart phone,’ but I was also incredibly intrigued by the notion that such technological advancements have forever changed the way people experience live music. Before I ramble on, however, it’s only right that I share Anthony’s video first:

Most people discuss concerts and the age smart phones by beginning with the issues it presents, so that might as well be where we begin too. It’s no great secret or shocking revelation that cell phones causes light pollution, and any setting where a lack of lighting is used to set the mood is almost instantly ruined by the use of phones. Movies theaters are a common place to encounter this problem, but it can apply to concerts as well. When you’re waiting for a headliner to go on and the venue finally drops the lights, what is the first thing you notice? Phones. Lots of them. It could be any date of the tour in any city and there are at least a few people in the crowd that feel they absolutely must have the first few moments captured on their phones. Why? Who cares! It’s [insert band] and they were there, that’s all the reason needed to block the view of whoever is seated/standing behind them. Do people even watch these videos? If they do, does anyone ever ask themselves why they tried to film a clip while jumping up and down and holding a beer cup with their teeth. or do they simply hit delete and move on with their lives, never giving a second thought to the impact their actions had on other concert attendees? I hope for the former, but I assume the latter is far more often the case.

It’s not just light pollution, however, because if it were there would be far less people constantly complaining. Light is the tip of the iceberg of problems people have discovered in the age of smart phones, and it’s followed by an endlessly updating juggernaut known as social media. Between tweeting updates from the show, sharing photos on Instagram, capturing videos and pictures for Snapchat, checking email, texting with friends, and ever so often ignoring a phone call it’s not uncommon to see several people spend entire performances with their fingers wrapped tightly around a little glowing rectangle that refuses to go dim. You may even hear them complain to their friends and family about a lack of 4G, or that their ‘phone’s battery totally sucks,’ even though it’s simultaneously running a dozen apps that each require different bits of information to be shared from the device, bounced off a satellite, received by a computer, sent back via satellite, and returned to the phone within fractions of a second. Stupid, lazy technology. Why can’t you be perfect already?

Anthony talks about this a bit in his video, but there was a time not too long ago when none of this was common place at concert venues. The first sixteen years of my life I attended shows without ever seeing people with phones in hand, and even when they began to appear it wasn’t until closer to 2010 that their presence reached a point that it was, at times, overwhelming. That said, there have always been assholes in this world, and I am willing to wager that as long as there have been concerts there have been those who go to shows for all the wrong reasons and end up ruining the experience for others. Before phones, some of the common complaints overheard at shows dealt with noise levels from other people’s conversations and the pseudo tough guys who felt they could only express their excitement about the show be attempting to start mosh pits that never full took off. Instead, those tough guys ran into people who didn’t want to be covered in other people’s sweat, which gave that stranger a story to then convey to all their drunken friends, thus causing the aforementioned noise problem. 

The worst noise problem I ever encountered was the first time I saw the band Mewithoutyou following the release of their sophomore album. It was a great release, but far more subtle and atmospheric than their raucous debut. As a result, several people in the audience who came with hopes of hearing music worth mousing to found themselves faced with an evening of acoustic instruments and sing-a-longs. They were respectful at first, for the most part, but as the evening carried on the number of random conversations taking place throughout the crowd began to build, which in turn considerably raised the overall noise level. You could see the frustration on the band’s face, but they powered on as all great bands do, and the moments I was able to make out through the white noise of distracted concert goers was sublime.

Noise pollution is still a problem today, but often it takes a back seat to smartphones because people are too caught up in their glowing screens to attempt a conversation with anyone by their side. That is one unintentional bonus to peoples’ obsession with their phones, I guess, but nine times out of ten I would gladly take a few loud voices over a room of glowing phones. You may disagree, and that’s okay too. Link me to your blog on this very topic and I’ll share it.

I’m not sure the music world will ever find a solution to the problems caused by smartphones, but there are those in the industry who are trying their best to curve its impact on the overall concert experience. Neutral Milk Hotel, for example, asks fans to not film or photograph any part of their performance. People still do, of course, but the number of people doing so are far less than they would be in a situation where no one had asked anything of the audience. People can follow instructions, believe it or not, but it’s needs to be presented in a way that does not come across as being too stern or threatening. As an artist, you have the power to try and downplay phone usage through leveraging similar tactics, but at the end of the day people are going to behave however they please. Treat fans with respect and ask them to do the same for each other, you never know what might happen.

