The competition is 225K, not 10M artists + More Spotify Loud & Clear report takeawaysSpotify has updated its annual Loud & Clear report to remind artists and labels how much money they make from the streaming platform. While many of the numbers are impressive, a careful reading leads to more nuanced, particularly of independent and D.I.Y. artists.....
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Key U.S. user demo is leaving TikTok as new user growth also slowsReal and threatened bans, UMG, and others pulling tracks, mountains of bad press, and increased competition from Meta and YouTube are taking their toll on TokTok, just as the social platform may be forced to look for a buyer.....
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Global recorded music revenue jumps 9.8% after years of slow growth [MiDiA]The music market has doubled in size since 2015, and it continues to grow. But who is getting all this money? A new MIDiA report digs deep for answers.....
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On a Mission from God: The Definitive Story of The Blues BrothersIn Daniel De Visé's in-depth new book The Blues Brothers - An Epic Friendship, the Rise of Improv, and the Making of an American Film Classic, the author goes to phenomenal lengths to detail not just the making of the film, but goes back to the beginning, detailing the upbringings of the two actors, their explorations into a burgeoning comedy scene, their rise at SNL, and all the blues that's fit to print.

MBW (and Skibidi Toilet) just inspired a flurry of TikTok music takedownsTikTok took swift action over a list of videos that MBW identified as 'manipulating' UMG content
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BMI Spotlights Singer-Songwriters at SXSW 2024BMI (Broadcast Music, Inc.) was back in Austin, TX, during the 2024 SXSW Music Conference and Festival. As a founding sponsor of the festival for over 30 years, BMI stages and events have been known for consistently presenting the best new music from its incredible songwriters, and this year was no exception. From March 12-15, BMI hosted an exciting lineup of showcases, featuring rising talent in indie, hip-hop, Latin, pop, R&B, rock, country and everything in between, continuing our tradition of being the go-to source for music discovery. Check out details from each of the events below.See below for photos and captions from BMI’s lineup. For more information on this year’s events and featured artists, go to bmi.com/stages/sxsw2024 and use #BMISXSW to join the conversation on social media.

BMI PRESENTS HOWDY TEXAS - CELEBRATING THE 5TH ANNIVERSARY OF BMI AUSTINTuesday, March 12th at STILL AustinBMI celebrated the 5th Anniversary of its Austin office at the annual Howdy Texas party at STILL Austin Whiskey Co. (440 E St Elmo Rd Suite F). The event, which was free and open to the public, featured performances from nine diverse Texas-based artists, including Alesia Lani, Farmer’s Wife, Nicky Diamonds, RUTHIE CRAFT, Shelby Stone, The Tiarras, West 22nd, West Texas Exiles and Midnight River Choir, with styles ranging from R&B, Americana and rock with western influences to cathartic grunge, Latin pop and that classic Lone Star sound. Howdy Texas was supported by Austin Music Movement.

(LEFT): The Tiarras onstage at BMI Presents Howdy Texas at STILL Austin Whiskey Co. on March 12, 2024 in Austin, TX. Photo Erika Goldring for BMI.(RIGHT): BMI’s Kristen Townsend (L) and Mitch Ballard (R) present Texas Music Office’s Brendon Anthony (C) with a special guitar in celebration of the 5th anniversary of BMI’s Austin office onstage at BMI Presents Howdy Texas at STILL Austin Whiskey Co. on March 12, 2024 in Austin, TX. Photo Erika Goldring for BMI. 

YETI MUSIC SHOWCASE: PRESENTED BY BMIMarch 13th-15th at YETI FlagshipOver the course of three amazing days, the annual YETI Music Showcase: Presented by BMI at the YETI Flagship on South Congress (220 S Congress Ave) played host to eighteen diverse sets from emerging artists spanning the spectrum from psychedelia, introspective pop and contemporary country to modern folk, buzzy indie rock and punk thrash. The event also included drink specials, food pop-ups and other surprises. The showcase was additionally sponsored by George Dickel Bourbon, Karbach Brewing Co. and Liquid Death.3/13: Scott Ballew, Alisa Amador, ALEC MEZA, Vision Arcade, Brainstory, Giovannie & The Hired Guns3/14: Tony Evans, Jr., Chloe Tang, Nemegata, Wolves of Glendale, Winona Fighter, Daniel Donato’s Cosmic Country3/15: Maddy Davis, Jobi Riccio, wilt, Chance Emerson, Zach Person, Michigander

(LEFT): Alec Meza performs at the YETI Music Showcase Presented by BMI at the YETI Flagship store on March 13, 2024 in Austin, TX. Photo Erika Goldring for BMI.(RIGHT): Michigander perform at the YETI Music Showcase Presented by BMI at the YETI Flagship store on March 15, 2024 in Austin, TX. Photo Erika Goldring for BMI.

(BOTTOM): Chloe Tang performs at the YETI Music Showcase Presented by BMI at the YETI Flagship store on March 14, 2024 in Austin, TX. Photo Erika Goldring for BMI.

