While some artists are eschewing the traditional label route to market, there is no getting around the fact that artists simply can’t do everything they need to do in order to be successful on their own. Most developing artists need help with marketing, branding, social media strategy, booking, publishing, content creation and more, if they’re going to breakthrough the din of digital noise. On this episode, we speak with Chelsea Cressman (AGD Entertainment) and Cameo Carlson (mTheory) about the ways that their companies are helping artists build and hire teams to manage the tasks that are beyond their particular scope and level(s) of expertise.
At the beginning of the year, record stores big and small started noticing a difference between what they ordered and what they received in the mail. This became all the more noticeable when stores were shorted important and highly sought after titles for Record Store Day in April. Since then, the problem has only gotten worse according to some, and bands have missed their street dates entirely in the process, costing them countless dollars, but also chart positions, which means losing out on radio and television opportunities.
In the past, digital start-ups frequently approached the music industry with tech solutions to problems that didn’t exist for most artists and labels. That paradigm has seemingly shifted in the past few years, and now the solutions being brought forth by tech companies are helping to alleviate certain stresses and strains on the music industry. On this episode, we’re highlighting new tech companies like Ursa Music, Corite, and Pitch who are creating new revenue streams for artists and labels, rather than cannibalizing the old ones and taking a cut.
Twenty years ago, Syd Butler started Frenchkiss Records, after his band Les Savy Fav couldn’t find a home at the prominent labels of the time. Fast forward up until today, Syd’s now part of Seth Meyer’s 8G Band, the label is still going strong, and Les Savy Fav is still playing shows. On this episode, Syd joins us to talk about the label’s triumphs and tribulations over the course of the last two decades, as does Craig Finn, who’s bands The Hold Steady and Lifter Puller have enjoyed success under the Frenchkiss umbrella.
Several high profile artists moved away from sampling in the late 90’s, after a smattering of lawsuits were brought against artists like De La Soul, Biz Markie, 2 Live Crew, etc. for the use of unauthorized samples in some of their biggest hits. As a result, the familiar sounds of hip-hop, pop, and electronica changed dramatically in the decades that followed, as people were both scared off of sampling, and/or confused by the myriad of clearances and fees needed to sample legally. To solve this dilemma, Tracklib has stepped into the arena to act as both a clearinghouse, and conduit between sample based producers and the companies that own both sides of the material that producers want to use in their derivative works.
Under the current distribution model, labels and rights holders typically only get paid once a month by their distributor, and those payouts are often for streams and downloads that occurred well before the pay period. In an era where artists and labels are able to see nearly real-time usage data for their catalog, these delays in payment have made rapid growth difficult in some cases, and now there are companies stepping in with solutions. On this episode, we speak with Bruno Guez of Revelator and Daniel Dewar of Paperchain about their efforts to increase the liquidity of assets for rights holders by advancing payments to them based upon their catalog’s performance on DSP’s.