While music consumption has pivoted away from piracy and downloads, the spectre of the past is once again looming over the industry, as podcasts become an even more dominant medium. Generally unregulated, most podcasts contain at least one musical work, that is likely unlicensed, which means that those episodes you’re downloading are really no different than the unauthorized downloads of the past. So, will the industry coalesce around a standard blanket license to solve this issue? Or, will podcast hosts develop a YouTube-like Content ID system to identify these unlicensed works and prevent them from being distributed? We get answers to those questions and more this week from Jim Griffin (OneHouse), Gabe Fleet (Attorney), and Tom Mullen (Atlantic Records, Washed Up Emo).
When you hear people within the industry referring to “The Black Box,” they’re most likely referring to the growing sum of undistributed and/or undistributable royalties that have been collected on an artist’s behalf by organizations like SoundExchange. What happens with this “Black Box” is a hotly debated topic within the industry, as every collection society that has one deals with these unclaimed royalties differently. Join us as we discuss the problem and its potential solutions with John Simson (American University), Wayne Milligan (TriStar Sports & Entertainment Group) and Steve Ambers (SOCAN).
As we move into 2020, two things have become all the more apparent, artists have to view themselves as small businesses in order to survive, and income streams within the industry are increasingly fragmented. Thankfully, these trends have been tracked for several years in a row, and there are a multitude of services available to bands, artists, and songwriters to help them collect these fractionalized income streams so that they can keep their creative businesses afloat and their rights secure. Join us this week as we explore three such services, namely Jammber, AdRev, and Songtrust.
Since 2015, the Nashville Entrepreneur Center has played host to Project Music, an accelerator program for tech start-ups whose focus is upon creating solutions for the music industry. This first of its kind accelerator program has supported five different cohorts to date, and several members of those cohorts have already gone to market with their unique solutions, as a result of the mentorship and fundraising help they received through the program.
After several years of growth, the music business no longer feels like its in freefall, and some hopeful industry insiders are hinting that the best is yet to come in the 2020’s. As streaming goes global, and the overall adoption rate goes up across the board, continued revenue growth will be the norm in 2020 and beyond, which is to say nothing of the new ways that music is being monetized in video games, short form video, and more. Join us as we hear 2020 projections from Vickie Nauman of Cross Border Works, Josh Berman of Concord Music Group, and Russ Crupnick of Music Watch.
Today’s streaming market is a crowded arena that’s chock full of big brands, all of whom are vying for the same monthly subscribers, but none of them have truly distinguished themselves from the other. Yes, they all have different visual interfaces and apps, and some are even offering higher bitrates, but as listeners switch over to voice activated listening via smart speakers, how will users know the difference between Spotify, Apple Music, Tidal, etc. when the interaction becomes purely audio? Enter Super Hi Fi, a new service that is helping DSP’s and radio stations create unique audio branding and listener experiences.