Allied Global Marketing’s Post

now streaming on deezer

now streaming on deezer

2 people in the last 7 days have asked me for a deck that I first presented in March of 2017. The deck looked at how the recorded music/label business would be shaped by the attention economy. The presentation was called "Fighting for Mindshare" and it: 1. Argued that labels would begin to rethink their strategy once streaming growth plateaued. 2. Looked at other industries that had reached 0 sum games continued to market. 3. Talked about how you update your marketing strategy in a streaming world. 4. Shared the evolution of smartURL and the new feature sets we were rolling out. Give it some grace, it was 7.5 years early but a 100% right.

Option Play and Competitor Reactions: In this chessboard of melodies, every option considered is like contemplating a bold opening move. 📌 Will introducing a new revenue stream be met with a checkmate or an applause? 📌 Anticipating how competitors will react becomes the key to staying ahead. A novel strategy might influence the entire business environment, forcing others to adapt or risk being left in the silence. 📌 Example: A streaming service introducing exclusive artist partnerships could prompt other platforms to rethink their playlists and marketing strategies. #MusicIndustryInsights #ArtistDevelopment #MusicMarketing #IndependentArtists #CareerInMusic #MusicManagement #CreativeMinds #MusicPromotion #IndustryChallenges #ProactiveArtistry #MarketingStrategies #ProgressOverPerfection #MusicBusinessTips #StrategicMindset #BuildingMomentum #ProfessionalGrowth #CreativeJourney #MusicCareerAdvice #IndustryTransformation #SuccessInMusic

GenZ are the early birds when it comes to music! Blend seamlessly with their morning session and set the perfect tone with your brand message. To get started, reach out to us at advertising@jiosaavn.com. #JioSaavn #JioSaavnForBrands #MorningJammers #MorningSession #BrandMessage #GenZ #GenZTargeting #StreamTime #PlayTime

On Tuesday Disney touted “Taylor Swift: The Eras Tour” as “the most watched music film in Disney+’s history.” But, the numbers are not great: the 3.5-hour movie achieved 4.6 million views and 16.2 million hours watched in its first three days on Disney+. As What’s On Netflix’s Kasey Moore noted on Twitter, the Netflix movie “Damsel” (starring Millie Bobbie Brown, Robin Wright and Angela Bassett) had 35.3 million views in its first three days. The views for both movies were global and not exclusive to the U.S.. Had they been, Disney would have a good story in Nielsen U.S. streaming ratings (which are measured by minutes): 972 million minutes watched would be over 10x the performance of its animated Pixar movie “Turning Red” for the week ending February 18, 2024. It would be 35x the musical “Hamilton” for that same week. Competitively, it would have more views than Netflix’s top series “Love Is Blind” (907 million minutes) and 2x Netflix’s movie “Lover, Stalker, Killer” (470 million minutes) that same week. And, that would be only for three days of viewing. Streaming growth is driven by hits and both Swift’s movie and Eras Tour—which pulled in an estimated $1 billion in gross ticket sales in 2023 and through 2024 is expected to exceed $2 billion—have been hits outside of Disney+. But, on Disney+, it seems to have captured a much smaller—though highly engaged— audience base. 4.6 million views is not great optics for megastar Taylor Swift. Disney reportedly paid more than $75 million to Taylor Swift or almost 30% of what $261.7 million the movie grossed at the box office. Iger had confidently sold this bet to investors on the FY Q1 2024 earnings call: “We know audiences are going to absolutely love the chance to relive the electrifying ‘Taylor Swift: Eras Tour (Taylor’s Version)’ whenever they want on Disney+.” In other words, the $75 million is expected to deliver both engagement—which advertisers especially value— and growth. But, the initial data from Disney—and new data from Nielsen, Deloitte and Antenna—suggest engagement from cohorts of Taylor Swift fans may be the best outcome for Disney. "The Eras Tour" is one among many streaming options for consumers, despite Taylor Swift's megastar status. As former CEO Bob Chapek—Iger’s successor and predecessor—previously suggested to investors, streaming consumers increasingly need more from a subscription than content because they can increasingly find compelling content elsewhere, like on Tubi, for free. So what will this $75 million accomplish for Disney shareholders? The short answer is: Not enough. ****Key Takeaway*** Whatever Disney’s calculus for ROI on its $75 million investment may be for the “Taylor Swift: The Eras Tour” for Disney+, recent research suggests that calculus may be wrong. Gen Z and millenials—crucial audience segments for growth—seem unsentimental for what Disney used to be. [click on the link in the comments below to read the full essay.]

now streaming on Deezer

From EPA to all over the Bay, back up to the City but Bypassing Sand Hill Rd koz they didn’t wanna play or pay. Mission = disrupt~destroy current streaming, music n advertising industries. #epaloalto #prufurddigital #prufurd #music #video #streaming #streamingplatforms #blacktech #blackmenintech #blackwomenintech #blackowned #blackfounder #tech #founder #advertising #distribution

Hmmmmm. I agree with the sentiment of your post. I am an independent artist with less then 5000 streams on some of my tracks and less than 1000 on the majority. However... I dont think it is fair to slate the Deezer CEO for a factual comment. Quality is better than quantity. There are 100,000 tracks arriving on Spotify everyday. A significant percentage are badly mixed and poorly mastered. The listening fatigue involved when trying to find new music is also significant. I want to be able to press play and just immerse myself in music. If I am constantly having to interrupt my experience to click to the next track, I am not having the experience music is meant to bring. Until streaming platforms and download stores can find a way of filtering out poorly produced music, (and I include some of my early releases in that statement), then the user experience is going to be sub-standard. Not only that, the listener base is being educated to accept poorly produced music as the norm. It is a race to the bottom when there is no quality control. Look at platforms like Upwork and Fiverr, that have destroyed creative media as an income stream for many freelancers and educated an entire generation of entitled consumers to expect something for nothing. Do we want that for music, too? The Deezer CEO was fundamentally right in what he said. I feel like his words have been taken out of context for the purpose of clout, by a number of competitors. I hope your new platform sets a standard too. I am interested in what you have to offer, but if it becomes yet another platform that celebrates poorly made music, which ruins the LISTENERS experience, then I would see no value in putting my new productions there. It would not be long before they were drowing in a another sea of mediochrity - or even contributing to that sea, depending on your viewpoint - LOL. I am actively looking for a solution for my own distribution and networking. So I will check out Vocana with interest.

Fans pay hundreds and thousands of dollars daily for releases on EVEN. But it's always fun when a new distribution partner witnesses a fan buy a release for more than $20—it's even better when they see a fan pay $900 for a release. One fan on EVEN made the artist the equivalent of 250,000 streams in seconds. This artist has 200K+ monthly listeners and makes $1K monthly from streaming. Yet the average sale price for this release on EVEN is $62 (not a typo). Distribution companies and labels, it's time you offered your artists and yourself a new revenue stream. What's the alternative? Leave money on the table? It's time to get EVEN. #musicnews #musicindustry #dtc #superfans #streaming #EVEN