YouTube, YouTube Music updates are big wins for MusiciansAs part of its 10th Anniversary celebration, YouTube and YouTube Music updates are big wins for musicians and music marketers.
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Could State AGs use RICO to stop Ticket Scalpers and Bots?THe Federal Trade Commision is taking a more aggressive stance against ticket scalpers and their use of bots. Could State Attorney Generals a use RICO to stop ticket scalpers and. Continue reading
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Sounds and Visions: Senon WilliamsSenon Williams, bassist of Cambodian psych-rock outfit Dengue Fever, is also a dedicated visual artist and poet. His atmospheric, text-augmented drawings and luminous, large-scale paintings—along with zines, artist books, and monographs—merge harmony and dissonance, chaos and control, danger and dazzle. And the same dynamic fusion applies to his music. So how did his creative life come to span so many mediums?“I did not go to art school,” Williams says. “When I was a child at punk shows and backyard parties, I didn’t believe school was the education I needed to create art. Later, after working as an art preparator for some amazing galleries and large art moving companies, I worked as an artist’s assistant—not art school, but an art education.”However it started, it’s working out just fine, because Williams is currently in England, en route to the prestigious Freud Artist Residency in Příbor, Czech Republic. Over the next year, he’ll return to England and Europe for exhibitions at the Freud Museums in London and Vienna.He’s also just completed a new monograph, Scrapyard (Hat & Beard Press), which he calls “a facsimile of a scrapbook I created over three years of studio practice.” With 10 historical vignettes by Plain Sight Archive “about the history of scrapbooking,” its fall release coincides with a new short film, Tilt Horizon, which Williams co-directed with filmmaker Tabbert Fiiller. Williams will also host upcoming events at the Philosophical Research Society around his art, poetry, screenings, and books.This is all between tours with Dengue Fever, of course. “We played the Palupo Festival in Thailand, went to Phnom Penh to perform and record with master traditional musicians... the Levitt Pavilion in L.A., Seattle, the Winnipeg Folk Festival, Calgary Folk Festival… and have shows coming up in the fall.” A new album is on the way, plus instrumental and collaborative releases.As if that weren’t enough, Williams is also now playing bass in Acetone. “Acetone stopped playing in the early 2000s when key member Richie Lee passed away,” Senon says. “Due to a massive box release, my old friends Mark and Steve asked me to sit in. We’ve been performing live—during a N.Y.C. residency we played with the wonderful Susan Alcorn and Marshall Allen from Sun Ra Arkestra. Not originally in our plans when we started playing, we’ve since begun working on new material, and can expect a new album down the road.” And what a road it is.The post Sounds and Visions: Senon Williams first appeared on Music Connection Magazine.

Bandsintown inks YouTube deal to become platform’s exclusive provider of concert listingsIntegration will soon expand to YouTube's homepage – and to YouTube Music later this year
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The unflattening of streaming (and the case for friction)This post builds on our January 2025 post ‘The unflattening of music’ which itself built on two previous pieces (you can find links to both in that post).

Industries arrive at pivot points when an accumulation of fissures coalesce into one big crack. Streaming is approaching such a point. We are still at the lots-of-small-cracks-appearing stage, but there is a clear sense of something building. With streaming revenues now representing close to three quarters of the recorded music market (excluding expanded rights), there is clearly an overriding incentive to fix the problem. Simply throwing in the towel and waiting for whatever comes next would hurt both creators and rightsholders. The challenges come from all directions and with different causes (major rightsholders feeling investor pressure; artists struggling to cut through the clutter; royalties not adding up for too many professional artists; music becoming commodified). But the problem is that the people underpinning the entire edifice – consumers – do not have a problem. And that is what needs most attention. 

When Spotify first arrived in the market 16 years ago, it was little more than a vast catalogue of music with a search box. If you didn’t know much about music, you weren’t going to get much out of it. Thus, the first wave of adopters were music aficionados, hastening the demise of downloads, where many were currently spending their money. Fast forward to today, Spotify – and other streaming services – are a dramatically different value proposition, catering not just to those aficionados (or superfans), but also for the passive massive that upgraded from radio and the occasional purchase. Converting so many passives into subscribers was one of streaming’s most important achievements. However, because there are so many more of them than aficionados (six times more in fact), it is only natural that streaming’s UX has prioritised their needs. This, in turn, has helped hasten the commodification of music. 

