On Da Beat Worldwide’s Post

These days, our eyes are mostly trained on the agendas of the parties running for the European Parliament to see where and if the word 'culture' pops up. Meanwhile, I have glanced in the sectoral mirror and sought to understand why the music ecosystem looks so fragmented. I argue that we have institutionalised this fragmentation by building interest representation organisations around diverse narratives of how the music world operates. These organisations are crucial to our efforts of giving a voice to various groups in the music ecosystem who might otherwise be marginalised or remain invisible and powerless. This benefit, however, comes at a cost.. #musicpolicy

Fourteen of the top independent labels have founded a music think tank called ORCA (Organization for Recorded Culture and Arts). The purpose of the new org is to do research in, and advocate for, pro-music policies with local & national governments. "Music is an undervalued asset in the daily round, and we seek to translate the motivations underlying its production into an appreciation that art and commerce can live as one," says Martin Mills of Beggars Group. The list of partners is impressive and I know they will do interesting and (hopefully) effective research & advocacy. But I will say...one of the reasons music is so bad at policy is because we're so fragmented as opposed to say, tech. There are *so many* trade bodies representing so many narrow interests. The indie sector already has WIN Worldwide Independent Network, A2IM (American Association of Independent Music), & Merlin. They're further represented by Recording Industry Association of America® (RIAA) & IFPI. Then there are genre specific trade bodies, (country music has at least 3), and nation-specific trade bodies. There are handful for publishers & songwriters. Several for the live music sector. Music is popular, widespread, and in need of trade bodies. But there are so many, they are often at odds, and it means music policy often stands in place. #musicindustry #musicbusiness #musicpolicy

The #Traditional #Music #Market, a #segment within the music #industry, centres on the creation, #distribution, and enjoyment of traditional or folk music, reflecting rich #cultural heritage and customs. This sector has seen consistent #growth, fuelled by efforts to preserve culture, growing #interest in heritage, and the #global spread of ideas. #Globally, its worth was around $15.44 billion in 2023, projected to soar to $38.16 billion by 2030, boasting a CAGR of 13.8%. Download Research Report Sample & TOC : https://lnkd.in/gAmH4u-q Distinct #regional preferences shape this market, with particular genres dominating various #geographical regions. The advent of #digital #technology has revolutionised accessibility, thanks to streaming platforms and #socialmedia. Challenges persist in safeguarding musical legacies and navigating economic and copyright concerns. Nevertheless, #opportunities abound in fostering #collaborations, cultural exchanges, and harnessing digital platforms. 1. Smithsonian Folkways Recordings 2. Riverboat 3. World Circuit Records 4. Nonesuch 5. Rounder Records #TraditionalMusic #FolkMusic #CulturalHeritage #MusicIndustry #Globalisation #DigitalTechnology #StreamingPlatforms #CulturalPreservation #EconomicViability #Collaborations #CulturalExchange #HeritagePreservation #MusicGenres #MusicConsumption #MarketGrowth #CulturalAppreciation #RegionalVariations #DigitalInnovation #MusicTrends #AudienceDiversity

New Post: Artists on the challenges of 2023 and hopes for 2024: “I just want to see us getting paid for selling records” - https://lnkd.in/gfwWiZcY - As a new year begins, artists have revealed the biggest challenges that they faced in 2023, and the changes they want to see made to the musical landscape in the 12 months ahead. READ MORE: 2023 was “worst year for venue closures” while “no one in music industry seems to care”, say MVT The NME recently supported the Featured Artist Coalition’s 2023 End of Year Party and AGM at Walthamstow’s Signature Brew in London. Following on from 2021 and 2022, NME returned to support the event as well as chairing an artist-led ‘Year in Music’ panel discussion featuring Murray Matravers of the band formerly known as Easy Life, Sam Duckworth of Get Cape. Wear Cape. Fly, along with rising and acclaimed singer-songwriters LVRA and Cherise. As well as tackling subjects such as streaming royalties reform, the application of AI in music, the 100 Per Cent Venues campaign to end punitive commissions on merchandise sales, and the #LetTheMusicMove campaign to encourage friction-free international touring, the event also saw artists explain how issues of race, education, politics, fair payment and venue closures needed tackling. The panel was introduced by a speech from FAC CEO David Martin and the group’s Artist in Residence, Blur drummer Dave Rowntree. Martin pointed out the success of their campaign for venues to take a smaller cut of musicians’ merch revenue, while arguing that that “being an artist has never represented the easy path, but today’s musical landscape is especially complex”. This, he explained, was due to matters relating to “making touring financially viable, achieving cut-through on streaming services, or simply finding the space and environment to create.” “It was already a battle for attention, and now we have the prospect of AI increasing the rate of content creation,” he added. “In the words of the late, great Andrew Weatherall, ‘While technology has left us at the apex of a punk rock dream where anyone can make art, in practice that’s becoming a double-edged sword – it’s becoming hard to see the trees for the woods’. However, while technology presents new challenges, it has undoubtedly opened up new paths for artists to explore.” Rowntree agreed, adding: “It has been quite a year for me. With Blur I released our ninth major label album alongside a world tour, including two sold out nights at Wembley Stadium. At the same time, I launched my solo career – releasing my debut album on an indie label alongside a more modest tour that included one sold-out night at The Joiners in Southampton. Which did I enjoy more? That’s the question.” Graham Coxon, Damon Albarn and Dave Rowntree of Blur perform at Wembley Stadium (Photo by Lorne Thomson/Redferns) Admitting that “one event arguably overshadowed the other”, Rowntr

