Country Music Hall Of Fame and Museum’s Post

EY development and support for infrastructure is a crucial piece of the musical jigsaw.

🎼 "a whopping 76% of first-timers said that they were likely or very likely to return within the next year. They felt so welcome, and had such a good experience, that they want to do it all over again." Before we suggest that change is needed in how we market classical music to new audiences, it's a good idea to read the statistics. A positive and insightful article from Jo Johnson, Head of Marketing at @bachtrack, discusses recent findings. "Classical and opera audiences are the most engaged arts attenders, with 21% attending at least once a month, compared to 15% for drama." When did you last review your statistics and talk to your audience properly? Are the changes in your marketing based on solid evidence? If you need help fine tuning your marketing and content strategies get in touch with us at @AitkensMedia 

Reflecting on Paul Hodgins' observations, the resurgence of music events post-pandemic underscores the enduring appeal of in-person experiences. This sentiment resonates deeply with me, especially as someone who appreciates digital content but finds solace in the authenticity of face-to-face interactions. My recent engagements with The Greater Pittsburgh Arts Council and Creative Generation reaffirm the widespread desire for in-person connections, confirming broader trends indicating a notable uptick in attendance compared to early pandemic metrics. However, amidst these positive trends, the classical music sector presents a complex narrative. While it shows signs of revival, there's an urgency to address longstanding issues of diversity and relevance. As an advocate for inclusivity, I recognize the importance of celebrating successes while holding the sector accountable for fostering greater representation and innovation. Conversely, the nonprofit theater and dance sectors confront a more challenging landscape, marked by closures and uncertainties. Recent surveys reveal a sobering reality, with top-tier regional theaters projecting a significant decline in productions compared to pre-pandemic levels. This decline prompts critical reflections on programming choices and audience engagement strategies. Furthermore, it begs the question: Is it time for a reassessment of the aims and structure of the regional theater ecosystem? In my view, the key to revitalizing the arts lies in fostering intergenerational collaboration and embracing fresh perspectives. However, entrenched systems and prolonged tenures in leadership positions pose formidable obstacles to innovation. To overcome these challenges, we must advocate for pathways that empower individuals at every stage of their careers, coupled with a commitment to change. As Michael Bobbit (Executive Director of the Mass Cultural Council) suggests, addressing these complex issues requires a collaborative effort involving diverse stakeholders. We must look beyond traditional boundaries and seek insights from disciplines such as economics, entrepreneurship, and futurism. By fostering inclusive dialogue and leveraging expertise from diverse fields, we can chart a path toward a more vibrant, resilient, and sustainable future for the arts. #Arts #Culture #Music #Theater #Dance #Innovation #Diversity #Inclusion #AudienceEngagement #CommunityEngagement #Leadership #Collaboration #Resilience #FutureOfWork #COVID19

New Post: How and Why La Onda, the Latin Sister Festival of Bottle Rock in Napa Valley, Was Born - https://lnkd.in/dwjzrXrR - Ten years after its conception, the Bottle Rock festival in Napa Valley, California, will have a sister in 2024. Its name is La Onda, a new annual event focused entirely on the Latino audience. On June 1 and 2, with a multigenerational lineup headlined by Maná, Fuerza Regida, Alejandro Fernández y Junior H, attendees will enjoy two days of music, food and celebration from another cultural perspective: the Mexican culture. Until now, Northern California, despite its growing Latino population, did not have an event of this type and magnitude, which is why the company Latitude 38 Entertainment took on the task of planning and developing a new challenge with the same proven foundations of the Bottle Rock festival. “As promoters we are celebrating 10 years,” says Dave Graham, CEO of Latitude 38 Entertainment, to Billboard Español. “In the beginning, like everything, we didn’t know what was going to happen when we started with the company. However, everything has turned out better than we could have thought, wished, or expected. Now we are ready to do something for our Latino community.” The eclectic lineup of La Onda by BottleRock, which will offer pop, rock, cumbia and regional Mexican on three stages, also includes Farruko, Eslabon Armado, Mon Laferte, Los Ángeles Azules, and many others. (For more details, click here). Maná, in fact, is also headlining Bottle Rock, which will be held just a week earlier, from May 24 to 26. Both festivals are already sold out, and Graham said they expect a total of 150,000 people for the three days of Bottle Rock and 70,000 for the two of La Onda. Below, Graham answers questions about the planning, production deployment, the challenge of holding both festivals with just a few days apart, and the expectations for La Onda’s first edition. Why did you decide to create a Latin music festival? It’s very important for us. We have been thinking about doing this for a long time. The percentage of Latinos who go to Bottle Rock is 14%, and every year they had been asking us to do one. Was there a need for such an event in the area? If you live in Northern California, to go to a festival you have to travel to Tijuana, Rosarito, Los Angeles, or even Las Vegas. Moreover, the population here in Napa is 40% Latino, mostly Mexicans, and the rest of the Bay Area is 30% , so it’s time to celebrate Latin music, Latin food, and that culture in general. Why the name La Onda? Most of the people who will come to La Onda are Mexicans, and although everyone in Latin America knows what “onda” means, it is more identified with Mexicans. Everyone has their own meaning for the word “onda,” but in the end, it has to do with movement, with something fun, and ultimately when we got to that point