The great economic paradox of streaming is that it does not differentiate between aficionados and passives, charging them the same fee for the same product. Little wonder then, that aficionados have shifted their extra spend to live and merch. If the supremium tier does eventually make it to market, it will go some way to addressing this. But it will not be enough on its own – and may well come across as an unusual and out of place appendage to the standard streaming proposition. What’s more, there are signs that Gen Z are not warming to streaming like they should be, with 16-19 penetration growing FAR more slowly than other age groups. What links these two challenges is the fundamentally flat nature of Western streaming UX. That needs to change.

So much of streaming’s success was built on the digital era’s superpower: convenience. Yet it is that very thing that has driven cultural commodification. While convenience may have disrupted the economics of things like taxis, online shopping and food delivery, it has undoubtedly improved the experience. Rides have got better; home delivery has got better. With music however, convenience has improved the experience for some (passives) but lessened it for others (aficionados). Fandom did not catch the streaming bus. To address this, streaming UX needs to change.

The case for friction

As counter intuitive as it may sound, streaming has become too convenient. It needs some friction. Friction is not inherently a bad thing. Done right, it can lead to a sense of satisfaction and personal reward. Think about where friction-with-reward exists in our life: learning a new skill, fitness training, reading a long book. The games industry even turned friction into a product.

Music discovery used to be a high-friction experience. Fans would trawl through (often pompous) music reviews, tune into their favourite DJ’s radio show on a late weeknight, and / or wade through endless shelves of albums in stores, perhaps being fortunate to get a surreptitious recommendation from the person behind the till. Many would say it is entirely a good thing that those are the features of a bygone era (though obviously not music journalists and record shop owners). But as is so often the case, it is the generation that comes after the first wave of adopters that can see what is missing from the new era. This is why, with streaming personalisation better than it has ever been, waves of Gen Z are busy crate digging in record shops. The sense of personal reward they get from finding a gem is simply not paralleled by streaming.

Streaming UX needs to learn how to introduce friction, but crucially only for those who want it, when they want it. The majority of people – even aficionados – want a friction-free experience most of the time. The opportunity is to create invitations to do more. The music industry bemoans the shift from lean in to lean back. Now is the time for dive in.

Crucially, this needs tying to identity, because that is central to the reward. For example, when someone spends time doing whatever the streaming equivalent of crate digging might be, they get a ‘hidden gem’ badge which goes on their profile page (it is perplexing that we still don’t have public user profile pages on streaming). Much as I am loathe to use the G word, gamification will be part of the equation. Music is meant to be entertainment. Listening to a work out playlist in the gym or a lo-fi study playlist is not entertainment, that is distraction. 

Bringing back friction will not solve all of streaming’s problems. No single thing will, but it will finally start to push back against the overwhelming trend of flattening. A whole slate of interconnected solutions will be needed for streaming’s other problems. The good news is that MIDiA is currently working on a major new report that will propose just that. The humbly titled ‘Future of streaming’ report will be arriving in the coming months. Watch this space!

