Archive for the ‘News’ Category
I have to say, I love the song, “Chandelier” by the female Australian singer, Sia Furler (known simply as Sia). I’ve embedded the Vevo music video at the bottom of this post. It’s a beautiful, simple but visually compelling video, although you won’t see Sia’s face in the video, just her doppleganger.
You may not have heard “Chandelier” yet. Being a female vocalist, as well as a mother, I listen in the car to a lot of current pop music. In the Female-Vocalist-Fall-Back-to-School-Pop-Hit lineup, “Chandelier” is up against some heavy contenders, like Taylor Swifts newest, “Shake It Off” and Katy Perry’s inane “This is How We Do.” Not to mention the octave-defying Christina Aguilera-sound-alike, Ariana Grande, whose numerous collaborations this summer with every female hip hop artist in America (she’s moved on from Iggy Azalea to Nicki Minaj) dominate the airwaves.
I think “Chandelier” it’s going to be a huge hit, and one by a non-American artist who has been relatively unknown until now, at least here in the US. I wanted to pick it apart and get to know this Sia Furler person. Her music seemed, well… different.
In doing a little research, I uncovered some remarkable things that I thought were relevant to a lot of indie artists like me, especially those of us who are NOT Justin Bieber, Taylor Swift, Miley Cyrus, or Ariana Grande’s age:
Welcome to my weekly podcast. I talk about music, music marketing, and the music business where I do some of my best thinking – while walking my dog.
In this 22 minute episode, I discuss the Music Biz Association’s 2014 Metadata Summit on Tuesday May 6 I attended in LA, part of the larger three day Music Biz 2014 Summit. The Music Biz Association, formerly known as NARM and its sub-organization, digitalmusic.org, is “a non-profit membership organization that advances and promotes music commerce — a community committed to the full spectrum of monetization models in the industry” (from their website.) I have written about the importance of standardizing music metadata as a critical component in ensuring artist compensation in the new music industry where digital will eventually dominate.
It’s interesting to note that the board of the Music Biz Association is composed of representatives of all the major players in the music industry, and this list is evolving to encompass players other than the big labels: Warner Music Group, Universal Music Group, Sony Music Entertainment, Amazon, Microsoft, Spotify, YouTube (ie. Google), iTunes, as well as players like The Orchard and INGrooves. As music moves to a self-published model, I hope to see more representation in associations such as Music Biz for indie artists, too. Right now the industry is dominated by these big players (“Meet the new boss, same as the old boss”), but the future of music is a much flatter structure, where streaming micropayments, and thus metadata, will play an even larger role.
Look for a long form blog post later on this website about my experiences at Music Biz 2014, and a larger discussion about music metadata.
Also of note this week is the speculation around the purchase of Beats by Apple, as streaming players being a slow consolidation that (in my opinion) makes for a more rational and sustainable financial structure for streaming music services, as I predicted many months ago. This would be the largest acquisition ever made by Apple, if it goes through.
Finally, I discuss the significance of the incredible success of the soundtrack to Disney’s movie, Frozen. At the MetaData Summit, I sat next to Disney’s finance group, there to hear about the latest advances in metadata standardization. Why do they care? Because the Frozen soundtrack has been on the Billboard 200 13 times, it knocked Beyonce off the charts, and it has sold 2.6 million copies (58% digital – but that means 42% digital). As pointed out in this article on NPR’s blog, “Well Into Spring, ‘Frozen’ Soundtrack Keeps The Charts Cool,” Frozen‘s soundtrack has made a lot of money for Disney in a variety of different ways. Perhaps the difficulties of tracking all the various ways in which songs make money for Disney in the new music model, where digital plays come from a myriad of sources, will motivate a behemoth like Disney to put pressure on the industry to standardize music metadata more quickly, and streamline the monetization process further.
Most every morning I walk my dog. That’s where I do a lot of my thinking about my own music and social media, about music marketing and about what’s happening with music and technology in general. I thought you all might want to come along and hear what was on my mind this Friday morning.
The subject of today’s podcast is gear. What is the role of gear in your music career? Have you recently purchased some new gear and has it made a big difference in your recording or live performance?
In this 5 minute episode I talk about my own experience and also my observations from watching Stevie produce local bands. I didn’t admit it in the podcast, but I’m not immune to the siren song of gear. I’m like a kid in a candy shop at Guitar Center. In fact, I purchased the JamMan Looper/Sampler pictured above in October of last year. I haven’t yet figured out how to use it.
It often seems that musicians are more willing to purchase expensive musical gear than to spend the same amount of money on music lessons, professional performance coaching, song critiques, marketing, or legal services. In my mind, expensive gear is a social signal – but what it signals to others is not necessarily what I think many musicians believe it signals.
I’d love to hear your experience and your opinion on this issue in the comments section below. I’d also love your feedback on this format!
I recently made friends via Twitter with musician Eric John Kaiser, a native Parisian who now lives in Portland, Oregon. Like many who make a living full time from music, Eric is a busy person, juggling several different sources of income, as you will read below.
Eric has managed to successfully carve out a niche for himself in the Portland musical ecosystem playing “French music” several days a week. I thought it would be helpful for other musicians to read some of the smart and practical things he does to find, classify and promote his local and regional gigs. I also feel it is worth highlighting how Eric does business as a musician: he treats bookers and the other musicians he works with respectfully, fairly and professionally.
Question 1: Tell our readers a little about yourself: your music, where you are from, and how you ended up in Portland.
EJK: I’m a professional singer-songwriter originally from Paris, France, now based in Portland, Oregon, USA. After doing over 350 gigs in France and several records, in the summer of 2006, I followed a girl from Portland whom I met in Paris. Now I tour mainly on the West Coast, Idaho and Montana, in Louisiana and in Quebec and some parts of Canada. I also go back to France to tour once a year. I have released, at this point, three full length albums and three EPs. It’s been a great musical adventure so far.
Over time, I’ve learned that I needed to be flexible and be able to play solo gigs, as a duo with my accordion player or play with my full band.
I like to profile indie DIY musicians in an effort to distill practical music marketing lessons that the rest of us can learn from. My fellow Seattleite, Seth Jackson, has been doing this on his website, HowToRunABand, for much longer than I have. Like me, he’s a musician, blogger, and music marketer (as well as a techie – website designer and software developer), and he’s been a role model for me for almost two years now.
Seth and I met in early 2012, when I was just beginning my journey as a music marketer. I was present at the first In Real Life (vs. social media) meeting between Seth and Brian Thompson at a Hard Rock Seattle music marketing panel discussion. Two peas in a pod, eh?
Seth has a new podcast series on his website called Work Hard, Rock Harder (WHRH), where he interviews other musicians who make a living fulltime via their musical talents.
Seth is now up to interview #37. I thought it was time to check in with him and see what this WHRH thing was all about. || Read more