BMI SONGWRITERS CIRCLE AT LUCK REUNIONThursday, March 14th at Willie Nelson’s Luck RanchBMI was proud to present the BMI Songwriters Circle under the Revival Tent at Luck Reunion. BMI songwriters Tyler Halverson, Kade Hoffman and Harper O’Neill performed intimate renditions of some of their favorite songs and share stories of the inspiration behind them.For additional photos and captions click here. 

(LEFT): Harper O’Neill, Kade Hoffman and Tyler Halverson perform during the BMI Songwriters Circle at Luck Reunion on March 14, 2024. Credit Alex Parker for Luck Reunion. (RIGHT): Harper O’Neill performs during the BMI Songwriters Circle at Luck Reunion on March 14, 2024. Credit Alex Parker for Luck Reunion. 

BMI BRUNCHHosted by THEBROSFRESHFriday, March 15th at Geraldine’s at Hotel Van ZandtThe BMI Brunch is one of the most anticipated events during SXSW, taking place at Geraldine’s at the Hotel Van Zandt (605 Davis St). This two-stage marquee event featured the eclectic sounds of artists Ethan Tasch, Matilda Marigolds, Tamera, Benjamin Walker, Ashley Kutcher, Choszn, Kylie Frey, Baby Fisher, Britti, Courtney Patton, Swamp Dogg, and Jhariah. The BMI Brunch was sponsored by George Dickel Bourbon, First Horizon Bank, ONErpm, The MLC, Liquid Death, Texas Music Office, Austin Music Movement, and the BMI Foundation.For additional photos and captions click here. 

(LEFT): Jhariah performs at the BMI Brunch at Geraldine’s on March 15, 2024 in Austin, TX. Photo Erika Goldring for BMI.(RIGHT): Tamera performs at the BMI Brunch at Geraldine’s on March 15, 2024 in Austin, TX. Photo Erika Goldring for BMI.

More at bmi.com

Global recorded music revenues grew 9.8% YoY to $35.1bn in 2023, says MIDiA ResearchMIDiA estimates that streaming revenues reached $21.9bn in 2023
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Artist’s Pandora SoundExchange payments now go directly to UMGSince SoundExchange’s inception in 2003, 50% of song royalties from Pandora have been paid directly to artists after the digital PRO takes a 4.6% administrative fee. But artists whose records. Continue reading
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7 Great Ways to Build Buzz about New MusicGet fans excited and even eager to listen to new music with these seven great tips.....
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How to release and promote your first singleReleasing a single can be a daunting task for any artist. Whether an independent musician or a signed artist, you should take key steps to ensure your single is successful.....
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Global recorded music revenues grew by 9.8% in 2023Growth is back! After a slower 2022, global recorded music revenues grew by 9.8% in 2023 to reach $35.1 billion, compared to 7.1% in 2022, which means that the market is now more than double (124.5%) the size it was in 2015. 2023 was the year in which the industry settled back into a positive growth trajectory after the volatility of the pandemic and post-pandemic years. But the numbers also point to a market that is embarking on a major period of change.

The recorded music market is becoming more diversified, and although streaming is still the centre piece, its role is lessening. Streaming revenues hit $21.9 billion in 2023, up a relatively modest 9.6% on 2022. For the first time ever, streaming grew slower than the total market, to the extent that its share of total revenues actually fell (to 62.5%). Interestingly, over the same period, the five publicly traded DSPs grew revenue by 15.9%, and Warner and Sony collectively grew music publishing streaming revenue by 18.4%. Value is beginning to shift across the streaming value chain.

In other years, the recorded music streaming slowdown would have been cause for concern, but not in 2023. This is because other formats picked up the slack. Physical, after a decline in 2022, was up again (4.6%) in 2023, as was ‘other’. Interestingly, physical is emerging as the industry kingmaker: so far in this decade, over each of the two years that physical revenues grew, industry revenue growth was strong, and in the two years physical fell, industry growth was slow. Physical is the difference between good and great.

The growth in physical revenues, however, is more than just a revenue story, it reflects an industry strategic shift. Anticipating the streaming slowdown, labels and artists alike have been looking for diversification and new growth drivers, with superfans emerging as the central target. The strong growth of physical and ‘other’ revenues in 2023 are the first fruits of the new superfan focus.

The most compelling evidence for the superfan shift, is expanded rights. A subcategory of ‘other’, expanded rights reflect labels’ revenue from sources such as merchandise and branding. In short: superfan formats. Traditionally, expanded rights are not tracked as part of recorded music industry revenues, but last year, because of the industry’s growing fandom focus, we decided we had to include them, even if other entities still do not. 2023 underscored the importance of that decision. Expanded rights revenue grew by 15.5% to hit $3.5 billion – 10% of all global revenues. Expanded rights are one of the main building blocks of tomorrow’s music business.