Position Music Signs Rising DJ Trio Levity to Global Publishing DealPosition Music has officially added another rising star to its roster. The Los Angeles-based independent music company announced the signing of Chicago-based electronic trio Levity to a worldwide publishing deal.The group—comprised of John Hauldren, PJ Carberry, and Joshua Tarum—has seen a rapid rise since their debut in 2023, amassing nearly 100 million streams across streaming platforms and establishing themselves as one of the most promising new acts in electronic music.A statement from the company discloses that, “Levity’s growth over the past two years has been extraordinary—what began with a last-minute set at Electric Forest in 2023 has evolved into sold-out headline shows and key slots at major festivals like EDC, Lollapalooza and more. I’m so excited to be working with them and their managers Adam and Harrison at 2+2 Management. Levity has had an explosive start and we’re only scratching the surface of what they’re going to achieve.” This comes from Mike Torres, A&R at Position Music.Levity expressed equal enthusiasm about the partnership. A statement from the band shares that, “We are so excited to be working alongside the wonderful team at Position Music! The opportunity has given us the chance to share our music with a wider range of people and take our music to the next level. We can’t wait to see where else our partnership will take us!”The signing comes on the heels of a busy summer for the trio, including a performance at Lollapalooza. Known for sets that go beyond DJing, Levity emphasizes crowd interaction and blends a wide range of electronic sub-genres into their live shows. Their 2025 schedule is already filling up with major festival appearances, including Do LA (Coachella Weekend 1), EDC Las Vegas, Beyond Wonderland, and Lollapalooza.Levity recently released their new single, “Like This,” from their forthcoming EP Snack Pack via Ultra Records. The group is currently on tour, with dates scheduled across the U.S.:9/4 – Showbox SoDo (Seattle, WA)

9/5 – Showbox SoDo (Seattle, WA)

10/10–10/12 – Seven Stars Festival (Arrington, VA)

10/31 – Stage AE (Pittsburgh, PA)

11/8 – Cow Palace (Daly City, CA)

11/14 – Shrine Expo Hall (Los Angeles, CA)

11/15 – Shrine Expo Hall (Los Angeles, CA)

11/21 – Mission Ballroom (Denver, CO)

11/22 – Mission Ballroom (Denver, CO)

11/28 – Brooklyn Paramount (Brooklyn, NY)

11/29 – Brooklyn Paramount (Brooklyn, NY)

12/30 – The Fairgrounds (Nashville, TN)The post Position Music Signs Rising DJ Trio Levity to Global Publishing Deal first appeared on Music Connection Magazine.

Confirmed: BMI royalty rate from terrestrial US radio is rising by nearly 24%Radio stations will go from paying 1.78% of gross revenue for BMI's music in 2021 to 2.20% in 2026
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SXSW 2026 PanelPicker Voting Ends Soon: Our Favorites FYCSXSW 2026 PanelPicker voting ends this Sunday August 24th. Everyone is eligible to vote whether you are registered yet for SXSW or not. Here's how to vote and a few of our favorite panels and presentations for your consideration.
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What Is A Ticket Count? Why Do Ticket Counts Matter So Much?What is a ticket count? Simply put they are a regular report of how tickets are selling for a particular show. The head of ticket count platform RealCount breaks it down and explains why ticket counts matter so much.
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Enhypen Ends U.S. leg of Third World Tour with Thrilling L.A. ShowThe energy was palpable as South Korean boy band Enhypen closed out the U.S. leg of their third world tour, ENHYPEN WORLD TOUR ‘WALK THE LINE’ IN U.S. (hereinafter ‘WALK THE LINE’), on Aug. 16th with a sold-out show in Los Angeles. Piercing screams rattled the BMO Stadium as members Jungwon, Heeseung, Jay, Jake, Sunghoon, Sunoo, and Ni-ki walked on stage for an electrifying performance. The show serves as a lens into Enhypen’s growth, walking with their fans (nicknamed Engene) through every step of their journey—from their early days of stepping into the spotlight, to the present and future. The group was formed through the 2020 survival competition show I-Land, which was a joint venture between CJ ENM and Hybe Corporation (formerly Big Hit Entertainment) under Belift Lab. The show featured 23 male trainees competing for a spot in the final group. They debuted on November 30, 2020, with their first mini album, BORDER: DAY ONE. The group name Enhypen is a play on the words “en dash” and “hyphen," symbolizing the members' journey of connection, discovery, and growth.Since their debut in 2020, Enhypen have worked hard to become household names and have rapidly expanded their global influence. In five years, they’ve placed five albums in the Billboard 200 Top 10. Their second studio album, Romance: Untold, marked the group’s career-high, debuting at No. 2 on the Billboard 200 and ranking highest among K-pop acts on the 2024 IFPI Global Album Chart. Enhyphen’s music is a terrific mix of catchy hooks and layered arrangements. None of the seven members have designated roles; they are all well-rounded in dance and vocal skills. They’re the perfect introduction for those who want to get into K-pop, as their music has the right blend of English and Korean. K-pop shows are known for being super timely, and this was no exception as the group hit the stage precisely at 7:30 p.m. with the fiery opener “Brought the Heat Back,” followed by the soulful R&B hit “Fever.” The WALK THE LINE tour showcases their dynamic musical range and evolution from early youthful hits to their most recent EP from this past June, Desire: Unleash. After the opening songs, the members took a few moments to introduce themselves one by one and gave heartwarming speeches about the tour and its meaning. Group members Jake and Jay are fluent in English—Jay was raised in the U.S. and Jake in Australia. The rest of the members were assisted by a translator who helped throughout the night. After their intros, Enhypen kept the energy pulsating with the electrifying songs “ParadoXXX Invasion” and “Future Perfect (Pass the MIC).” Photo Credit: BELIFT LAB