In today's world, music is more accessible than ever. But the reality is that the artists who create the music we love are finding it increasingly difficult to make a living from their craft. Streaming platforms, while a boon for music discovery and accessibility, often offer minimal payouts that scarcely amount to sustainable income for artists. Live performances, a significant revenue source for many, have not fully rebounded to pre-pandemic levels. Furthermore, the saturation of the market means that even highly talented artists may find it challenging to cut through the noise without substantial marketing efforts. Despite these hurdles, music artists continue to enrich our lives, crafting soundtracks for our highs, lows, and everything in between. Their resilience and passion fuel our collective spirit, reminding us of the power of music to connect, heal, and inspire. As a community, it's imperative we discuss how to better support these creators. What do you guys think are the best ways for artists to create streams of income off of their career? Let's start a conversation and find ways to ensure sustainable artistry for all. #MusicIndustry #ArtistSupport #SustainableArtistry #MusicCreators

IFPI's Lewis Morrison “It is also fantastic to see so many artists entering the chart for the first time, and the return of established acts years after their last appearance. As the global recorded music landscape shifts and new opportunities emerge, record companies continue their work to build global, long-term careers for their artists.” - Lewis Morrison, Director of Charts and Certifications at IFPI Taylor Swift led the IFPI Global Artist Chart for the fourth time in 11 years, with K-Pop groups Seventeen and Stray Kids closely behind. K-Pop's dominance in physical album sales is influencing Western artists, including Swift, who now releases multiple versions of her albums on vinyl and CD. K-Pop artists' standard physical album releases include a photobook and other small collectibles that give fans more incentive to purchase physical products compared to simply streaming their music. Swift has clearly taken note of this and implemented it in her recent album release strategies. This combined with her dedicated fan base, who often pushes Swift to the top of the charts with streaming or listening parties alone, have also proven that this K-Pop approach to physical music release strategies is a match made in global music sales heaven. Taylor has proven that the recorded music landscape is changing, especially with physical album sales and more artists are likely to follow Swift’s influence in 2024. We look forward to upcoming releases this year and are eager to see how they approach their physical album release strategies! #musicindustry #taylorswift #kpop #ifpi #superfans #albums

The music industry has evolved significantly since the challenges of the past. From innovative radio promotions to artist-controlled distribution, the industry is adapting to new technologies and customer preferences. Major labels are restructuring to focus on services, while indie labels are developing strong artist identities. Direct-to-customer models are gaining popularity, offering unique experiences for fans. Overall, the industry is moving towards a healthier, artist-driven, and customer-focused future.

I remember when I first learned about the dominance of major record labels in the music industry. I was so surprised and a bit overwhelmed by the fact that just three companies control such a significant portion of the global recorded music market. I thought to myself, "How do independent artists and smaller labels even have a chance?" But then I started digging deeper into the music industry and discovered the power of digital platforms. These platforms have given artists and smaller labels the opportunity to reach a global audience without the need for a major label's support. And that's when I realized that the landscape of the music industry is constantly evolving. While major record labels still hold a significant share, the rise of digital platforms has created new avenues for artists and labels to thrive. It was a powerful lesson that I learned, and it has helped me understand the importance of adaptability and leveraging technology in any industry. If you're ever feeling discouraged or overwhelmed by the dominance of major players in your field, just remember that innovation and determination can level the playing field. It might not be easy, but I promise you, it's worth it. What strategies have you found effective in navigating a competitive industry? #musicindustry #majorrecordlabels #globalmarket #independentartists #digitalplatforms #musicdistribution #innovation #adaptability #technology #competitiveindustry #businessstrategies

MUSIC IS WORK..? It’s rhetorical question, but the answer is clear. YES. Thanks to the first workshop from Eastern European Music Academy and the incredible speaker Chris Cooke, my brain went out of its usual comfort zone and there were a lot of realizations and important information for an artist as an absolutely equal participant in the international music market. Before I move on to insights and important theses, I would like to remind you, that I am a member of the Eastern European Music Academy (winter 2024) and for 12 weeks, together with representatives of the music sphere from 12 European countries, I will explore the music sphere on a global level (trends, streaming platforms, copyright , networking, and much more!) So, the journey has begun and it is infinitely rich. Therefore, I will broadcast this way here ☺️ So, what about today 😉 We talked about WHERE IS THE MONEY IN MUSIC? Yes, yes What else was important that was highlighted today? 🌿 you do not know the rights regarding the protection of your musical works - consider yourself unprotected; (I had such cases, to put it mildly, now I am stunned😱 and now I will change the direction of my work); 🌿team is MEGA IMPORTANT (yes, A person is an orchestra, of course, a class, but will it be effective for a long time 🤫) 🌿 the art market is extremely competitive and audience support (warm audience) is a way of success and trust in your brand; 🌿read, be interested, consult before cooperating! 🌿music is paid work that generates income, jobs, content and GDP of countries (hello to everyone who devalues it; google the info😉) And a lot of internal insights and discoveries that will influence the further behavior of my music brand VOGNYANA 🔥 Thank you so much for the saturation, specificity, diversity and fun 😉 I am recharged 🔥 thank you🤍 To be continued… What do you think about it? #EEMA #EEMA2024 #EasternEuropeanMusicAcademy #EEMAWinter2024 #musicbuisness