This week I had the pleasure of taking part in the much respected weekly show, Digital Music Trends, discussing the latest news and breakthroughs in digital music and technology.
Along with host and digital music maestro Andrea Leonelli, was Darren Hemmings former head of digital marketing at [PIAS] Entertainment Group and now founder of digital marketing agency Motive Unknown.
Together we discussed the week’s latest developments in music and technology, including; the closure of TuneWiki, iTunes Radio royalty rates, Jay-Z & Kanye album release strategies, Spotify apps & where are they heading, Sony Unlimited & offline playback, Xbox Music & their new web based player, Pandora’s recent PR disasters, plus much more.
You can watch the video below, and I recommend subscribing to the DMT mailing list and Youtube channel to keep up to date, or if you like you podcasts via iTunes then subscribe by clicking here. Andrea has a certain knack for getting in the most knowledgeable and active members of our industry in for one to one interviews and discussions, all of which are worth watching or listening to.
DMT 138 – 26th June 2013
Grown out of a need for innovative solutions to problems in the live music and events sector, and to push independent musicians further in the UK, GigOwl was formed in early 2013 by Anthony Bliss and Chris Mead.
GigOwl is an ethical community booking service that connects musicians with studios, promoters and event organisers. At their core the GigOwl team want to make things simpler for musicians and venues.
Through streamlined gig requests, guided marketing support and giving organisers and musicians the tools needed to promote their gigs, GigOwl aims to develop a platform that empowers musicians, promoters and fans within the world of live music.
In their own words: “Great new talent exists, it should be experienced, and we want to help make that happen a lot more.”
And they’ve already started! GigOwl are offering an up and coming; folk, indie or alternative act the chance to play the final day of Sheffield’s inner-city music festival Tramlines on the 21st July, you can apply by simply clicking here – Apply For Tramlines Festival.
They also want to hear from YOU, independent musicians. Share the experiences you’ve had with venues, promoters and other musicians, tell them how you think gigging needs to be improved, so that GigOwl can adapt to make itself the best platform it can be for you; the musician. You can either drop Anthony and Chris an email OR Tweet them OR message them on Facebook. They’re really friendly guys, so do get in touch.
On Monday 20th May I will be presenting at the Contemporary Issues In Arts Management Conference at Liverpool John Moore’s Redmond Building. The 5 day conference, sees myself and 30-ish classmates presenting a topic we have been researching within our chosen entertainment fields.
Mine, as you can see from the title is about music streaming and will take place at 14:45 GMT. I will be looking at three things:
- Are we looking at music streaming the wrong way?
- Can being on streaming services pay off for artists? What are the alternatives?
- Are the current per-stream rates fair due to Spotify’s business model or should they be doing more to level the playing field for all artists?
The conference will be streamed live, and for your viewing pleasures I have embedded the stream below, if you wish to comment on the topics talked about we will all be tweeting to #ciam13. You can see the full itinerary on the official app, which you can view here: http://myapp.is/CIAM%202013
Not quite an introduction, as anybody with their ear to the ground will have heard this lads name by now. Hailing from Grantham, Ady has been spending his time in Liverpool finishing off a degree in music, while simultaneously bringing the house down in any venue he puts a foot in across the country.
With a tasty blend of simplistic soul, pop and reggae, Ady has carved out his own space in a genre of music many wouldn’t tend to look at in this era of flailing ‘womps’ and ambient tones. With only rough demos and his ’12am One Take Sessions’ to his name, you can’t help but be pulled into his sound, and neither could BBC Introducing and Radio 1Xtra who recently brought Ady down to Maida Vale to perform a few of his tracks for MistaJam, which you can see below, to prove that this isn’t all talk.
In this short time Ady has also supported the likes of Professor Green and BBC Introducing’s Sound of 2012, Michael Kiwanuka (A show I was gutted to miss). Hitting the festival circuit this year, Ady already has a performance at Liverpool Sound City under his belt, with Truck, Dot To Dot, Camp Bestival and Bestival yet to go.
Trying to avoid blurting out a cliché here, but Ady really is on the up, and I can tell you it is a pleasure to watch him play, whether that be just himself and his guitarist Ed Black or with a full band (brass section included). If you haven’t already, check him out and get yourself down to one of his shows, you will not be dissapointed.
Check out Ady’s Maida Vale Sessions Here
The BeatsOnToast posts haven’t been flowing as frequently over the past two months due to a huge research project I undertook as part of my degree. I can now, very happily say that it is over and done with and I can share the finished paper with you.
A personal interest of mine over the last few years has been secondary ticketing, particularly within the UK’s live music event industry. You may have heard or read in the news over the last few months the complaints against secondary ticketing sites such as Viagogo, Seatwave and Stubhub for the price of tickets placed on these resale sites and the effects they have on the industry and on the fan, a recent example of The Rolling Stones tickets going for £11,000, a ridiculous mark up on the face value of the ticket. These complaints have been raised before with many within the industry calling for legislation to regulate these sites.
My dissertation tackled this issue, and investigated whether legislation is needed to regulate the secondary ticketing market. Below is the abstract from the paper, if you wish to read the entire thing then click the link below and do feel free to get in touch to give feedback and lets chat about the topic.
The following paper addresses the current state of the UK’s live events industry and secondary ticket market. It looks at whether the secondary ticket market is in need of legislation to regulate the actions of those who operate within it.
The literature of the paper collects the published data and opinions on the subject. It defines what secondary ticketing is as well as establishing the key stakeholders, issues and discussions around the topic. It also looks at the published literature on the current state of the secondary market as well as the future of secondary ticketing.
The methodology outlines the research philosophy, as well as the instruments and methods used to collect data for the findings. It explains how and why interviews and questionnaires were undertaken, and how participants were selected. It contains information on the research participants as well as the topics that were brought up in the research methods.
The findings reveal that the industry is split on whether legislation is needed; research participants supported both sides of the argument convincingly. New information was discovered in terms of primary ticketing agent transaction transparency and refund policies. Participants also voiced their doubt that voluntary codes proposed in lieu of legislation would be upheld. It became clear that while from an ethical stand point, something not analysed within this paper, legislation is needed it is unlikely the government would restrict a profitable and legitimate market.
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A bit of blurb before the nitty gritty. If you’re a ‘no nonsense’ kind of guy/gal then skip this bit and head straight to ‘What Is Music Publishing’
When you do something day in, day out, it’s often easy to forget that those around you don’t understand your profession to the level that you do. I’m not suggesting you’d expect your Dutch flatmate to understand the intricacies of your daily routine; but quite often they might not even know the slightest bit about what you do for the eight hours a day when you’re not at home invading his personal space and leaving dirty dishes unwashed.
I’ve been a music publisher for near on the best part of a decade now and my parents still have no idea what it is I actually do. They know it’s about music and that…
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So you’re all best friends now and, in any case, it’s all about the music, man! However, as members of The Smiths would probably tell you, it’s worth taking some time to think about your legal relationship with your fellow band members, preferably before the band is making any serious money. In fact, this can be a very positive and reassuring exercise, helping to clarify issues which may be at the back of all the band members’ minds. It may also stop unwanted tensions from creeping in and, once a written band agreement is drawn up, prevent or reduce future disagreement between band members.
As a result of English partnership law, various legal rights and obligations are implied when a band starts to write or perform together. Although it is possible to amend many of these by a written band agreement, in the absence of such an agreement the following…
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