For those of you reading this who stand in crowds instead of performing on stage, you also have the power to make a difference in these situations. Bullying or otherwise taunting those who use their phones extensively will get you nowhere, but taking the time to politely ask those around you to put their phone away is completely fine. They might not listen, of course, and in some cases they may even say some rather nasty things to you, but at least you will have expressed your opinion on the matter. You can also try to get to the show early enough that the number of people between you and the stage is low, which in turn lessens the likelihood of phones blocking your view later in the night.

I do think it’s important to note that not all cell phone use is bad. Back in April I had the opportunity to see Miley Cyrus perform at TD Garden in Boston, and at one point in the evening she asked everyone to pull out their phones as a way of illuminating the room. The visual that created, as I witnessed thousands of tiny screens bouncing up and down to booming top 40 production, is one I will never forget. Similar effects can be achieved in smaller venues too.

Additionally, several artists have begun developing apps that can enhance an individual’s concert experience. Dan Deacon, for example, created an app that syncs with and responds to his live show. A video of that application in action can be viewed below:

There may be days when it seems smartphone technology has backed itself into a creative wall, but I think we have only scratched the surface of innovation as far as the crossover between music and the little devices we all carry in our pockets are concerned. The problems caused by cell phone use at shows is bothersome, yes, but the possibilities for how those phones could be used to better the future concert going experience is almost too enticing too resist. The best thing you can do is take it upon yourself to be conscious of your own phone usage and encourage others to do the same. Some will listen, others will not, but at least you will have made an effort to better the world for everyone else.

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Blogger Spotlight: Anthony Fantano (The Needle Drop)

Hello, everyone. Welcome to the second Blogger Spotlight of the week. We have been inundated in recent weeks with requests to feature the person at the center of today’s post, and we could not be more excited to finally share their interview with all of you. If you know of a writer or blogger who would be a good fit for this column, let us know! Email james@haulix.com and share your idea. 

Anthony Fantano may not have started writing about music with the intentions of building a career for himself, but that is exactly what has transpired in the seven years since The Needle Drop debuted online. Through reviews and engaging editorials, Anthony built a rabid following of fans, and in 2009 took things to a whole new level when he launched the site’s official YouTube channel. He’s one of the few self-made independent bloggers to be featured in this series who are fortunate enough to write about music full-time through their own publication, and in the interview below he offers some insight as to how it all came together.

The music business needs more people like Anthony Fantano. He’s a driven, forward-thinking individual that understands the evolving relationships we have with technology and art. It’s nothing short of an honor to feature him in this series, and we want to encourage everyone interested in learning more about his work to follow The Needle Drop on Twitter. Additional questions and comments can be left at the end of this post.

H: Hey there, how are things? Before we dive in, please tell everyone your full name, job title, and the name of your site:

A: Anthony Fantano, uh, editor-in-chief, I suppose, and The Needle Drop.

H: Thank you again for participating in this series, Anthony. It’s a pleasure to have you with us. When you reflect on the key moments and experiences in life that lead you toward the career in music b/vlogging that you now have, what memories come to mind?

A: Getting a boombox as a kid, getting into punk music in high school, taking bass lessons, running a college radio station, and interning at an NPR affiliate out of Hartford. I think all of those moments played pretty pivotal roles.

H: Was music always a major influence on your life?

A: Maybe not when I was in the single digits, but its influence on every facet of my life seems to increase every year.

H: Who was the first band you remember obsessing over, and how did you originally discover them?

A: Rage Against The Machine, probably. I heard ‘em over the radio when I was a kid. I was a huge “Weird Al” fanatic, too.

H: As far as writing is concerned, when did you initially take an interest in the world of music criticism?

A: Just as I decided to take The Needle Drop onto YouTube, really. Up until then, the blog and podcast I ran were mostly curated to feature artists I thought were great, not my opinions.

H: Do you remember the first review or feature you created?

A: I remember writing a really positive review for Wolves In the Throne Room’s Two Hunters back in ’07. Even earlier than that, I would occasionally write things about artists that I liked on this personal LiveJournal account I had. I liked having a place to share music I liked with the people I considered to be my friends. However, I wouldn’t really call any of what I was doing “critical” since I would only post positive things I knew I enjoyed going into the process of writing.

