However, social media has empowered artists to create a personal brand and connect with fans directly — without any label interference. This will lead to labels taking more of a VC-like approach, handling the financials — while the artist and their manager focuses on artistic direction and brand-building. And I think it'll just lead to a completely new pop-industry. These stars will still need the labels to get exposure and manage their careers.
I see labels as VCs for the music industry, and they'll still have to invest in the talent, and I think they'll just see more of it, earlier than they've seen before, and I think it's gonna be a great boom for them.
Social media and music streaming services like Spotify and Pandora have skewed the balance of power away from labels and back towards artists. In the new music ecosystem, managers will increase their share of the work in artist development, both as promoters and additional D. Getting that workflow and organisational side down could drastically change the financial fortunes of many an artist, so I think it's one of those "not sexy, but nonetheless very important" areas that nobody really discusses.
Democratization and collaboration will become the order of the day: artists will be able to create professional-quality music on the spot. Streaming will conquer new markets, giving millions of people unlimited access to music. The trend of democratization will be powered by emerging markets, rather than the traditional ones, that rule over the industry today.
Artists will connect with new audiences, both far-flung and right at home. Music will be used and repurposed in ever more creative and unique ways. Old barriers between media will break down. All of these processes are already well underway. Getting a peek into the future is just a matter of understanding the shifts that are happening now.
Understanding these trends and how they will change the way music is created, promoted and consumed is extremely important. This is the context in which the music industry will develop in the years to come — and having a good idea of these tectonic shifts is instrumental to success in the industry as fast-paced as the music business.
However, what's even more important is to make a link between the macro- and micro-level and understand how those structural changes affect your career and the careers of the artists you work with. Here's where Soundcharts can help. We gather artist's data across dozens of platforms and mediums, from social media to streaming platforms and radio airplay, to bring you a complete overview of any career.
See how Soundcharts can help you leverage music data to build your own trend. Content creator for Soundcharts. Deciphering the music business so you don't have to. This website uses cookies to ensure you get the best experience on our website. Learn more Got it! All Mechanics Music Markets Insiders. Log in Get Started. What Does the Future Hold? Get Started. By Dmitry Pastukhov Published February 12, One thing remains true and that is great music always breaks through, especially from established artists.
More than ever the music industry will need to hang its hats on its stars to ensure at least a portion of the entertainment spotlight. New a lbums from Drak e and Kendrick Lamar will be anchor releases for the industry to ensure that attention remains on music. Unbelievably the video for the song set the all-time record for most views by a hip-hop artist in 24 hours at an astonishing 43 million views in 24 hours. The song would go on to debut at no. Merits of 6ix9ine as an artist or person aside, this is the type of attention the music industry will need going forward.
So, what does all this mean for the music business? One needs to look back to the great depression and see patterns that are very likely to repeat themselves. During the economic downturn, live concerts were hit hard as music fans who normally traveled for concerts stayed home to save on travel costs, driving down live music revenue and resulting in a less vibrant live music market. But the report also looked at how, even during the great depression era, music fell to 3rd place behind radio and cinema for entertainment options.
Photo Credit: Joshua Galloway for Okayplayer. Denmark recently brought concerts back although with a different twist as music fans drove-in to assigned parking spaces for a drive-in concert from an artist by the name of Mads Langer.
And while the idea seems out there, even gimmicky today, the merits of a drive-in concert for both the artist and concert-goers are real. And then there are the food and drinks. Famously overpriced and in some cases, in limited supply, such was the case at the infamous Fyre Festival.
The drive-in idea potentially solves those issues but also introduces interesting partnership opportunities with companies like Uber.
Want to indulge in adult beverages during the show and not worry about driving home? There is a premium service opportunity with Uber where drivers wait in a designated area, allow the music fans to watch the show from their car, and then drive them home.
The movie business has already found a way to bring more comfort and privacy to the movie-going experience through VIP theatres where movie-goers drink, eat, and enjoy the film in comfortable, spacious seating.
I think drugs have as much to do with the growth of a genre as anything. Maybe we should check out the pharmaceutical industry. Hopefully lyrics come back to pop music. Now it feels everything is about babes or dudes , cars, money or other status empowering nonsense There could be demand for it if western lifestyle gets threatened by financial crisis or something else global phenomenon.
I have no idea what it will sound like, but I'm sure there will umpteen threads started on forums like this by the current generation, who will now be old older dogs, moaning "why does today's music suck?
That's the way it's always been, is You see what he did there? Why start at the 60's? In the 30's we had music in the 40's we had music in the 50's we had music and so on.. Ernest Buckley. Clear Channel will no longer rule the airwaves by , or at least thats my hope. I have a hard time thinking Heavy Metal will get any harder. How can it? Theres a lot of really good stuff out there so I think we will just have more and more access to it and of course more crap but whatever.
We will also continue to juxtapose genres and eventually every album released will be featuring someone I do find it interesting that hard core rap sort of took a back seat this last decade while hip hop slipped in to replace it with vocals and some flow on the verses.
Hair bands are still dead. Ain't Nobody. More of the same There will be some new sounds, some new techniques, and a new bag of tricks. Specifically, there will be new methods of vocal transfromation.
These elements will be popular in much of what becomes "pop". Other acts may be willing to be more flexible — and some were already willing to take the stage before the first successful vaccine trials were even announced. Examples from other industries may pose path forward.
Sporting events in have for the most part been played in empty stadiums. Independent artists face a particular challenge as they assess when and how to return to the road.
Max Gousse, manager for Saweetie and CEO of the Artistry Group, is among those optimistic for next year, especially when it comes to outdoor shows and events outside of the U. But with things so up in the air in the U. Whenever tours do come back in full force, the live music industry will face another trouble: a glut of artists all eager to hit the road at the same time.
Competition has already been fierce for dates and venue holds as the industry has repeatedly re-adjusted over the past year. One booker says some people are already seeking holds for Those at the top are, understandably, the most confident about their chances of securing the tour itineraries they want. Even A-listers may experience some hiccups. Ryan Matteson, manager for acts including Black Pumas, Mountain Goats, and Bully at Ten Atoms, is also hopeful that shows will return next year — but the idea of all the competition keeps him up at night.
Christine Karayan, owner of the famed Troubadour in Los Angeles, has similar potential concerns. If we have to do two, three separate shows in a night, we can do that.
This, however, is one reason the impending touring glut will likely hit newer and lesser-known artists hardest.
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