Milana Lewis and Kristin Graziani on 𝐇𝐈𝐓𝐒 𝐃𝐚𝐢𝐥𝐲 𝐃𝐨𝐮𝐛𝐥𝐞! 🎶 In this insightful piece, Milana and Kristin dive deep into the dynamic landscape of the music industry and the future of technology-driven innovation. Don't miss their thoughts on how Stem is paving the way for artists and creators worldwide. Read the full interview here below:

New Post: Spain’s Music Market Is Booming As It Welcomes Latin Talent From Around The Globe - https://lnkd.in/gsYywZN8 - Spain is alive with the sound of music. In the last 12 months alone, the country launched a new Academy of Music and will hold its first awards in Spain in May; it also hosted the Latin Grammys in Seville in November, the first time the awards show was presented outside the United States. And music sales are booming. Total music revenue in 2022 reached its highest mark since 2006 — 462 million euros ($498 million) — while revenue from sales and streaming rose 11.5% in the first half of 2023 to 214.3 million euros ($231 million), compared with the same period in 2006, according to trade group Promusicae. In the live-music arena, 2022 ticket revenue reached a record gross of 459 million euros ($495 million), according to Spain’s Association of Musical Promoters. And according to IFPI, music consumption in Spain per capita stands at an average of 20.9 hours each week, exceeding the global average of 20.1. Related Latin Artists Fuel Dramatic Growth of Spain’s Live Scene 03/08/2024 While some of the growth can be attributed to post-pandemic recovery, a plethora of new business models along with an infusion of “Latin” music — that is, music in Spanish that comes from Latin America and the U.S. Latin market instead of Spain — are also fueling a music industry that feels more dynamic and ebullient than it has been in years, since its heyday as one of the world’s top 10 music markets, a rank it held as recently as 2009. “The Spanish market in recent years has stood out for being key in the global positioning strategy for Latin artists. It’s in the best moment and capacity to once again be a point of reference as a country that exports music — as it was in the 1980s — and as a major presence in the global market,” says Narcis Rebollo, president of Universal Music Iberian Peninsula Spain & Portugal. It’s not just the market, but also the experimentation within it. Rebollo cites Universal’s booming direct-to-consumer business, the popularity of music TV shows like Operación Triunfo and La Voz Spain, as well as the opening last year of the first Umusic Hotel, in Madrid, next door to the historic, 1,000-seat Teatro Albeniz venue. In 2022, in Madrid, Warner Music Spain also opened The Music Station, an impressive multiuse space that includes label offices, theaters and recording studios, and Sony Music Spain just opened its state-of-the-art 5020 studios, also in the capital city. “Our music had never generated so much interest, and this generates competition in many fronts,” says José María Barbat

I recently did an interview with the North American Concert Promoters Association (NACPA), where I shared some insights on the Route 91 Harvest Festival, which occurred on October 1, 2017. It’s taken some time, but I’ve started to open up about that event and the strategies for preparing for critical "moments of truth." My presentation, titled "Inspect What You Expect: Who Are You in the Moment of Truth?" delves into this topic further and outlines some techniques I found useful in preparing your teams for moments of truth that are difficult to explain.