Change was not constrained to formats. Market shares took some interesting turns, too. Non-major labels had a great year (and we’re calling them that, rather than independents, because a lot of the bigger ‘independents’, such as HYBE, have little in common with what people think of as traditional indies). Non-majors grew revenues by 13.0% in 2023, compared to 9% for the major labels. This meant that non-major label market share was up for the fourth consecutive year, reaching 31.5%. (Though, note this is measured on a distribution basis, not an ownership basis. Therefore, independent revenue that is distributed via a major record label or a wholly owned major label distributor will appear in the revenue of the respective major record label. So ‘actual’ non-major share is higher).

Non-major labels had a great year in expanded rights, outgrowing the market, in large part thanks to Korean labels, which accounted for nearly 70% of non-major label expanded rights revenue.

In stark contrast, 2023 was a tough year for artists direct (i.e., self-releasing artists), with various streaming market developments seeing them grow streaming revenue and their number of streams much more slowly than in previous years. 2023 was the first year artists direct lost market share. Streaming revenue grew just 3.9% in 2023, compared to 17.9% in 2022 and 35.5% in 2021. The result was a 0.4 point decline in streaming market share. Despite a difficult 2023, artists direct revenue in 2023 was 57.7% higher than in 2020, though the impending streaming royalty changes will likely see growth slow further.

On the majors’ side of the equation, Universal remained the largest label group, with its $10.0 billion representing 28.3% market share, but for the first time since 2020, Sony was the fastest growing major, increasing revenues by 11.6%, growing market share 0.3 points to 20.3%

Concluding thoughts

2023 was a very positive year, and it may prove to be the one we look back upon as ‘when things started to change’. Streaming growth slowed, on the recordings side of the equation, at least; monetising fandom became a serious part of the industry; non-majors locked into long-term market share growth; and self-releasing artists started to see a clear divergence between what they streamed and what they earned. 

The industry is beginning to bifurcate between the traditional, streaming-focused business, and a new one in which fandom and creation will take centre stage. Welcome to the first year of tomorrow’s music business.

MIDiA clients read the full report here

Peppermint Creeps at the Whisky A Go GoDespite premature reports of its demise, there's still plenty of fun to be had on the Sunset Strip. Those that long for the heady and decadent days of glam, glitter, sleaze and hair can find all of those things on a regular basis at the Whisky A Go Go, as well as the nearby Rainbow and Viper Room.

On Friday, March 15, it was the turn of the Peppermint Creeps to wow the Whisky faithful. Before that, the last of the many opening bands, San Diego's Foxy Roxx, successfully warmed up the baying throng. A glorious mass of shocking pink, latex and stars, this party rock troupe had some shining moments in the '90s, an antidote for some to grunge and plaid.

Songs such as "Who Killed MTV" ampex up the celebratory atmosphere in this most historic of venues and, by the time they exited the stage, the crowd was pumped.

Headliners the Peppermint Creeps took to the stage to the sound of an apocalyptic yet completely indecipherable voice telling us something dark and deep about the future. No matter, the intent was the important thing and the atmosphere was appropriately built.

"In a world of one-hit-wonders, Peppermint Creeps stand the test of time," reads their online bio. "Where most bands only last as long as they feel relevant, Peppermint Creeps march on as the 'hardest promoting band on the planet' doing it for the fans before anything else. Whether people care or not, Peppermint Creeps spread their message regardless of what critics and skeptics think."

All of those ingredients made for a heady brew at the Whisky. Like a cyberpunk take on Mad Max, the Creeps make a statement out of black and luminous pink and green. They look like mimes at a rave, and they make it work.

The songs are crushingly brilliant -- a potent blend of power-pop, glam rock and trash punk. Covers of songs by Hanoi Rocks ("Boulevard of Broken Dreams"), the Vapors ("Turning Japanese") and Ramones (the closing "Beat on the Brat" and "Blitzkrieg Bop," plus the punked-up theme to Spider-Man that the Ramones recorded), betray their influences, though those same bands are pretty clearly present in the Creeps sound.

This was the first time in a while that a band from the glam-esque world has invoked a circle pit at the Whisky, and that's to be admired. Besides those covers, highlights included "Lesbian," "Fuck Off and Die," and "Pop Culture." All of them feature sugary-sweet, infectious melodies, super-cynical lyrics and anthemic choruses, and that all made for a great Friday night.

Getting It Done – The week in D.I.Y & Indie Music: Living Wage bill, release tips, finding a manager and moreLast week, our tips and advice for the independent, do-it-yourselfers out there covered how to promote a music video, how to find a manager and much more…
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REWIND – New music industry’s week in review: SXSW protests, Spotify adds video, TikTok under fire & MoreIt was a busy week by any definition, and the music industry was no exception. Spotify added music videos, TikTok angered a congressman into unanimity, Instagram trumped TikTok for the first time, and more......
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'Five Days of Broadway' Theater Training at Segerstrom CenterWhile all Five Days of Broadway spots are officially filled, scholarship spots are available for both Middle (ages 11–13) and High School (ages 14–19) students and applications are now open! These scholarships are not audition based and are designated to families requiring financial assistance. Each scholarship covers all or a portion of the enrollment fee, and applications must be completed by Friday, May 3.For more information and to apply, click below!Learn moreWant to put your name on the waitlist for Five Days of Broadway?Sign up by filling out the registration form here.