H: Let’s turn our focus now to the site that first brought you on our radar: The Needle Drop. What can you tell us about the site’s origin?

A: It started as a Blogspot blog in ’07, and has undergone numerous redesigns since. I’m actually looking into another one soon. It’s just kind of the hub for all of my reviews, and new tracks that are grabbing my attention.

H: When you initially launched The Needle Drop, what goals did you have set for yourself? How would you say those goals have changed or otherwise been refined over the last 7 years?

A: I basically wanted TND to become my career, and sort of grow into one of the top music sites out there. While the first of those two things has happened, I still think I have work to do on the 2nd. Even if that manages to happen, I’m still gonna feel like there’s more to do. It’s hard for me to feel like I’m DONE doing something.

H: For those who have never stumbled across your corner of the web before reading this article, how would you summarize the type of content found on The Needle Drop?

A: Album reviews performed via video, and posts dealing in recently released songs and music videos.

H: The about section of your website notes that you are an NPR-affiliated publication. How did that relationship develop?

A: It started when my internship began in ’07. While I don’t work over there in a paid capacity now, the relationship is still good. TND’s just been demanding more attention the more it grows.

H: You launched a YouTube channel under the name ‘The Needle Drop.’ What inspired you to take your efforts to the world of video?

A: It actually started in ’09, but the reason I started it is I thought my efforts in blogging and podcasting weren’t going anywhere. I needed a way to differentiate myself from other music writers out there. It was an awkward transition at first, but I’m here now.

H: Your following on YouTube has swelled to thousands in a relative short amount of time. To what do you contribute your quick success? Do you have any tips for those considering the world of video journalism/criticism?

A: It’s always been a slow, upward hike, in my opinion. There was never a moment where TND just “exploded,” and I like it that way. Nobody’s gonna get famous overnight for a music review, and I understand that, but it doesn’t get me down cuz I’m more of a long-term thinker anyway. As far as advice: Find your voice, style, preferred mode of communication. Then do what you do, and hope it resonates with a crowd.

H: I’ve noticed there is some advertising on your site. Are you able to operate The Needle Drop full time? Do you have plans to monetize further in the future?

A: Yes, but I make my living off of YouTube mostly. Website advertising is only a bit of what I generally make, and I’m always open to new monetization options as long as it doesn’t ruin the functionality, credibility of the reviews.

H: We should mention that there are more contributors to The Needle Drop than just yourself. How large is your team right now?

A: It’s just me, a few voluntary website contributors, and a good buddy who edits for me for several hours on weekends. Pretty tight crew of 3-4 people most of the time

H: Are you currently looking to add to your editorial team? If so, how should people interested in writing for The Needle Drop go about sending you an application?

A: Not at the moment. You can always reach us at our contact page on theneedledrop.com, tho.

H: You have helped a number of up and coming artists from a variety of genres gain exposure to new listeners. Where do you turn when hoping to discover new music?

A: A number of blogs I list on my site, but my viewers recommend me stuff all the time that’s very worthwhile. Plus, I’ve made a number of friends who are fellow bloggers as well, and they’re always happy to share what they’re listening to.

H: What advice would you offer artist trying to make it today?

A: If you’re trying to make being a musician your career, then you have to think of yourself as an entertainer, a communicator. Think of who your audience is, and what you think they need to hear. What do you want to tell them, what do you want to make them feel. What are the best sounds, rhythms, melodies, lyrics, and recording techniques to make this happen?

When you’ve got your answers to these questions, make songs. Keep making songs. Release them, share them, spread ’em.

H: When it comes to receiving music for review/feature consideration, which distribution platforms do you prefer and why?

A: I prefer digital platforms these days. While physical is always nice, I’ve always got so many promos to sift through. Giving me a place online where I can hear the records I need to hear without creating a huge pile of clutter is important.

H: If you could change one thing about the music industry, what would it be?

A: I wish records still made a substantial amount of money, and that more of it was going into the artist’s pocket.

H: I think that covers everything. Before I let you go, do you have any final thoughts or observations you would like to share with our readers?

A: Eat your fruits and veggies, exercise, get a good night’s sleep, compliment someone who deserves it.

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