Last week, on International Women’s Day, Limelight published an article sharing the statistics I’ve been compiling on the diversity of programming in Australian Orchestras for 2023. The response I’ve received in the last week has been amazing, mostly from people interested to learn more, or curious “is it getting better?”…and one person who asked “is that the question that matters most in the arts today?” (On IWD? an article about diversity? Who knew? *strong eye roll implied*) Overall, yes, diversity in programming is getting better and there are initiatives across the country actively trying to address some of the imbalances. Missed from the article was the gender diversity stat from 2019 - 98% of works were written by men, so compared to that 4 years on we’re doing much better! There’s still a way to go, and there’s still a misunderstanding in some places on how to address the issues. Also missed in the article, commissioning new works is only part of the way forward. In my 2022 stats, there were more works by Beethoven, Mozart, and R. Strauss than all works by women composers combined. If an orchestra can play Beethoven, then perhaps they could play a symphony by Louise Farrenc instead. I curated a playlist that is just Symphonies by women composers – it’s nearly 33 hours long (and that’s just ones that have been recorded already!) As I stated in the article “I don’t expect the orchestral programming to change overnight, but I do feel the momentum building. If it takes more projects like mine – and others around the world – to keep pushing for change, then slowly and surely it will happen. The works are out there, they just have to look.” I’m so hopeful that with work by DONNE | Women in Music, Boulanger Initiative, Institute for Composer Diversity and so many more across the world, who keeping pushing, keep researching, and keep advocating for greater change, at some point we might see greater diversity of works on the orchestral stage. I’ll be publishing the full stats later in April on the Tenth Muse Initiative Website. If you’ve read this far I have 3 questions for you: 1) What works would you like to see played in our concert halls? 2) How many works by women can you name? 3) What sort of resource would you like to see that could help address the diversify programming? https://lnkd.in/g69WtDWp

What is the Value of Juried Showcases? Since my retirement as a Professor at San Diego State University, I've leaned in to my passion for connecting Artists, Venues, and Resources in order to maximize community enrichment. I do this as a booking agent for a wonderful roster of World Music and Dance, Jazz, and crossover artists. I'm now attending at least 6 booking conferences per year. I've been talking to other agents about how one chooses from the myriad number of booking conferences throughout the U.S. and abroad. For those of you who don't know about booking conferences, this is a major way to make new connections and find those who will present our artists- and yes, there are many more than 6 in a year! One could literally live out of a suitcase from late August through late November, then rest up before Association of Performing Arts Professionals in January! There are certain conferences that are always on my schedule- Western Arts Alliance (WAA) and APAP, for example. Next I see if any of my artists win "Juried Showcases" at the various smaller conferences that offer this curated opportunity. Groups from our Marian Liebowitz Artist Management (MLAM) roster won FIVE Juried Showcase at three different booking conferences this Fall- Ohio Arts Professionals Network, Arts Northwest, and North Carolina Presenters Consortium. So those three conferences are on my schedule this year. I had to sadly leave out certain conferences don't feature a Juried Showcase opportunity that I might have liked to also attend simply due to the cost- monetary and stamina-wise. In the past, our Juried Showcase winners have procured many offers for future seasons, so this is why the high value to us. I am wondering how Juried Showcases impact other professionals in the field? If you are a presenter, do you relish the opportunity to hear artists that a panel of your peers has selected? If you are an agent, how do you make decisions about which conferences to attend and how do Juried Showcases fit into your choices?

New government programs will bring the influence and benefits of #music to the forefront across our country and in world forums. “The Global Music Diplomacy Initiative is a worldwide effort to elevate music as a diplomatic tool to promote #peace and #democracy and support the United States’ broader foreign policy goals. The Initiative aims to leverage public-private partnerships to create a music ecosystem that expands economic #equity and the creative economy, ensures societal opportunity and inclusion, and increases #access to education. It will build on current public diplomacy music programs to create public-private #partnerships with American companies and non-profits to use music to meet the moment, convey American #leadership globally, and create connections with people worldwide.” There are many facets of this new program outlined in the attached government document. An example is a new Fulbright-Kennedy Center Visiting Scholar Award in Arts and Science will focus on the intersections of the #arts (music, #dance, #theater, etc.) and #science, including how the arts can contribute to individual and #global #health and well-being, and the environment. Read the entire document to preview the extensive initiatives. U.S. Department of State Antony Blinken The John F. Kennedy Center for the Performing Arts Fulbright Scholarship The Philadelphia Orchestra National Association for Music Education (NAfME) NAMM