Keeping fans on their toes, the group separated into subunits for two performances from their 2024 release DARK MOON SPECIAL ALBUM . Dressed in all-black priest-inspired attire to match the dark aesthetic of “Lucifer,” Jay, Sunghoon, and Jake’s piercing whispery vocals stole the show. While Heeseung, Jungwon, Ni-ki, and Sunoo had everyone singing and dancing along to the fun lyrics of “Teeth.” Throughout their set, we got a couple of segments highlighting their individual talents as well. There was a guitar solo from Jay before “Blessed-Cursed,” while Heeseung played the opening melody of “XO (Only If You Say Yes)” on the piano. Once the group joined in on “XO,” everyone was singing along as the song has a fun repetitive melody and chorus. Plus, the performance features a cheery dance number that involves fun hand gestures. Fans went crazy every time Sunoo appeared on screens during this number.In total, Enhypen performed a big setlist of 24 songs in just over two hours. Delivering a fun-paced show filled with showstopping dance performances and impressive live vocals. Once the end was near, the group made sure to give their heartfelt goodbyes to their fans—promising to be back and teasing some new music. The group also mentioned that their first VR concert, ENHYPEN VR Concert: Emergence, is coming to theaters in the U.S. in September. Enhypen sent their fans into a frenzy as they finished with an explosive EDM version of “Drunk-Dazed” and a fitting reprise of their bombastic hit “Go Big or Go Home.” Photo Credit: BELIFT LABThe post Enhypen Ends U.S. leg of Third World Tour with Thrilling L.A. Show first appeared on Music Connection Magazine.

ASCAP secures ‘higher rates’ in settlement with US radio broadcastersThe deal covers the public performance of more than 20 million musical works in ASCAP's repertory across AM/FM radio stations nationwide
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NIVA Live Policy Summit aims to ‘strengthen the ecosystem’The Nation Independent Venue Association (NIVA) and the Indiana Independent Venue Alliance (IIVA) will host the NIVA Live Policy Summit on October 15 -16 at the HI-FI in Indianapolis. The conference will bring together industry stakeholders and policymakers to "strengthen the live music and performance ecosystem."
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How To Turn Casual Listeners into SuperfansMost artists focus on superfans, but real growth starts with your casual listeners. Fan engagement expert Dan Goldberg reveals how to turn casual listeners into superfans using strategies the music industry often ignores.
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Colin Hay Discusses Men at Work, His Solo Career, and the Music Biz [Part One]Colin Hay spoke to AllMusic shortly after the release of his latest solo release, Man @ Work: Volume 2, which like its successful predecessor, contains "re-imagined favorites from across Hay's rich catalog, including Men at Work classics, solo album highlights, and new material."

FTC says 379,776 concert tickets purchased illegally for resaleThe Federal Trade Commission is suing Key Investment Group (KIG) alleging 379,776 concert tickets purchased illegally for resale for Taylor Swift’s Eras Tour and other concerts involve violations of the BOTS Act.
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